AUDIENCE OF ONE

Attempting to fulfill a vision and a mission, without any practical experience, can be a foolhardy, even a dangerous pursuit. Pastor Richard Gazowsky fervently believed that God would fill in for his lack of experience and help him produce the biggest and greatest epic movie ever made. But he would soon discover, if not admit, that you need a lot more than God on your side to make a movie. Michael Jacob’s amazing and sobering film, AUDIENCE OF ONE, traces the journey of the pastor and his adoring, always believing flock of eager followers in their attempts to make GRAVITY, THE SHADOW OF JOSEPH. At times humorous, other times heartrending, the documentary makes clear the foibles of a God-driven ego wrapped in the mantle of belief and faith.

Most filmmakers start out small before attempting big. Making a short film about two or three people in just a few locations is the most common entry point. If that short film turns out to be pretty good, then the dreams might grow larger. Filmmakers don’t necessarily need to go to school to study the art of filmmaking, but prospective directors have usually watched at least hundreds of movies before determining to take up the camera to tell a story. In 1994 Pastor Richard Gazowsky saw his first movie – THE LION KING; he was 40 years old. [Please read that sentence again and keep it firmly in mind]. In that very same year, while praying on a California mountaintop, he received a message from God – “You will start a film company. I want you to be the Rolls Royce of filmmaking, be better than anyone in the world.” He eagerly reminds his faithful parishioners at the Voice of Pentecost church in San Francisco: “This was the message of Christ – to dream big.” He adds, “In my early childhood I lived a life that was filled with fantasies. Maybe that is why God has given me the gift of storytelling.” Therein lie the deeper charms and problems of this man, who wants “to make the greatest film ever made.” He proclaims, “I want to do something like TITANIC. It either sinks and is the biggest flop you’ve ever seen in your life or it sails and blows everybody’s mind.”

Gazowsky is a rather charismatic figure when filled with “the Word.” In front of his congregation he talks with fervor and apparently profound belief. This is no scary Jim Jones, another charismatic religious leader who started in San Francisco. Gazowsky believes what he says and is able to get others to believe in his vision, also. If he were simply going to add a wing to the church (appropriately housed in an old movie theater) or raise funds to create a TV studio, it seems that he could actually get it done. But his excitement makes his followers, many of whom are in their teens and early 20s, believe that God is really going to help them make an epic film, one whose budget starts at an absurd $50,000,000 and ends up at a delusional $200m. But the money never really materializes except through churchgoers’ contributions (probably small) and the sale of Richard’s house (reminiscent of another Bay area dreamer – Francis Coppola, who mortgaged his house to make APOCALYPSE NOW, which did get finished).

And who will work on this giant of a Biblical sci-fi film – Richard’s wife and children, his parishioners, and others who run across an announcement on Craig’s List. The only professional in the entire crew is the cinematographer, Yens, who brings a lot of equipment himself. The rest will be rented – state of the art, reportedly. Gazowsky has his heart set on shooting in 70mm (some say 65mm), because God wants it big. This is beyond ridiculous, but no one can talk Gazowsky out of it.

One disturbing note apparent at the beginning of the documentary is that everyone sitting in the church pews is wearing coats and many have gloves (not Sunday-go-to-meetin’ gloves, but warm ones for wintertime). I begin to wonder if Gazowsky didn’t have enough money to pay the church’s heating bill. But Richard’s inspirational “you-can-do-it” pep talks overwhelm such doubts and cynical thoughts. He is so good in pumping people up with the spirit that one might feel like rushing out to San Francisco to lend a hand with whatever Gazowsky wants to do. His church is filled with a beautiful cross-section of 21st century America – all ethnicities, ages, and genders. That is one remarkable aspect of many evangelical churches – their welcoming arms open to multi-culturalism, quite different from the racism of many fundamentalist groups of 50 years ago. When Richard says, “This is your family,” many nod their heads in affirmation and warm love. There is no hatred in this church.

If Richard just talked about love and community and doing good things, he might become a major religious figure, but he just won’t let go of this movie thing. He prays with his group: “Lord, we are shooting this movie for You, an audience of One. We know if we please You, it will reach the masses. It will reach everyone that You desire to reach.” And then he asks folks to come forward and place their envelopes of money into the offering buckets. Despite images in my mind from ELMER GANTRY and Jim and Tammy Faye Bakker and Oral and Swaggart and Pat Robertson and all those other grinnin’ ministers, my cynicism somehow melts when looking at and listening to Pastor Gazowsky. For awhile.

Gazowsky’s film company is dubbed “Christian WYSIWYG Filmworks.” WYSIWYG = Wizzy Wig = What You See Is What You Get. “Christian” was added so everyone would immediately understand where Gazowsky and company were coming from. This Wizzy Wig attitude comes from Richard’s early childhood when he found the cliques of his mother’s Pentecostal gatherings distasteful. Once he became a pastor, he was determined to keep his church doors open to all. A truly wonderful attitude for a church, a disaster for the film production company.

Richard and his wife wrote the script for their epic movie entitled GRAVITY, THE SHADOW OF JOSEPH, which is described as “STAR WARS meets THE TEN COMMANDMENTS.” At least they have their Hollywood pitch down pat, but this is strictly a DIY movie, which will tell the story of Joseph, his bondage in Egypt, and his subsequent rise to power, all set in “an ancient, futuristic” time and place.

One can almost be beguiled by so many shots of the beehive of activity in the various offices and studios of WYSIWYG. Costumes are designed and constructed. Sets are drawn on paper. But the casting calls make one pause as we behold a steady stream of non-actors with stilted delivery of dreadful dialogue and awful screams. Perhaps that should be expected from people about to play characters named Scirbles, Koobe, Frenkit, Itowee, Bubbit, and Obithar.

A few ripples disturb the placid pond whenever Gazowsky has a new idea (or is it God’s new idea?). Just as an artist has finished a design, Gazowsky decides he would like the look of “a Paris café in ancient times – a futuristic/ancient Starbucks deal.” When the artist quietly suggests, “You don’t think that would be too much of a STARWARS bar scene?,” the pastor replies honestly, “No, that didn’t even enter my mind.”

God evidently talks to other people besides the pastor. His daughter Rocki, in charge of costumes, says that after her father gives his idea of what he wants, she checks the script and prays. “In prayer is where all my ideas come from. I’ve got to make sure I please God.” Sarah Jeanne, the production manager, describes Richard as her spiritual father: “Even if I know he’s wrong, I have to step back because I know that ultimately God is really going to correct him. He does listen to God and he hears from God.”

Yens, the hired cinematographer, seems not to be hearing from God. He is eager to work on the film, but he almost immediately starts having bothersome questions and comments. He doesn’t feel enough time has been allotted for their shooting in Italy. Yes, this inexperienced crew is going to start principal photography not in a studio but in Alberobello, Italy, a beautiful, rustic little town. Yens would like to get the crew over there a few days earlier, but Richard says the tickets have already been bought.

By the time they are ready to leave for their five-day shoot in Italy, not all the costumes are ready. No problem, just “finish them over there.” A key element of this production is that God will provide since it is His movie.

Sadly, God must not have gotten His ticket to Italy or was busy elsewhere, because the five days of “shooting” are nothing short of a disaster, despite the prayers before each rehearsal. As the cast and crew sing a praise song, it’s difficult not to feel sorry for them since failure feels preordained. Local people are hired (at lower than expected wages). The American sewing machines don’t match the electrical system. The American camera loader just “learned yesterday.” One actor – already “gone Hollywood” with his shades and “bunny overcoat” – proclaims, “God has already seen this movie,” implying that since the movie already exists in God’s mind, its completion by mere mortals is inevitable. Richard adds scenes and keeps saying, “Praise God, it’s happening.” Yes, something is happening, but not “it.” Sets are unfinished, well-meaning Americans rush about trying to do unfamiliar construction work, and the Italian laborers and extras begin to stare at these strange Americans. I can almost laugh at the absurdity, but something holds me back.

Inevitably, tempers flare, but Richard stays calm and tells one angry non-actor to “lighten up.” From a ladder Richard directs a rehearsal of costumed locals aimlessly milling about the street. He wants a complicated overhead shot, but the motor is not strong enough to pull the camera along the guide-wires. Disasters mount. A cable snaps and hits the cinematographer in the neck. Dolly shots (Plan B) will replace the overhead aerial shots as Yens keeps an ice pack on the bad bruise.

Throughout, Richard keeps leading his folks in prayer. He is already envisioning audiences even though he doesn’t yet have a foot of exposed film. On the second day of “shooting,” the camera jams. Gazowsky inexplicably boasts, “We’re gonna shoot the movie, camera or no camera.” [!?!?] However, “on the third day the camera rose from dead.” The cast and crew sing again, but now their voices sound less hopeful. They all seem to believe that God is testing their faith. They refuse to admit that no one on the set, except Yens, really knows what he/she is doing. I don’t even have the heart to say what happens once they get the camera flying along the guide wires. After the allotted five days in Italy, the cast and crew return to San Francisco, leaving behind a town full of people probably scratching their heads in wonder. Exactly two shot (shots, not scenes) were completed at a cost somewhere between $200,000 and $600,000 if one can ever believe the figures that Richard tosses about.

But Gazowsky doesn’t return to his church with a defeated attitude. Instead, within a month he has rented the Treasure Island Film Studio, with the city of San Francisco as landlords. To consecrate the space the film crew and staff conduct a religious procession around the cavernous rooms, chanting, praying, shouting, singing, and blowing rams’ horns. Now they are beginning to sound eerily like one of Jim Jones’ final sessions in the jungles of Guyana before the Kool-Aid was stirred and poured. “Lord, be in this house!” I’m thinking, “Lord, let me get out of here.” But I have to see what happens next in this long quest to make GRAVITY.

The WYSIWYG folks paint walls and set up computers and sewing machines in their new studio, but little else appears to happen. The dream seems to have diminished in the hearts and mind of some of the followers. Certainly most of them are off at school or working much of the time. The “budget” has maniacally risen to an inexplicable $200,000,000, not because of any real expenses but because it sounds impressive whenever Gazowsky talks in public. Psychologically true to dreams dashed or wounded, paranoia creeps in and most of the copies of the script are shredded. Security is heightened or at least a security company is brought in to discuss sensors, card keys, and restricted areas. Somehow Gazowsky has gotten the idea that Warner Bros and perhaps other studios want to know what he is up to. Mel Gibson manages to stay away.

Even as they fall 2, 3, 4 months behind in their rent, Richard is certain that the German financing will come through. As the City begins to call about back rent, Richard adroitly turns their demand around and suggests that God is “testing” the City. “Does the City want us to do this film in San Francisco?” Gazowsky seems to have forgotten Matthew 22:21 -- “Render unto Caesar the things which are Caesar’s, and unto God the things that are God’s.” The City of San Francisco simply wants to be paid what was promised by Gazowsky when he signed the contract.

The sky should have fallen in when Gazowsky was informed by his German producer that he was quitting the project, thereby making clear there would be no German financing. We never truly know if the financial promises were even real.

Perhaps beginning to realize the futility of her son’s dream, Richard’s mother, the previous pastor of Voice of Pentecost for 22 years, regrets having retired from preaching. She may feel the need to take the reins once more and guide the flock out of the desert. Even earlier in the film she had admitted to sometimes questioning the making of the movie (on grounds of whether it was a godly endeavor or not), but she described her son accurately as “sweet, very naïve and gentle.” Her choice of the word “naïve” says it all.

Still, Gazowsky goes stubbornly forward. He talks of the film production, the financing, and the “wind blowing where it will.” When he begins to run around yelling, “second wind, second wind,” his followers start cheering and screaming their prayers. I, even in the safety of my living room, break out in a sweat.

And then, like many people with mounting debts, Richard Gazowsky, now five months in arrears with the studio rent, takes a group to Las Vegas. But they aren’t going to gamble. There’s already been enough of that with the film production. Instead, he wants to check out the latest film and audio technology at a trade show. Maybe more than anything he is a technophiliac.

But back home in San Francisco, Gazowsky begins to have negative visions and hear ugly words, the ugliest being “Give Up!” But he will not heed. He insists that “the Prince of the City” (i.e., Satan) has been hindering the funding. This belief system is really not helping, but he can’t see that. Instead, he takes some family members and followers to the coastline near Carmel for “prayer time and togetherness.” Richard stubbornly insists that “God doesn’t like people to back away from commitment.” Yens, the cinematographer, disagrees and does quit the project, as he says to the interviewer, “This is all based on lies.” He is angry that he fell for Richard’s certainty that a film would be made. He is probably wrong about one thing – it is entirely possible that Richard never knowingly lied. He simply believed in his vision and set out to make it happen with the help of a lot of equally fervent people.

Just as we might be praying that “God will tell” Richard to give up the movie, pastor Gazowsky presents his overcoated, begloved parishioners a new vision of the future: “Eight Arrows Smite Ground.” The ideas are so amazing and jaw-dropping that you really must hear the pastor lay them out one by one (in a Power point presentation, of course).

Is pastor Richard Gazowsky ultimately just a silly, deluded man who thinks that God sends him messages and visions? At least Gazowsky doesn’t hurt nearly so many people as his deluded counterpart in the White House. I honestly don’t believe the pastor is a charlatan or a liar or in any way evil. He has visions and believes in all of them with all his heart and soul. But there is a terrible disconnect between what he envisions and what can actually be accomplished with the money, labor, and believers he has. His is megalomania of a very sad sort.

This amazing, thought-provoking documentary ends with another Pentecostal prayer circle – speaking in tongues, flailing about, screaming, and crying out to God. Richard Gazowsky’s uncontrollable sobbing at this point seems quite genuine, but we can only guess what he is thinking and feeling. I can only describe him as a kind-hearted, sincere, but terribly deluded Pied Piper, who wasted three years in the lives of his followers. What might they have all done had his dreams been more realistic and achievable? Gazowsky is not a comic figure, but a truly tragic one.

This astounding film, a big hit at SXSW 2007, was produced (with real cash money and no German financing) by Zack Sanders, Matthew Woods, and Michael Jacobs, who also directed. Just like Gazowsky, Jacobs was a first-time filmmaker, but he obviously completed his film. The other two producers were experienced in filmmaking with just one other film, the comedy SOUTHERN BELLES (2005). Unfortunately Gazowsky didn’t learn anything from the young filmmakers because as recently as March 2007 the pastor traveled to Los Angeles to stand on the corner of Hollywood and Vine to meet with a mysterious German financier, who, surprisingly, never showed up. You can listen in as NPR talks with the pastor.

-- Chale Nafus, Director of Programming, Austin Film Society

Further information:

• NPR interview of filmmakers during SXSW
  
• Voice of Pentecost church and WYSIWYG
• Richard Gazowsky
• GRAVITY in a Bay Area newspaper
  
• El Rey theater, now Voice of Pentecost