Entertaiment

Behind the Scenes with the Director of Testaments
by Kieth Merrill
Meridian Magazine Film Editor

As the Joseph Smith Memorial Building gets a new film, the question is “What kind of movie can equal the legacy of Legacy?”

Twelve years ago I followed Gordon B. Hinckley into the bombed-out bowels of historic Hotel Utah. The building had been condemned. It was being dismantled to be restored. We stepped over chunks of broken concrete and evaded gnarled re-bar until we came to what was left of the elegant old ballroom.

He pointed to the north wall of the great chamber. Shafts of dusty light penetrated the dusky stillness to softly caress the otherwise dark wall. “There,” he said, ” I envision a great movie screen on which we will tell the story of our people. Their struggles, their triumphs and their faith. I want visitors to know us and to feel our history. And when they see it, ” he added whimsically,” I want them to cry.”

He told me the experience would be the crowning jewel of Temple Square, then sent me off to make a film called Legacy. Standing there amidst the shadows, I had no concept of what it would become. It was not until years later that I recognized that I had shared first hand the vision of a living prophet. The memory of standing in that place, alone with him so many years ago, remembering the words that became prophecy fulfilled, remains a highlight of my life.

Millions of people have seen Legacy. Most have cried. Many have affirmed it was a crowning jewel in their visit to Temple Square. Writing, directing and co-producing Legacy was a once in a lifetime experience. Or so I had supposed. How could one hope that the unprecedented opportunity to combine what one IS with what one DOES would ever come again?

I am twice blessed.

Important Meeting
President Faust called to invite me to a Friday morning meeting with the First Presidency. President Hinckley asked me if I would make a new film to replace Legacy. I was told simply, “It will be the most important film the church has ever made.”

This time I was not standing in a demolished old hotel. This time I was not ignorant to what the old ballroom would become. This time my vision was clear and my understanding enhanced by the reality of Legacy. This time I was close to being paralyzed by the responsibility.

When rumors filtered down to us a few years ago that the First Presidency was considering a new film to replace Legacy, I was told it was to be an “in house” project and I would not be involved. I was very disappointed. My wife in her wisdom put it in perspective. “Who in their right mind would want to make a sequel to Legacy? She had a point. Legacy has created a place for itself in our tradition. Her warning was still ringing in my ears the day I found myself in the historic north boardroom, facing the First Presidency, receiving my charge.

The new film was to be about Christ. The mandate was clear. It would proclaim to the millions who come here-member and non-member alike– that Jesus Christ is He whom we worship. That he is the Son of God and the heart and center of our faith. The film was to include a Book of Mormon perspective and the appearance of the resurrected Christ to the people in Ancient America.

In case the challenge was not enough, President Hinckley added; “I have never seen a depiction of the Savior I liked”. No men on earth know more of Christ’s visage than these special witnesses. Their desire to give final approval to the portrayal of Jesus came as a great relief.

Writing the Script
The committee handed me a finished script. . It was an interesting concept document, but It was not a movie. .I asked for permission to rewrite it. Gratefully, President Hinckley granted me the “wiggle room” I needed to start over.

Writing the script was a marvelous experience. Following two days of intense brain storming with Producers Gary Cook and Scott Swofford, I retreated to our Oregon ranch, secluded myself in my office overlooking the Rogue River and wrote without interruption for 21 days.

It seems proud and presumptuous to claim anything I’ve written is “inspired”. At the same time, the Lord has warned, “… And in nothing doth man offend God, or against none is his wrath kindled, save those who confess not his hand in all things…” (D&C 59:21) As with Legacy, I believe whatever of this new film inspires, edifies and brings greater faith in Christ was written with the prompting of the spirit. The steady support and inspired input of producer, Gary Cook was an invisible rudder I have come to appreciate with the clarity of hindsight. Where inspiration failed and Gary was not available, the failures of the film became my own.

Film is Collaborative
Film directors get more credit than we deserve. It is fair perhaps because on the far side of generous praise for a film that works is a singular condemnation for one that doesn’t. It is lonely at the top. There is abundant input, but ultimately it is the director who must decide. Even bad make up is ultimately the director’s fault.

Film is a highly collaborative art. This film is a minor epic. It was created by hundreds of talented men, women and children. Each made a significant contribution. Each added to the whole. I speak here of “my film” but invoke the royal “we” for I am in many ways a spokesman for the throngs of devoted Latter Day Saints and friends of the church who assembled to create the film.

I called the first draft of the new script Testament. Selection of an approved title was postponed. The working title of the film became known as Legacy II. Having named the first film without approval I quite liked it’s younger brother. The official name of the film is The Testaments of One Fold and One Shepherd.

Nineteen months after President Hinckley asked me to make this film, the film was finished. It will open to the public at Legacy Theater, Joseph Smith Memorial building on March 24.

My experiences from that day to this would fill a book. Perhaps indeed I’ll write one. Some of you have seen the film. Many of you will see it soon. Others of you may not see it for a long while. I would answer your questions if only I could hear them. If you’ve not abandoned this article by now, perhaps you’d enjoy some “inside information” . Perhaps you’d like to dazzle your friends and impress your family with bits of trivia that bubble up from the brain of the writer and director.

Merrill lines up shot with 70mm Director’s finder

Speaking to Different People in Different Ways
The reknowned Swedish film maker, Ingmar Bergman once quipped that he enjoyed reading reviews of his films because he loved to discover what a genius he was when the critics discovered profound messages he never intended. On the threshold of the public release of The Testaments…, it is easy to wonder what the broadly diverse audience will discover that I have not seen.

Films play at several levels The Testaments is first and foremost the witness of two nations for the reality and divinity of Jesus Christ. The fictional story, used to present the factual accounts from the New Testament and Book of Mormon, is intended to play at a different level altogether. One of the design criteria given by the First Presidency was to make the doctrines of Christ relevant to contemporary society.

The foreground of the story is about the struggle of a father to save his son, but the deeper level is about love and sacrifice. It’s about the straight and narrow way. The broad metaphor -the central dramatic question–speaks to our mortal quest to endure in faith until we look upon the face of God and hear him speak our name.

The Testaments... will speak to different people in different ways. I do not pretend to equate myself with Mr. Bergman, but I do look forward to discovering aspects of inspiration and meaning that may transcend my own understanding of what we have been about.

Legacy broke new ground in LDS church films by using fiction to present factual history and teach true principles. The Testaments... is likewise a presentation of real events on a stage of fiction. Those who do not know the Book of Mormon very well will find characters in the film they are certain they remember from their one time reading of the book. They will be wrong. Other than Christ, none of the characters in the Book of Mormon are depicted in the film. Students of the Book of Mormon will see the shadows of scripture and understand from whence the characters have come.

The New World story of The Testaments... is based on the people, places, events, ideas and circumstances found between the 13^th chapter of Helam and the 20th chapter of 3 Nephi, I will not be surprised to see LDS games of trivial pursuit add questions like “What Book of Mormon character is depicted by Kohor, the bad guy in The Testaments…? I’ll go back to parlor games with that one. The only question I ever got right in LDS trivial pursuit was, “What is the name of the LDS filmmaker who won the Academy Award for Great American Cowboy. They don’t make those games anymore.

Director demonstrates technique for toppling the government–and the oblesk in the main square of Zarahemla.

The Story
The Testaments… is the story of one man’s enduring quest to find the Messiah and look upon him with his own eyes. The prelude is the birth of Christ. This time, the star is seen by a boy in Ancient America. Helam is 14 when the wonders of Heaven appear and the sign of the Birth of Christ is given. The holy man tells him it is the sign foretold by the prophet Samuel. “This day, cometh the son of man into the world.”

The story begins 33 years later. Helam has grown older, yet his faithful watch for the coming of the Messiah is not diminished. But times are troubled. There is great disparity between rich and poor. Believers are persecuted for their persistent faith in a Messiah. The film compresses the events, characters, and circumstances of the 12 years described in the Book of Mormon prior to the coming of the Savior into one.

Helam’s son, Jacob, has little faith in what he can not see. He has lost patience with the tradition of a Messiah. He is much more interested in the beautiful Laneah, daughter of the wealthy merchant for whom he helps to build a house.

Jacob has the artist’s gift. He comes to the attention of Kohor and is enticed to join his household as artisan. Kohor it turns out, is a wicked man plotting in secret chambers to destroy the believers, overthrow the government and proclaim himself king.

The story of Christ is presented through the mind’s eye vision of our characters as they listen to the words of Amaron, the righteous man, and encounter the writings of the prophet who foresaw the coming of the Lord to the land of Jerusalem. The beautiful Laneah becomes intrigued by Jacob, now socially worthy to court her, but is even more touched by the simple faith of the believers and the promise of a Savior of the World.

As Jacob grows away from the faith of his childhood, Laneah is increasingly captivated. Jacob unwittingly leads Kohor’s secret band to where Amaron hides in the forest and Amaron is killed. Kohor cleverly sends Jacob away to keep him from speaking at the trial.

The trial of the Judges accused of the murder of Amaron is actually a conflict between believers and non-believers. Kohor’s clever wit and legal artifice twists the trial into a condemnation of the “mythical Messiah”. Only Helam has the courage to stand forth and bear solemn witness of the truth of the Messiah, for he has seen the signs of his coming.

Much of the story of the ministry of Jesus in the Old World is seen through Laneah’s discovery of the message of the Messiah. It is Laneah’s challenge to Jacob that finally reaches him and makes him seek God– if there is a God. But Jacob’s change of heart comes too late. He is already a part of the secret conspiracy. They have trusted him with their great secret. He becomes a prisoner of Kohor. He is lost to his father and Helam weeps bitterly.

On the night Helam pleads for the life of his son, on the other side of the world, the Son of God is crucified. The earth quakes, the heavens mourn and darkness and destruction fall upon the land.

Helam is determined to save his son. It is the darkest hour of his life when he recognizes the sign of the Christ’s death and knows the Messiah is gone. Without regard for his own safety, he pushes his way through panicked crowds fleeing the crumbling city. He plunges into the heart of Zarahemla in the midst of terrible destruction. In his heroic travail to save his son, he is sorely wounded and his eyes are blinded.

Darkness covers the land. There is only death and destruction. But the resurrected Lord returns to the empty tomb comfort Mary. Light returns to the world.

Huddled in the ruins of the once great city, Helam is a broken man. He has endured but his faith seems to have failed him. He has waited for the Messiah all his life. The prophets promised he would come, but now he’s gone, Helam’s eyes are dark and he will never see him again. He wishes to go to the land bountiful to be buried near the temple of God.

It is at the Land Bountiful and the coming of the resurrected Lord. I’ll end the story here-for you don’t really think I’ll tell you the ending do you?

Director shares a light moment with actors Joy Rogers (Laneah) and Jeremy Hoop (Jacob) between set ups on Land Bountiful Set.

Creating the Characters
The idea of compressing history and combining the experiences, traits, dialogue, and events of several characters into one occurred to me while researching and writing the script for Legacy. The result was “composite characters”, an idea which served so well in writing Legacy, we used it again in creating The Testaments…

There is, for example, a character in the film called Kohor-not to be confused with Korihor. Though they are both bad guys and deserve to be related,. Kohor is loosely fashioned after the legacy of the Gadianton Robbers, but mostly of Jacob, the antichrist who would be king (3 Nephi: 7).

Amaron in the film only sounds like Ammaron. [It is a spelling thing.] They are totally different guys. Ammaron is the prophet/author who instructed Mormon as a lad to go to the hill Shim in the land Antum to the “place where the records are deposited.” Amaron (the movie) is not Ammaron(the book). That said, I do admit I that the “Place where the sacred records are deposited” described in Mormon 1:3-4 inspired the “Place of the Records” depicted in The Testaments.. It became one of our favorite sets. It was quite incredible. It was created by the inspired vision by our gifted production designers, Richard Jameson and John Ubel.

Amaron, the holy man of “The Testaments..” is another interesting composite. He is part Samuel the Lamanite, part Timothy, the brother of Nephi and part “men inspired from heaven and sent forth standing among the people in all the land, preaching and testifying boldly of the sins and iniquities of the people.” (3 Nephi 6:20. )

The death of Amaron is the dark shadow of scripture that tells us “”there were many of those who testified of the things pertaining to Christ who testified boldly who were taken and put to death secretly by the judges ” (3 Nephi 6:23). The arrest of the murderous judges, the “friends and kindred” relationship of Kohor to the condemned judges, and the covenants of the secret society are all lifted from the pages of the Book of Mormon. They remain mere shadows, but are accurate depictions of what the scriptures seem to describe.

Curiously, between his soliloquy at the trial of the judges and the night in the chambers of the secret society, Kohor quotes almost as much scripture as Amaron. [Secret covenants of Kohor and his band see 3 Nephi 6:28-30. Kohor at the trial, see Helaman 16:18.]

Teasing Merrill Jensen
One day during editing, Merrill Jensen, our talented composer, asked me about the story. He is always generous with his praise. “I love the story,” he exclaimed, “where did you get it, where did that story come from?” Merrill and I have known each other and worked together for 20 years. He is one of the few human beings I know wholly without guile. Being much less perfect, I take full advantage of that.

“I am not supposed to reveal the source of the story,” I told him. His eyes got big with a promise not to tell. “But if you can keep it confidential and never to tell what I am about to reveal, I will share the secret with you.” By now he was teetering on the edge of the couch and death by curiosity.

“Tell me!” he pleaded “You’ve got my word!”

I invoked a long pause of contemplative silence for effect than confided; “the Church has found the 116 lost pages of the Book of Mormon. They are in the vault in the First Presidency’s office. I was allowed to read them. There is a book of Amaron in those lost pages.”

If his eyes seemed big before, they were suddenly larger than a Keen child painting. He was breathless. Guilt washed over me but he was so completely taken in, I simply nodded solemn affirmation.

“That is so amazing,” Merrill kept saying, “so incredible,” over and over and wondering how he was going to get permission to tell his wife. At last I could bear my sin no longer.

“Merrill, it’s a lie,” I confessed. “There is no truth in my story. I wrote the script on my computer.”

The spell was broken and I shared the profound and serious experience of writing the script, acknowledging with humility there were even hours of what seemed to me pure inspiration.

Merrill’s music is magnificent. The new LDS orchestra played beyond their capacity. The Tabernacle choir was recorded on a special sound stage at LDS Motion Picture Studio and has never sounded better. President Faust and his wife came more than once during the recording of the music. It was a remarkable time with memories recorded and never to be forgotten.

Kieth with Danish Actor Tomas Kofod who plays Christ

Like a Missionary Being Released
After almost two years I feel like a missionary being released. Like most returned missionaries it is easy to say “these have been the best years of my life”. I am left with gratitude to the First Presidency for the confidence and trust to give me this opportunity, and for giving me the “wiggle room” to write a new script.

The crowning experience of the entire adventure was my close personal contact with President James Faust. I have known him at a distance for many years. To be blessed, strengthened and guided by his prophetic wisdom time after time in the making of the film was extraordinary. I appreciate Elder Neil Andersen who gave steady support and patient leadership. I am grateful for Gary Cook, the rudder in a ship that was always at sea in a storm and for Scott Swofford who has been there through so many films over so many years.

And last, but really first, I am deeply grateful to Heavenly Father. He blessed us. He answered our prayers. He inspired us. He gave us miracles when we needed them. And we needed them often.

We were promised by blessing that we would find the right person to play the Savior. Tomas Kofod came from Denmark. He is a convert to the church. One of his closest friends-and the only other great actor in Denmark-is a man to whom I taught the first discussion when I was on my mission 30 years ago. The images of classic Christian art, the paintings of Karl Block and the etchings of Gustave Dore came into my mine and became the inspiration for the visual depiction of Christ.

My own testimony of Christ has been significantly impacted in making this film. I walked the streets of Jerusalem with him. I watched him heal the sick and restore sight to the blind. I was at the cross and watched him die. I wept with Mary at the tomb and then He appeared and light returned to the world. I was in ancient America when he descended from heaven, proclaimed by God himself as His Beloved Son. I kissed his wounded hand and heard him speak my name. I know he is the Son of God. I hope the testimony of the Savior we have felt so deeply is present in the film we’ve worked so hard to make.

I wrote a letter to President Faust in the summer of 1998. I expressed my great interest in the new film and offered to help in any way I could. In my letter I promised to create a film worthy of the legacy of Legacy. My wife just shook her head. Moments after President Hinckley asked me if I would accept the assignment, President Faust quoted from my letter and asked me if I still felt I could “make a film worthy of the legacy of Legacy. I told him yes. With our hands and hearts locked together, my Producers Gary Cook and Scott Swofford and I combined forces with a talented cast and dedicated crew and hundreds of talented men and woman from a dozen states. Together we did our best. Only those who have known and loved Legacy, who have participated in the vision of the prophet, and who can be touched and tenderized by things spiritual will be able to answer the question and know if we have kept our promise.

POST SCRIPT
The cast and crew of The Testaments…

Selflessness is a profound doctrine of the gospel. The Lord’s admonition that to find ourselves we must lose ourselves returns to us again and again to provoke an evaluation of our lives. The concept of selflessness in the movie business is more incongruous than a hymn at a rock conference or silence in a hurricane. The movie business is driven by gold and glory. This movie was driven by sacrifice and anonymity. Everyone gave more than they received. No one receives credit. At the risk of diminishing their rewards in heaven-and omitting many who deserve recognition–, I have listed a few of the key credits for those of you who might like to know who it was that made this film. The First Presidency requested that all of the men and woman who played speaking roles be temple worthy members of the church. Theater arts are not a huge profession within the church. It was a formidable challenge. We were greatly blessed to find a remarkable cast, all but four of whom met the high standard requested by the First Presidency.

HELAM-Rick Macy.

JACOB- Jeremy Hoop.

MARA-Arianna Marsden.

LANEAH- Joy Rogers.

ZERAPTAH (MOTHER)-Mowava Pryor.

LAMONAH, Joseph Paur.

KOHOR-Theo Coumbis

AMARON,-Al T. Harrington

YOUNG HELAM-Robert “RJ” Jordan.

SHAMAN, Hans Saito.

MARY-Heather Cannon.

JOSEPH, David Sturdevant.

JUDGE HUNTER 1-Sidney Liufau.

JUDGE HUNTER 2-Kimo Hugho.

THE SAVIOR-Tomas Kofod.

ANDREW-David Alan Else.

JAMES-Bruce Newbold.

JOHN-Thomas Hughes.

LEPER-Oscar Rowland.

DISEASED WOMAN-Barta Heiner.

BUTTERFLY GIRL-Whitely Osborn.

TROUBLED FATHER-James Allman.

TROUBLED CHILD-Douglas Fredrick Johnsen.

PALSIED MAN-Cameron Sevy.

PHARISEE 1-Michael Jesse Bennett.

PHARISEE 2-Michael Flynn.

BLINDMAN-John Woodhouse.

RABBI-Michael Rudd.

MARTHA-Linda Bon.

YOUNG FATHER-Joseph Curdy.

CAIAPHUS-Joe Leavitt.

HIGH PRIEST-Marvin Payne.

HIGHPRIEST 2-Bob Eric Hartg.

PONTIUS PILATE-M. Scott Wilkinson.

MARY MAGDALENE-Tayava Patch.

INN KEEPER-John Huntington.

ADULTRESS-Ann Bosler.

SCRIBE 1-Edward Wright.

WORKER-Harry Kapu.

The film is a project of the First Presidency of the Church of Jesus Christ of Latter Day Saints. President Faust represented the First Presidency. Elder Neil Andersen, First Quorum of Seventy presided over the film.

Key members of the production team included:

Kieth Merrill-Writer/Director

Gary Cook, – Producer for the Church.

Scott Swofford – Producer.

Jeff T. Miller-Production Manager.

Aldric Porter-1st Asst. Director.

Bill Conner-1st & 2nd Asst. Director.

David Hyman-2nd Asst. Director.

Sonia Bhalla-2/2nd Asst. Director.

Scott Meyers-Key Set PA.

Merrill Dimick- Studio Director.

Lynn Christopherson-Production Accountant.

Bill Whitworth-DGA/SAG Consultant.

Patty Smales-Production Coordinator.

Dagen Merrill-Asst. to Director.

Angela Tillson-Hawaii Location Manager.

Allan Anapol-Old World Locations.

Kate Morrison-Script Supervisor.

TC Christensen-Director of Photography.

Gordon Houston-1st Asst. Camera.

Jeff Mart-Stedicam Operator.

Zep Christensen-Stedicam Asst. Camera.

Grant Williams-DPS Best Boy.

Craig Diamond/Weldon Anderson-Still Photographers.

Roz Soulam Hawk-Casting Director.

Shaun Jorgensen-Extras Coordinator.

Barta Heiner-Acting&Dialogue Coach.

Matt Stelling-Key Grip.

Ron Nix Jr-Best Boy Grip.

Tyler Meiners- Dennis Petersen-Gaffer.

Chris Reiter-Best Boy Electrician.

Fritz Lindbeck/Rhett Fernsten-Rigging Gaffers.

Andy Wiskes-Sound Mixer.

Donovan Dear-Boom Operator.

John Jordon-Sound Utility.

Dick Jamison/John Uibel-Co-Production Designers.

Randy Champion-Art Director.

Eric C. Bunch-Key Foam Sculpture

Roger Crandall-Set Decorator.

Cyndy Neibaur-Asst Set Decorator.

Mindy Jamison-Lead Scenic Artist.

Art Brown Lee-Model Maker.

Lisa Eagar Novetzke-Property Master.

Scott Arneman-Prop Assistant.

Cathren Warner-Costume Designer.

Shariohman-Costume Supervisor.

Greg Moon-Make-up.

Charlene C Johnson-Hair Stylist.

Paul Miller-Transportation Coordinator.

Larry Madsen, Transportation Captain.

Russ Holt-Special Effects Coordinator/2nd Unit Director.

Craig Barron-Visual Effects.

David Kelsey-Mechanical Special Effects.

Loren Janes-Stunt coordinator.

Silver Screen Catering.Marilyn Garside-Craft Service.

Fenton Quinn-Animal Wrangler.

Nicole Zuehl-Monkey.

Curtis Price-Post Production Supervisor.

Jerry Stayner-Editor.

Peter Czerny-Asst Editor.

Mike Chadbourne-Sound Design/Final Mix.

Bo Bahoravitch-Transfers.

Richard Duke-ADR Sound Effects.

Reed Smoot-2nd Unit Director of Photography.

Bobby Adams-Key Grip 2nd Unit.

And last, but certainly not least (my apologies for having omitted these originally):

Composer/Conductor – Merrill Jensen

Music – LDS Orchestra

Choir – Tabernacle choir under Craig Jessop