TRANSCRIPT of Narnia & Netflix: Is Greta Gerwig a Good Choice?

Version 1.0 / 11/25/23

The following is a transcript of a conversation I had with Crystal Downing, Terry Glaspey and Charlie Starr (each have a PhD degree), who are familiar with storytelling and movie making. After using an automated process to convert the audio to text, some light editing was done to (hopefully) make it more readable. Please note the version and date above, because, as time permits, revisions will be made as the speakers get a chance to correct any oversights (or add clarity to their comments). Finally, the original conversation was recorded in mid-October 2023.

You can hear the conversation on the All About Jack podcast or my YouTube channel.

 

William Let’s start with movies by Greta, other than Barbie. What have you seen and what did you think of it?
Crystal I’ve seen both Lady Bird and Little Women. I thought they were done very well. And there is a spiritual element in Lady Bird that intrigued me. So, I am hopeful about Greta Gerwig and her future filmmaking.
Terry I would totally agree with you Crystal on that. I thought Lady Bird was one of my favorite films the year it came out. And it is a growing up, coming of age story that has just profound spiritual searching as part of what’s going on in the story. And I think it’s handled in such an intriguing way. And with this kind of openness, that if you’re not a believer, you can find it intriguing. And if you’re a believer, you can kind of find it affirming. I also loved Little Women I thought it was just such a well written, well-acted adaptation of a great book and that gives me hope for her ability to adapt something well.
Charlie I was thinking in terms of her Little Women compared to the one that came out over a decade prior with Winona Ryder and earlier one which was gorgeous. Is very chronological. I’m sure like the novel, but then Greta in her adaptation broke chronology. She applied some very nice structural techniques. So it comes across as far more cinematic than that earlier one. And so I did find little her Little Women to be really quite delightful and so that does really speak to the idea of adaptation. You can’t do book on film, unless you’re making something for PBS. That’s going to be 16 hours long and nobody’s gonna want to watch it. But you can do successful adaptation and so there we at least have one from her already.
Terry I so agree with you. I mean, I know there are those who are concerned about, you know, think well, the Chronicles of Narnia, these are like Holy Writ. These stand next to the Bible. Don’t touch them, don’t change them. But the very art of adaptation is the art of taking thing from one medium and taking it into another medium and it always means there’s going to have to be some adaptation and the artistry of that filmmaker will, for good or bad, and maybe a little of both, will definitely come into play.
Crystal The famous instigator of the French New Wave, Truffaut like to quote the filmmaker Carlo Rim who said that an honest adaptation is a betrayal. And there’s two meanings insofar as what Charlie just said, an honest adaptation if you try to go chronologically and include every single scene. That is not film adaptation, that’s just a visualization of a novel. Film is a different medium. So that betrays film, and an honest adaptation is a betrayal. That has to be a betrayal of the original source material, and that’s makes it honest. And even the word betrayal is tied to tradition. Insofar as tradition means handing over and so both in the Greek and in the Latin versions of the Bible, we have the exact same word for Judas’s betrayal of Jesus, he handed Jesus over to the authorities, but the same root word is use for and Jesus handed over to us these words. And Paul, he handed over then the paradigm for the Last Supper. So, this whole idea of betrayal and tradition, they are etymologically related.
Charlie I will say that I was hopeful when I heard Netflix was going to take it over. That they might take a Game of Thrones approach, or extended edition Lord of the Rings approach and give me a nice long version of an episodic version of the novels. That’s what I was hoping for. I truly have no idea what they’re going to do. Are they going to do a film or are they going to do Episodic.
Terry I think it’s episodic.
[Editor’s note: actually, the best information we have as of 11/25/23 is that two Movies are being made. But we have not heard what books are being adapted]
Charlie I would love to see an episodic version. But even then, you’re still going to have to have adaptation.
Terry I remember someone asked Alfred Hitchcock, why didn’t you ever film Crime and Punishment? And if you think about it, can you imagine Alfred Hitchcock filming Crime and Punishment? I bet Hitchcock said, why would I mess with a perfect font and it’s the fact that he was aware that he couldn’t do the same, the exact same thing. And I think anytime we adapt, change is going to be somewhat inevitable whether subtle or big.
WILLIAM Barbie – was it a good or bad movie? And why do you think that?
Crystal Well, I thought it was a great movie. Partly she acknowledges her indebtedness to cinema. The opening scene is absolutely brilliant. Where she is quoting 2001 Space Odyssey, where little girls are playing with their baby dolls and nursing them. And this is what it was like to be a little girl in the 60s, which I was, so I can, as a woman speak to how Greta Gerwig is addressing an historical phenomenon, but she is making clear that this is cinema and so starting with that the quoting the opening scene of 2001 Space Odyssey with little girls playing with their dolls, and then suddenly, rather than a monolith coming down, it’s these legs and it’s this gigantic Barbie doll. It’s using the exact same music (the famous music of 2001 Space Odyssey) and the girls start pounding rocks with dolls like the apes do at the start of 2001. And then one of the dolls is thrown up in the air as in 2001 and then 2001 it turns into a spaceship and this one, the baby doll turns into Barbie. It was brilliant. So she had me right there. And then she does put other references to film, when Colin Firth plays Darcy from Pride and Prejudice, which was a film, and then a reference to The Godfather. So she is acknowledging her medium and we need to acknowledge her medium as well.
Terry

 

Well, I have to say and some people will probably not appreciate this but I loved it so much that I took my adult daughter to see it. And she, liked me, laughed, thought it was playful, creative throughout the set design. Oh my gosh the set designs are amazing even in it. And it makes a powerful point about roles and relationships. And I don’t think it’s trying to put across some propagandistic message. It’s just challenging us to think again, about what does it mean to be a man and a woman and how those roles are supposed to work. And how that when people get stuck into role models that don’t fit who they are as a person, they react, they rebel and they have to find some way of dealing with that. So yeah, I thought it was sneakily profound and so clever.
Crystal It was satire to a lot of people don’t get satire. Like there’s that famous incident where someone responded to CS Lewis’s The Screwtape Letters and wrote him [Editor’s note: the person wrote to the publisher of the letters and not Lewis] and said, “this advice is positively diabolic” and they didn’t get that he was making fun of and trying to illuminate our own sinful natures. And Greta Gerwig was doing the same thing. She was not doing a simplistic feminist movie. She was satirizing feminism, as well as male dominance. So she was satirizing both extremes. And people who don’t get satire as well as people who are oblivious to the medium of film might be appalled by it, but that’s because they aren’t getting the subtlety.
Charlie Satire has a very specific function. Satire is not comedy. It’s just funny. And the function of satire is always to tell a culture here’s how you look at the world and it’s stupid. Here’s why the way you look at the world is stupid. Satire is there to break the conventions to tell us that the way we see things is not necessarily how things are. And if it’s an ancient tradition, I think it was Leland Ryken who argued that Jonah is a satire. Right or wrong, it’s a great way to read the book of Jonah.
Crystal That reminds me about teaching Jonathan Swift’s Modest Proposal. Once I taught it at UCLA, so I had great students, but they were coming to me saying, “I can’t believe he’s saying people should kill and eat their babies.” They didn’t get the satire.
Charlie That is what has made something very pop culture like The Simpsons and Family Guy successful is because those are made by really good satirist.  

I don’t know of any Terry Gilliam film not just including Monty Python that doesn’t have some element of satire. He’s a true master, right? But you have to learn what satire is for sure, in order to see what’s going on.

Terry

 

And if you don’t understand it’s satire, you immediately are in danger of moving to believing that it’s propaganda. That’s the very thin line you walk. And if your satire is not done well, it actually does sometimes function as propaganda. It’s just like sticking the nose in the face. But I love what you said Crystal about the fact that this was not about being for one side or the other. I think, if you truly understand, it’s just saying we are in a mess, as a culture, about our misunderstandings of maleness and femaleness. And this film, revealed some of what that mess is about makes us think about ways that we can begin to change that.
Crystal Right, I would say it’s an excellent example of deconstruction, and more and more Christians are recognizing the profitability of [philosopher Jacques] Derrida’s establishing the importance of deconstruction. Which Derrida defines as openness to the other. And the trouble often with feminism is it does what people who have studied Derrida called invert the binary. In other words, there’s been male supremacy for so long that many feminists came along and just if you think of, in addition, or in how can I describe this? [Editor’s note: I believe Crystal is thinking of “turning the tables”] If you have one word, and then a line and another word underneath and so you just flip that, and so it used to be male supremacy, females underneath and you can flip it, feminist supremacy and, you know, kind of the total dismissal of white chauvinist males and Greta Gerwig is making clear that’s not what she’s doing. She wants to deconstruct it. It’s both/and, rather than either/or, and that’s what deconstruction is about, both/and thinking.
Terry

 

Because the whole film is, and I had never thought about it in those terms, but you’re exactly right; It’s about that flipping. It’s about when Barbie land becomes run by the patriarchy, by the men. It completely changes and ruins Barbieland. And they but they have to come back to this place of realizing they have to work together and they got to realize that the patriarchy is unfortunately not about horses (if you’ve seen the film).
Crystal She’s exposing that they are prejudicial that only women can have important jobs and the males are marginalized. So she’s saying this is not the answer. And theologians quite a while ago, were talking about this in terms of womanist theology, insofar as the trouble is, feminism tended to be the early times of feminism was white privileged women, and there was still no voice for black women. And so they even wanted to get rid of the term feminism and talk about womanist theology a theology that wants to deconstruct these problematic either/or binaries.
Charlie What y’all reminded me of is the willingness of the Inklings to make fun of each other. And a couple of things came to me, one is in The Notion Club Papers (They are papers set in the 80s which for Tolkien is the future). All these Don’s are sitting around and talking (and Lewis and the others are all past and gone) but then one of them is talking about this book called Out of The Talkative Planet (Lewis wrote Out of the Silent Planet).

Then I once heard at a CS Lewis Foundation event…they brought a choir in and they choir sang every title of every Lewis book, but in some funny ways. When they got to The Problem of Pain, it was “The Problem of Pain, The Problem of Pain.”

Then a couple of years ago, I wrote an essay in recognition of the possibility of Lewis idolatry. I wrote an essay on Lewis’s use of the word “and.” CSL: The Bulletin of the New York C.S. Lewis Society published it for me. The scary part is that I actually found stuff to say.

Terry

 

I think one of the problems we sometimes have as Christians these days, is we have a hard time laughing at ourselves. Like you pointed out, the Inklings so well did. We are so afraid that if someone laughs, they’re laughing at us. If we take ourselves so seriously, we actually can’t learn. We can’t be transformed. If we take ourselves too seriously. We’re stuck in our own little self-created world.
Charlie The only time I met Walter Hooper. I asked him if I could take his picture. And he held his cat up. And I took his picture. Absolutely deadpan face. All pictures of Walter Hoover are absolutely deadpan. Early I thought this man is he unhappy is he very serious as a Lewis scholar?

The moment I met him, he said, Hello, how are you and he invited me into the house and he’s just so kind and talking to his cat, “No,  you can’t go outside. He wants to take this picture.” And at that moment, I realized Oh, that is Walter smiling. That is his happy face.

Terry

 

It’s like if we create a little subculture, where we’re always looking for what’s wrong and dangerous about the culture at large. I’m not saying we don’t need to be discerning. Of course we do. But if we create this culture, where we’re always afraid that that our faith is somehow going to be marginalized. It’s like, you know what, God is big enough to take care of Himself.
Crystal

 

 

 

 

 

Crystal

And part of what Greta is dealing with in this film, is relevant to our culture now, totally apart from gender and sexual. It’s the polarization of our culture itself, where these different sides are denouncing each other and I am so concerned how Christians have bought into this polarization. And I have met Christians who rather than endorsing Paul’s statement for me to live as Christ, they endorse for me to live is my party’s political platform and Christ is a prop that holds it up. So, this message spreads to larger issues. But at the same time, I would want to encourage Christians who say [Barbie] is just feminists ranting, that a lot of Christians don’t realize how difficult it has been, especially for Christian women in being taken seriously, and this is why this film spoke so much to me.

I’ll give you three examples. One from when I was about 10 years old, and I was in Pioneer girls, and I got the most badges at our award ceremony. When I came down the stage. The first thing my father said to me is Oh, he didn’t say, Oh, congratulations, Crystal. You got the most badges. He said, “the way you were standing up there, it made you look so fat.” That was the first thing he said to me. So here are this generation of women who are told that they’re supposed to look like Barbie dolls, and that that pressure on them.

Then after I got my PhD, I applied to a Christian college and part of the application process a male said to me, (again from a Christian College) said Crystal, your recommendations for grad school are too good to be believed and we wonder what you did to get them. That was back in the 90s. So it’s easy to say well, that was a while ago.

But in 2018 I went to a CS Lewis lecture and then reception afterwards, I happened to be the only woman there and someone brought up what is the cause of the polarization in our country, and I talked about the fact that early capitalists like Carnegie and Stanford and Rockefeller, they loved Herbert Spencer who coined the phrase survival the fittest, Darwin didn’t invent that he later borrowed it. And so they just celebrated Herbert Spencer. Yes, capitalism is about survival of the fittest. Well, survival of the fittest automatically creates what tends to be called “Nature red in tooth and claw.” You know, you’re just trying to be the fittest. And so I said, you know, that may have contributed, and someone at the CS Lewis reception said, “Well, I think the reason our culture is so polarized is because of women demanding their rights.” And right after I had made my statement.

Terry Just to be very personal, the reason I took my daughter to Barbie is I wanted to communicate a message. I wanted to communicate the message of, I get, to at least some degree, how hard it is to be a woman in our culture, and the challenges you face. And I think this film also helped you see some of the challenges of what it’s like to be a male in this culture.
Crystal Definitely, that is really what the film was about how culture were embedded cultures that perpetuate these ideas of what true manliness is, as well as true femininity. So you’re exactly right. She is commenting, this is a problem. And once again, back to Derrida and especially another postmodern thinker, Foucault, who talked about how discursive practices shape our sense of reality, and the language in which we’re embedded perpetuates certain behaviors. And so sure, my dad comments on the way I look. And so, by the time I get to high school and people are calling me a brainiac, so I started lying about my grades, because I realized people especially males liked me when I was kind of a dumb blonde.
Charlie I remember having a female student who, to me seem to be ashamed of how good she was academically. I told her don’t be ashamed of that sort of thing.
Terry Barbie (the movie) says, We can break out of the prisons. We don’t have to be Barbie dolls, and we don’t have to be Ken dolls.
Charlie Well, I think the other thing that Foucault brought us was, was the substitution of power for truth in discourse, right? So if we’re ever going to abandon truth at the middle of the 20th century, we’re going to have to replace it with something so we’re going to replace it with power politics and power discourse. Well, and that is going to add to the creation of us versus them mentality.
Crystal So I see and this is relevant to whether Gerwig can handle the Narnia stories as a director; a fundamentally spiritual implication. And I saw this being pretty explicit in Barbie. But what we’re talking about now is our polarized culture. The either/or, and the fundamental principle of Christian Orthodoxy is that Jesus was not either/or. Jesus was both/and, both fully God and fully human. And we hear it so much. We kind of take it for granted and we forget how this is the model. It’s what Dorothy Sayers calls the Imago Dei. We are created in the image of God. She says, it’s the image of lowercase “i,” of the image uppercase “I,” which was Jesus as God incarnate of the unimaginable.
WILLIAM Let’s get more into Narnia specifically in a bit, but earlier there were comments related to how adapting a book into a movie is challenging. So, let’s go ahead and delve into that…How is a book adapted into a movie anyway and what makes it good?
TERRY I think a little bit of some of the old BBC, Jane Austen’s which have their charms. You know, I’ve watched most of those old BBC Jane Austen, I love Jane Austen. But there’s something a little bit flat because they are this line for line. As you said, Charlie, this line for line adaptation. They stretched it to try to get everything from the story in and I think how with all their faults, some of the more contemporary and more playful adaptations, for example, Sense and Sensibility have been just actually so much more fun and so much more enjoyable and actually have been in some ways more meaningful to me because they’ve taken the novel and then they let the person who adapts to it by writing the screenplay, and they’ve let the director create something that allows them to bring their own artistry and their own creativity. into the mix. And so if you have a bad director, directing Narnia, then I’m very worried. But if you have a good director, I may not like every choice he makes, but I’m really interested to see what choices she makes and I am willing to bet that she will actually build [my enjoyment] even though she won’t go literally, word by word. She’ll actually build a new level of enjoyment and appreciation for Narnia.
Charlie Let me just remind you that the film adaptation of The Voyage of the Dawn Treader, had a good director. He’s a good director, but it was not a good movie or a good adaptation.
Terry Are these stories almost unfilmable I mean, you look at you look at the cartoon version, you know, not good. You look at the BBC version that had some charms but kind of flat. You look at the more contemporary films, none of them really terrific films. And I wonder it’s, in some ways, stories that are this mythic, and this multi valence (as far as in all the meanings they have in them) are unfilmable. I don’t know?
Charlie The reason I want to say no is because I felt that Peter Jackson gave us faithful adaptations, decent adaptations (of LOTR).
Crystal But some people were dismayed that Tom Bombadil was totally left out.
Charlie He couldn’t have been put in. That is adaptation. But the thing that I learned that really taught me that film is not novel, is that I saw John Houston’s last film, The last film that he directed with his daughter, Angelica Houston and it was a movie of a short story, “The Dead” (by James Joyce). And it covered the entire short story. Nothing was left out. And it was 90 minutes long. And that’s what I realized. A 20 Page short story is a 90 minute film. And that’s what made me more hopeful about, you know, an episodic approach to Narnia. I actually liked The Lion, the Witch and the Wardrobe movie.
Terry I thought it had its weaknesses as far as filmmaking, but it totally moved me and I loved it.
Charlie But each movie kept getting farther away from the text with each movie.
Crystal Again, an honest adaptation is a betrayal and I think part of the problems with the others were an oversight that well you have to just include what you can and they make changes. And I speak from having talked to someone who was involved with the oversight of the Narnia movies. He said to me, I couldn’t believe it when I got the first script and the whole movie began with a helicopter going over Los Angeles. With this statue of a big, big lion. And it’s something that has nothing to do with Narnia. But I’m a film theorist, and that is quoting the opening scene of La Dolce Vita where is a helicopter is carrying a statue of Jesus Christ over the city of Rome. I mean, that would have been to anybody who knew film that would have been a powerful presentation…
Charlie Yeah, but which would have been almost no one in your audience.
Crystal Let them become more educated in film. Asking, “Why is it there”
Charlie I really want to push back though, and I want to do it by going to Lord of the Rings. When you when you’re, especially when you look at the behind the scenes material. There were so many times that Peter Jackson said well, you know, we could do this or we could do this. One really strong question was can you really have a villain like Sauron and not have him appear to fight against Aragorn? And so the ogre that Aragorn fights at the end was going to be Sauron. But then I decided to be faithful to Tolkien. And that’s why the Hobbit movies are so bad by comparison, because there was that desire to say we’re going to write ourselves in we’re going to trust Tolkien [which they didn’t with The Hobitt]. And I feel like if I had done that for Prince Caspian and Dawn Treader, they could have been more successful. So I feel like there has to be something said for faithful adaptation.
Crystal Well, the trouble is even talking didn’t honor his own process like the first edition of The Hobbit. He changed it after he started writing Lord of the Rings because he realized he has to accommodate this new instantiation of his medium. At The Wade Center we have one of those rare, rare first editions of The Hobbit because they were in a warehouse that was bombed by the Nazis. And so you can see what he did at first, but he himself saw the need to change…
Charlie And yet, after he wrote The Lord of the Rings, he went to rewrite the entire Hobbit not just one chapter, but the entire book to try to give it the feel of the epic quality of The Lord of the Rings. I know he said that to a friend, an unnamed woman who wrote back and said, Well, it’s very good, but it’s not The Hobbit and so he abandoned it. So he stopped trying to do that. So I really felt like the difference between Peter Jackson’s LOTR movies and his Hobbit movies is he let Tolkien ring him in, in The Lord of the Rings films, but with the others he didn’t. I mean, there’s still plenty of adaptation.
Crystal The problem of adaptations is, and this is how I deal with it in my book on film is externalizing the internal. So a real lazy film director will do a lot of voiceovers, because how do you show what process a person is going through, is thinking about.

Another one of the real cheesy and this has become a trope and it’s just a bad trope is directors if they want to show someone is upset. They have them go barf and you just see that in TV shows films. How do we quickly show someone being upset, rather than their mental process of, you know, “I can’t believe that person said that to me, and I can’t believe it.” And so either the voiceover or the little vomit see, is problematic. So how do you externalize the internal and that is what a film adapter has to think about.

Charlie I’ll give a shining moment from Jackson and that is when Gollum is falling to his death with the ring in his hand. Those facial that range of facial expression told everything that he was thinking all at once, and there was a there was a brief shining moment or Atlanta. That was better than Tolkien…
Crystal And in fact, one part in the film that took like 15 minutes when it showed all the peaks lining up. And it was taken for like two sentences in Tolkien. But it was one of the most powerful points in that film. So again, you can externalize just a moment that takes one or two sentences in the novel.
Terry Doesn’t this say that even the best material you start with and then you adapt, can actually be potentially improved? I think the adapter can by bringing their vision into it can actually add something….
Charlie I think of two films where that happens. And I’m wondering if you guys notice anymore, but we’re both baseball nerds I thought Field of Dreams was better than Shoeless Joe. And I thought The Natural (film) was better than The Natural (book). Yeah, Both films were superior to the books.
Terry Jaws is another. I mean, if you’ve ever read the novel Jaws, just don’t. Don’t do it. Just don’t do it. [The director] took this kind of shoddy, B novel, and you created one of the greatest works of suspense filmmaking ever made. And part of it was once again like what you were talking about Charlie, that things you don’t show or waiting and waiting a long time for the big reveal. And so here you take an adapter who’s very talented, Spielberg was able to make a kind of a masterpiece, out of something that wasn’t a masterpiece. And of course, we all know that they can go the other way. You can take a masterpiece, and you can turn into something that’s completely unwatchable.

But we don’t, I mean we shouldn’t be afraid. We shouldn’t be afraid. If the question is, is Greta going to make a good one or not? The answer is, I don’t know. But I am excited to find out.

WILLIAM Well, actually, I want to have that as a final question.

Let’s pause before we do wrap and learn more about each of you.

Crystal, let’s start with you.

Crystal

 

 

 

 

 

 

Crystal

Well, my PhD is in English literature and the University of California at Santa Barbara. And I specialized in I’m kind of a dilettante. At UCLA, I taught Shakespeare and medieval drama, but I was commuting four hours a day to teach there I wasn’t getting any publishing down. I got invited to teach at Messiah College in Pennsylvania. And there I started writing about Sayers, which is why I’m at The Wade Center as Sayers is one of our authors. In my study of Sayers, I became interested in cultural theory, which led me to semiotic theory, which is the study of signs and the one place where semiotic theory is still very strong, is in film studies.

I started writing about film and after publishing about 50 essays in both secular and Christian journals on film, I wrote my first film book, so it was my fourth book, it’s called Salvation From Cinema: The Medium Is The Message. Which is kind of what we’re talking about.

Film is a different medium than a novel. If you’re going to have a film adaptation, it has to be different in several ways from the novel. Part of what I’m arguing in that book is how Christians often reduce film to a content delivery system. They pay no attention to the medium.  Many times if you see a character who’s just kind of like in a cruciform pose on the dirt bike, that must be a Christ figure, when there’s nothing else in the film to support it. My work was published as an emphasis on religion and film, but they wanted me to extract a lot of the Christian discussion.

The book was for Rutledge, a secular press. And they said, we want this as a book in universities that have religion and film classes. So please deemphasize the Christianity, which at first depressed me. But then it got me excited. How can I sneak past watchful dragons as CS Lewis says. I used Jacques Derrida and deconstruction and basically Derrida saying that Christianity is the only religion that doesn’t function by an economy of exchange. Where you do this, you get that Christianity is the only religion that has a gift…

I just signed a contract for another book on film work and will use all my Christian material because I discovered at the Wade that Dorothy Sayers loved film, and when her letters were published, four volumes, almost 2000 pages, the editor left out every single letter where Sayers praised cinema. Which is great for me, because that lens is so the title of this next book is The Wages of Cinema: Looking Through the Lens of Dorothy Sayers.

I’ve got to get in the Christian implications that are in Greta Gerwig’s, Barbie movie, because it’s very similar to Sayers when Sayers that it’s filled kind of like this bright, Heaven seen where Barbie meets her Creator, Ruth Handler. And Barbie tells her I want to make meaning, not just be a thing made.

That is profound. That’s what all The Wade authors are doing. They want to make meaning. And after she says, I want to make meaning. She says, “You’re my Creator.” Well, that’s straight, Dorothy Sayers what she argues in what CS Lewis calls an indispensable book, The Mind of the Maker, she says that when we’re told we’re created in the image of God, male and female, He created them Genesis 1:27. That means that the God who is described in Genesis 1 is a creator. So, creativity, making meaning is the Imago Dei.

William Terry, tell us about you.
Terry

 

I teach at the Northwind Theological Seminary and both in the program of studies of Inklings, which we call Romantic theology, and in the Spiritual Formation program. My biggest love really is the connection between the Arts and spirituality and how the two come together. And, you know, I love to read academic books, but then I love to translate them for everybody. And so my books are all written on very popular level. I have written a biography of C.S. Lewis called Not a Tame Lion. And two of my recent books that I’m probably most proud of is 75 Masterpieces Every Christian Should Know. It takes 75 representative pieces of art, music, literature, architecture and film from the Roman catacombs all the way up to U2’s Joshua Tree album. My most recent book, and something I’m talking about a lot these days, is called Discovering God through the Arts. And in that book, I make the argument that the Arts are quite literally one of the spiritual disciplines that we can use to help us to understand our place in the world, to help us to discover God and how God is interacting with this strange, broken, battered and majestic and beautiful world. And that the Arts can help us do that. So, I’m encouraging people that you can learn more about how to pray. You can read the Bible in a deeper way. And all these different things that can happen as a result of really engaging with the Arts.
William Charlie, let’s hear from you.
Charlie I write books that I feel like writing. I write books that are my current interests are the thing that’s bubbling up in me at a particular moment. And so, there’s not a central theme, and I’m probably just too scatterbrained is probably what’s wrong with that, but I’m happy to say that two of my Bible study books are about to be republished under new titles. One of those is called Sacred Screaming – what to do when your problem is God. It’s about wrestling with God. The other one will be called Even the Hero and it’s a study of the first eight chapters of Romans for college people who don’t like to read very much. So there’s a nice short, succinct chapters that takes you into Paul’s argument and in Romans.

The same publisher who was going to rerelease those books has also re-released my singular children’s fantasy, King Lesserlight’s Crown. Out of all my books that’s my favorite. And so I would love for people to take a look at that. I’ve written three books on CS Lewis, one involving Lewis manuscripts are especially a very mysterious manuscript called Light. One name is on Lewis’s theory of myth and the other on his theory of reality and those are called The Faun’s Bookshelf and The Lion’s Country.

My middle earth, that is my fantastic world that has been with me throughout my entire lifetime, just as Tolkien had his own world, though mine isn’t anywhere near as good, of course, is part of a series of science fiction books that I’ve been writing since the 80s. So, this has just been a long project of love and imagination. In my secondary world, the first of those books is called The Heart of Light, and they are all about the tales of Solomon Star. And for the last year or so, I really set a lot of academic writing aside, although I’ve had to do a little bit and I’ve just been working on the fourth novel, just having fun writing a novel that is part archaeological mystery, part murder mystery, part theological pursuit of God, and part political intrigue. I’ve just tossed a bunch of things together in a bag…Have you ever written something that was just a little bit too large to manage? That’s what I’m feeling right now.

William As we close, let’s consider a question that Terry has at least given part of an answer to; Is Greta good or bad for Narnia? Terry, let’s have you repeat and/or expand on your thoughts.
Terry I say we don’t know. We don’t know till we see. Let’s not be afraid. Let’s not be afraid of these lovely books that we treasure. Let’s let her have her way with them and see what happens. We may find them full of insight. We may find them frustrating, but let’s just put a question mark there and be satisfied with that right now.
Crystal I would say first people need to read Terry’s books on the importance of the Arts for Christians because I feel passionate about that as well. Maybe because I grew up in a home where very fundamental/evangelical home where the arts were a waste of time. I never entered an art museum until I was off to college. So, if we can train ourselves to look at the artistry of films, rather than as I said earlier, reduce them to a content delivery system. Where “Oh no, she left out the bit. Oh no, that that line was not in the original novel.” Well that’s going to be true of any well-made adaptation. And so, value what you see on the screen, the cinematography, and especially the editing; editing is a powerful, powerful tool. And what you see juxtaposed on the screen itself makes a statement. All this to say we have to wait and see. But I trust Greta Gerwig. She knows filmmaking well enough. She has this history of really well-made films so I’m hopeful if she doesn’t get too harassment.
Charlie My big question mark is what is she even going to do? Netflix isn’t telling us anything. So for all we know we might get a film or a TV series from the world of Narnia. That isn’t doing the books at all. So, we simply don’t know. And we actually might enjoy something like that more. [Editor’s Note: Currently, all information points to making two films, but we don’t know which books are being adapted]

The thing that I do recall is my experience of the three Narnia films that were big budget, the first film I thought was a good movie and a faithful adaptation. Second film was a real difficulty for me because I thought the adaptation was bad, but I still found myself enjoying the film. It was a good movie. But not exactly an adaptation so much as a kind of a resemblance is the word that smart work study student and I came up with for that. But then by the third film, it was so far away from the book that I couldn’t enjoy it even if I tried to focus on the cinematic side of things. And, and probably part of that is because it was also a bad film. But, you know, they all have certain charming moments, right? And that’s, I suppose that’s part of what I’ve enjoyed about The Rings of Power on Amazon Prime. There are scenes that you want to just enjoy. And you know, so there were bits where I thought were such a great idea, but it’s not Tolkien…

So, I’m optimistic and hopeful [about Narnia]. Hopeful is a better word. I’m hopeful. I don’t know if I’m optimistic. But I certainly hope that I’m going to enjoy them (what Gerwig makes).

 

The following was first available on the All About Jack podcast and on the YouTube channel Knowing and Understanding CS Lewis.

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