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- [00:05]
Tim Keller
Welcome to Gospel and Life. Are you struggling to find meaning and purpose in your work? We spend much of our lives at our jobs, but our work can often be the area where we feel the most frustration and futility in our lives. Today on the podcast, Tim Keller helps us understand how the gospel frees us to have hope and joy in our vocations.
- [00:33]
Max McLean
This isn't a sermon with a nice, with a climax, you know, moving on. This is a string of random thoughts. It's possible you'll get more out of the questions and answers afterwards than whatever I tell you about now. But I think you need to know, if you're Christian, what is the rationale for being an actor? You know, why should Christians be actors? Why should Christians be actors? What do actors do of any worth from a Christian point of view? That's what I want to talk about. So that's why, I mean, I have a series of random thoughts on that, but I Let me, let me start by getting you something out of the New York Times. I was intrigued by the fact that Bill T. Jones, the art, the dancer and choreographer, etc. Has a new piece that he's putting on based on Flannery Oconnors, one of Flannery Oconnors short stories. Now, what's interesting is here's Bill T. Jones. He says, this is his interview. He says, I'm angry as hell at the Bush administration. I'm not pleased with the fundamentalist leanings in this country. And he's sort of ranting and raging as a sort of normal, typical New York secular liberal person. However, he was utterly entranced with Flannery Oconnors short stories. And he comes right out and says he's just overwhelmed. He says they're the best short stories and he wanted to put them on stage, at least one of them. And what's intriguing is, first of all, number one, the stories. The one he used is incredibly overtly Christian. It's a story about a grandfather and a grandson who are living alone in the hinterland of Georgia, probably in the 30s or 40s. And the boy is just getting uppity. So the grandfather says, I'm going to take him into Atlanta because he wants to go to the big city. And he's almost never seen running water. He's never seen almost anything. And he's not going to take him to the big city until you get your fill of it. And then you'll see, you know, it's nothing special. And he takes them in. And unfortunately, the boy likes what he Sees and he's getting more and more what he would consider uppity. And at one point the grandfather, when the boy's taking a nap, abandons him, just runs away from him, gets around a corner just to show him, just to teach him a lesson. He's very mean spirited. Also, all during the. Obviously all during the story, the grandfather is showing, you know, tremendously realistic but really venal racist attitudes, you know, everywhere. So he's really. You don't like him at all. And when he abandons his grandson and scares the grandson and there's a terrible incident which the boy just runs through the crowd just screaming, where is his grandfather? Knocks a woman over, the police come, the police want to know whose boy is this. And the grandfather, so scared because he never deals with police, actually denies the boy, denies that he's the boy's grandfather and walks away. And there's this horrible rift. And in the end, in the end, in a very enigmatic and fascinating way, the boy forgives the grandfather. Now, Bill T. Jones, he comes right out and says, this is fascinating to me and I'll read you the end of it. He says, Flannery o' Connor is a non ironic Catholic believer now, and she is a very strong Christian Catholic believer. And here's what Bill T. John said. He says she believes that there's this thing called grace. And that grace sometimes hits us right between the eyes when we were most debased. Now, she and I may disagree on this. He disagrees with the basic idea. And while o' Connor seems to make all these connections that I may not agree on, all I know is it's a tremendously powerful, overwhelmingly strong story. And I wanted to put it on stage. In fact, here's how it ends. You just talk about how overtly Christian it is. The Grandfather's name is Mr. Head, by the way. It said, Mr. Head stood very still and felt the action of mercy touch him. Because at the very end the boy forgives him and says, let's go home. He says he felt the action of mercy touch him, but this time he knew that there were no words in the world that could name it. He understood that mercy grew out of agony, which is not denied to any man and which is given in strange ways to children. He understood that it was all a man could carry into death to give his Maker. And he suddenly burned with shame that he had so little of it to take with him. He stood appalled, judging himself with the thoroughness of God while the action of mercy covered his pride like a flame and consumed it. He had never thought himself a great sinner before, but he now saw that his true depravity had been hidden from him lest it cause him despair. He realized that he was forgiven for sins from the beginning of time when he had conceived in his own heart the sin of Adam, until the present, when he had denied poor Nelson, that's his grandson. He saw that no sin was too monstrous for him to claim as his own. And since God loved in proportion as he forgave, he felt ready at that instant to enter paradise. Bill T. Jones is putting this on now. Why, it's a tremendously well told story. It's not an essay which she could have easily written on. Why there is a God and we are sinful and God does forgive us in proportion to our sin. And only if we understand we're sinners can we turn and get the mercy. And therefore the worse we know ourselves to be, the more mercy we get. In other words, she could have written that essay and ability Jones wouldn't even have read it, wouldn't even have turned it over. But it's a story. If somebody at one point asked Flannery o' Connor, she said, you know, I'm trying to understand this story I read of yours, and it's wonderful. Could you give me in a nutshell what it means, just in a nutshell, a sentence or two, what it means. And you know what she said? Very famous. She said, if I could give it to you in a nutshell, I wouldn't have had to write the story. If I could have told it to you in two sentences, I wouldn't have had to write the story. Now, what are actors? There's the difference between writers and actors is actors are like Jesus, making the word flesh. They're taking a story which is invisible and making it visible. You know, Jesus was the word made flesh. There was a word, but it was invisible and he embodied it. Now what actors do is they tell stories, but they don't just tell stories, they embody stories. Of course, you really can't tell a story without acting to some degree, but you are embodying a story and people need stories. And stories are just about the best possible way to change people, change people's worldview, change people's understanding of things, and that's what you do. Now let me back up and give you a couple random. When I say random, they're not totally random because they're kind of. They're sort of logical. But some ideas about what stories are and why they have the impact they have. First of all, what's a story? You might find this odd. The best place I've ever read a definition of a story is in the Harvard Business Review. Two or three Hollywood screenwriters wrote an article because the Harvard Business Review was saying that CEOs, when they're trying to persuade people, stupidly use graphs and figures, and they just give you facts and figures. He says, that's not what changes people's minds. That's not what motivates people. You need to tell a story, and they have no idea what. I don't know. They didn't tell me about stories in MBA school. So they said, here's what a story is. Three things. First of all. Well, it's actually two things. In a way, something knocks life off balance. You do not have a story unless something has knocked life out of whack. So, you know, the classic is, Little Red Riding Hood took her grandmother goodies is a principle. It's a fact. You know, it's a graph. It's not a story. But Little Red Riding Hood went to take her grandmother goodies, but the big bad wolf had eaten her grandmother and was waiting for her in bed. That's the story. Something has knocked life out of whack then, because something has knocked life out of whack. You have. And there's been a lot of ink spilled about this for years now. You have protagonist and antagonist. A protagonist means a pro agonizer. You're agonizing for something and the antagonist is the anti agonizer. And the protagonist is trying to get life back in balance. And the antagonists are the people who are against you or the forces that are against you. They're trying to stop you from doing that. You don't have a story unless you have protagonists and antagonists. And when I said there's been a lot of ink spilled over the years about this, I'm going to tell you in a minute that almost everybody, from liberal to conservative, realizes that the reason stories are so powerful is that there is no way for a human being to attach meaning to anything unless you put it into a storyline. And there's no such thing as a storyline without something being knocked off balance and some people struggling to put it back in balance and some people against them. Right? You don't have a story unless you've got good guys and bad guys or at least of some sort. And the reason people are pretty upset about that is if you can't attach meaning to something without a story. And if story is got always protagonist and antagonist. There's no way to attach meaning to anything without basically dividing the world into good guys and bad guys. And every master story that helps you organize reality has to have, quote, the other capital O, somebody that we see as the bad guy. And that is one of the problems we have in the world right now. Now, you can ask me more about it if you want. So a story is something knocks life off of balance. Protagonists try to get it back in balance against the antagonist. And I guess the third thing you would say is the resolution of the story is, is the mission successful or not? Stories don't have to have happy endings. They can have ambiguous endings. They can have no endings. Which of course is really cool and avant garde. Not to end it. But the point of the matter is, even if you don't end the story, if you don't end it happily, you know, the story should end or you know, the story hasn't ended because you know that stories have endings. And so maybe the story, maybe the play, maybe the movie doesn't really tell you how it ends, but, you know, there should be an end. That's what a story is. Now, I already said this. That's the first thing. That's what a story is. Secondly, I already alluded to this. You cannot attach meaning to anything unless you put it in a storyline. Now, my best examples of this, my favorite example of this is 9 11. There's a liberal storyline. And the liberal storyline is America are the bad people in the world, and the oppressed and the poor are the good. And there's a conservative storyline which is America are the good people. We believe in democracy and we're good people. And out there is all sorts of totalitarianism and all sorts of low IQ and all sorts of other people. And so we're the good guys and they're the bad guys, as opposed to liberal. And so what happened when 911 comes along? What do they do? Some people said, you see, they hate us because we are so big and so bad. Conservatives said, see, they hate us because we're so good, and now we have to do something about it. In other words, what they immediately did was they said, what this means is we got to do a war on terror. The liberals said, what this means is we've got to, you know, admit what we're doing in the world and how people hate us and so on. They took the incident and they couldn't make sense of it unless they brought it into a storyline. Now, the best storyline was actually Giuliani and Pataky. And what they said was, this tragedy can make us a stronger city. If we pull together, we can do it, we can do it. So what they did was they, you know, they put it in a different storyline. But nobody could talk about it without putting into a storyline. Nobody could just give you facts. You can't make sense of anything. You can't attach meaning to anything unless you put it into a narrative. You watch newspapers, look at plays. Everybody's got the assumption behind every story is life ought to be in a certain way. Something has knocked it off balance and these are the people trying to put it into balance and these are the people who are against it. Now, first of all, that means you can't attach meaning to your own life unless you have a master storyline. There's some people who say my master storyline is I am bringing myself out of very, very humble roots and abusive background and I'm going to make something of myself. That's her storyline. Other people, it's a quest for true love. There's no doubt about it. That's their storyline. Other people. I'm a free spirited artist and I'm trying to make the world safe for free spirited artists like me. And you know, it's the oppressive traditional people that really is why the world is bad. Everybody's got a narrative by which they're saying, this is what my life means. And this would be in the book. If any of you read that book that I recommended to Luann, what that book says is everybody has a worldview which is you can't operate without a kind of macro story view of what the world story is. In other words, when you look out in the world, obviously the world's not what it ought to be. Something has knocked the world off whack. Poverty isn't a good thing. War isn't a good thing. Racism isn't a good thing. Psychological problems isn't a good thing. What is wrong with the world and what will put it right? So Marx had an idea, he kind of vilified the in a bourgeois and he vilified the, you know, the owners of the means of production. And he said basically state control of economy will make the difference. Freud had an approach. Everybody's got an approach. Buddhists say the real problem is individual consciousness. You think you're an individual self and you don't see you're part of the old soul. See, Plato and the Greeks, they said the real problem is the material world and the way it drags you down. Everybody says this here is the villain, this is the antagonist. This is what's wrong. And here's what you have to do to put it right. Everybody's got that, and they're called worldviews. No matter who you are, you can't live without one. But a worldview is actually just a master narrative of what you think is wrong with the world. Who's on the right side to get it back, who's on the wrong side, who's against getting it back? And what do we have to do now, what this means for Christians? Is this. The biggest problem, of course, that actors have, unlike writers or maybe other kinds of artists, is generally speaking, unless you, I guess some of you have done this, generally speaking, you're acting out, you're embodying stories that somebody else has written. And you might say, well, as Christians, you say, you know, I never act in a story that I feel like is a great Christian story with a Christian message to it. Well, I want you to consider something for a second. What is the Christian master story? What do we think the world story is? What do we think the main problem is? What do we think the master story is? Let me give it to you in a nutshell. Everything was created good, but everything has fallen through sin. Everything is broken through sin, and through Christ, everything's going to be redeemed. Now, let me tell you what that means. A Greek worldview says the body's bad, the spirit is good. See, the Buddhist worldview says the spirit is good, but material reality is an illusion. You know, Marx would actually say, you know, the capitalists are bad and the proletariat's good. An awful lot of conservatives would say it's the other way around. You know, the proletariat, the great unwashed. We have to watch out, you know, about. We have to be careful about them. You know, they don't know what's. You know, there's Hobbes, as opposed to Locke. Everybody had. Everybody said, this is what's wrong with the world. The Christian story refuses to vilify any one created thing. We would never say the body's bad and the spirit's good because we believe the body and the spirit are both sinful. They've both been tainted with sin. The problem in the world is sin. Not this group of people versus this group of people. Not culture versus nature or nature versus culture or anything like that. The Christian worldview never vilifies any one thing, nor does it idolize anything. You know, so in Marxism, there's certain people that can do no wrong and certain people can do no. Right. But every single worldview tends to paint things in black and white because the protagonists are always these people and the antagonists are always these people. If you believe the Christian storyline, you're sinners. You are not the good guys. And they're out there. Even the people who aren't Christians, they're in the image of God. They're not actually the bad guys. Christians have a story that is the most nuanced of all stories. We should be the slowest to, you know, to put white hats on some people and dark hats on other people. And it should be the easiest for us to look into almost anybody else's story, no matter. Out of any other worldview and say, yeah, I mean, see, for example, because we believe that every part of the human body has fallen, every part of the human personality's fallen. If you get a story that talks about the dangers of sexual activity, okay. But if you get a story that actually lifts up the beauty of sexuality, that's okay, too. See, we're not like Buddhists or the Greeks who just say, see sexuality as actually basically a seductive thing. Because we like the material world. We think it's a good thing. We think God created the material world and Jesus has a material body. So Christians ought to be able to find elements of their story in almost any other story. I mean, obviously, there are stories that you don't want to act in that actually are deliberately trying to lift up the very worst things and celebrate them. But generally speaking, I would think Christian actors would be able to find a good reason to act in an awful lot of other stories. An awful lot of other stories, because other stories, people's stories tend to tell part of the Christian story. Because the Christian story is so comprehensive. Everything is good. Everything was created good. And therefore, there's really nothing to be looked at as. But everything is fallen. So there's nothing that you should be lifting up. So almost any story that shows you the problem of anything is possible. Almost any story that shows you the goodness of anything is possible. It's all part of the Christian story. One last thing, and then we'll take some questions. At this point, you've got to pretty much act in other people's stories. But if you ever get a chance to put your own together and act them out. What I find fascinating about evangelism, I've come to realize that when I was younger, people said, well, here's how you share your faith. And they would give me outlines. There's various outlines. Let me give you a quick example of the problem with that, my parents generation, and they're in their 80s now, the whole generation of my parents had, in a sense, there was in America, you know, when they grew up and there, the Depression and World War II, their cultural narrative, their main cultural story was what really matters in life is not what you believe, but that you're a good person, a really good person, that you're decent, you're honest, you're good to your family, you're hard working. That was the cultural narrative. My children, who are now in their 20s, early 20s, my kids, I see they're part of a different generation. And their cultural narrative is not the important thing is to be good for them. The important thing is to be free. And to be free to be really yourself and not to be enslaved or not to be oppressed or not to be controlled by anything else. If you say to my kids generation, the important thing is to be good, they would say, define good. You know, if you said that to my parents generation, nobody would even say, Nobody would say that. Now what's the gospel? Well, you know, you can say Jesus died for your sins, yes, of course. But what is sin? You have to connect grace sin. You have to connect the Christian story with the baseline cultural narratives of your own, of the story of the generation. So for example, what I would say to my, I still do to older people, I would say you think you're good, but you're really not good enough. You actually fall down in all these ways. Only through Jesus can you be forgiven. But what I'd say to my kids generation is you think you're free, but you're really not. Because if you make anything other than Jesus Christ the center of your life, you're a slave to that. And therefore only through Christ will you be freed. Now, by the way, in the Bible, what's interesting, there's a place where Paul says, he says the Jews wanted power and the Greeks wanted wisdom. But I preached to them Christ, the power of God and the wisdom of God, though foolish and weak. Now here's what he was saying. What he's trying to say is Greeks were intellectuals and what they really thought was important was philosophy and understanding and rationality. He said Jews were practicals and what they wanted to know is how does it work. They wanted power, they wanted results. He did not preach Christ to them the same. What he did was on the one hand he challenged the Jews story, basic cultural story, and said Jesus Christ seems nuts to you because he came in weakness, a weak messiah on the cross, and yet it's really the strength you've always been looking for. And he says something differently to the Greeks. He says Jesus Christ is foolish. In other words, he wasn't educated, he didn't go to the right schools, he didn't write any books, and yet he's got the real wisdom that you're looking for. In other words, what Paul is trying to say is that only in Jesus Christ does the baseline cultural story of any group or generation or society have a happy ending. What your society wants, is it wisdom, is it power, is it freedom, is it goodness? Whatever they want, it'll only have a happy ending in Jesus. Otherwise it'll self destruct. Because what it'll do is it'll turn something that's inadequate into the protagonist, hero, and it'll turn something which is good and created, though fallen into the villain, into the antagonist, into the idol. So I would have to say that if you understand the Christian story and you are basically storytellers, which is what actors are in the long run, Christianity is so comprehensive that you, you should be able to appreciate and take part in other people's stories, knowing that you're actually bringing about truth into the people's lives who are watching it. And ultimately, I think it's important to really, really get engaged and really enter in deeply into our own culture stories so that we can understand them and eventually bring Christ to bear. If you don't get into the culture, if you don't get into the stories of the culture, when you do talk about Jesus, it just goes like this because you're actually answering questions that they're not asking. Because ultimately, ultimately the gospel is God saved you through a story, not through a bunch of principles. God did not show up with a bunch of principles and said, if you do these things, you'll go to heaven. What happened was God comes into the world through Jesus Christ and saves you by what he did. He saves you through a story, a true story, of course, not through your just being obedient and going to church and obeying. So salvation is through a story. And the story is so comprehensive, it takes in all other stories and resolves them. So I know it's a little bit mind blowing and over. It's not exaggerated, I absolutely believe it. But on the other hand, I realize it's a lot to take in. So would you please. Where I've been obscure, where you want me to elaborate, where I was actually totally obscure, just raise a hand and let's start talking about what I just went through. So yeah, right here.
- [24:16]
Audience Member 1
What about the issue of holiness for actors, because even in some of the best of stories, they are asked to do things like kiss a woman who's not their spouse. You know, maybe wear something revealing or you take clothes off, or even have to act out of lust or, you know, out of cruelty, have these feelings. And that seems to go against, you know, being holy, because we don't really have any kind of standard for this in the Bible, you know, the apostles were never actors or they were never. It seems like they would never put themselves in those kinds of positions where they would make themselves that vulnerable to sin.
- [24:57]
Max McLean
In other words, do you feel like if you're actually acting out the sin, but you're not doing the sin, Is that what you mean? In other words, if you're acting out something that would be wrong if you were doing it in reality, but you're not actually doing it on the stage, or are you doing it.
- [25:16]
Audience Member 1
Let'S say you're married and you have to kiss the same person every day, eight times a week, that can probably maybe create some feelings of lust for that person.
- [25:24]
Max McLean
Then don't do it. That's all. And you have to know yourself here. You know the book Screw tape letters by C.S. lewis? Okay. Which, by the way, John Cleese. Do you know who John Cleese is? John Cleese, Though I understand it's hard to get them anymore. John Cleese has read a selection of them, and it's hilarious. He's wonderful. But, however, it's the letters of a Senior devil to a Junior devil on how to tempt human beings. And in the beginning, in the intro, there's an interesting place where Lewis said that it was hard. In other words, he says in order to write the book, he had to imagine himself being evil, which isn't terribly hard. And he actually. He quotes a place in Deuteronomy where he says, mine own heart showeth me the way of the ungodly. Because he says, because he was a professor of medieval literature, a couple reviewers had said, well, the reason this is so realistic about, you know, how Screwtape's knowledge of sin and temptation and seduction is clearly based on Professor Lewis mastery of the medieval literature on moral philosophy and the Catholic Church and all that sort of thing. And Lewis says it's not true. He says, mine own heart showeth me the way the ungodly. He says, I basically was able to access in my own heart all the evil, nasty things and bad things that Screwtape did. But he says there was a place at Which I had to stop because I said by imagining it, I was. He says, at some point I really felt like I was going to suffocate. So I stopped. Now, you see, he couldn't even write that. Would you have said, oh, he shouldn't write that? He couldn't write that without. He had to be careful because it was, you know, it's sort of the opposite of a quiet time where you're trying to get in touch. What you're trying to do is you're trying to get in touch with your best side and you're trying to fan the flame of, you know, what God has done there by the Holy Spirit. Spirit. The trouble with. If you're acting the part of an evil person or a wicked person, or even writing, in his case, it was a fiction piece. So it's basically the same thing. He found that there was a limit at one point where he said, I just have to stop this because it's, you know, I'm accessing parts of myself that shouldn't be there anyway. So I would say that you have to be very careful. But doesn't mean that you should never be able to depict badness or sin in this. The Bible depicts it. There's horrible things in the Bible. And I think most people would say, well, I could act a biblical story, right? I mean, wouldn't you want to act out a biblical story? But somebody's got to act the evil people in the biblical story. So at least. And you say, well, it's in, you know, it's in the service of telling people the truth. But, see, somebody's going to have to do it. See, watch your own heart. I just know there's certain people that are able to detach and certainly who are not. Now I know something about the method acting thing. Unless that's dead now. Or is it not? No, it's not dead to me. There's a big difference between saying, I know enough that I can act this out as. And I think that's very different than people say, I want you to hate. I just want you to fill your heart with hate. You know, you're supposed to be acting out hate, so I want you to feel hate. I want you to hate the person on the stage. I don't think that's acting anymore. I'm sorry. Acting is. You are trying to look like something that you're not. I mean, there's John Wayne, as I was talking about. There's people who've made lots of money without acting at all. And there's A few other people I'll name that I won't name, but who clearly don't do any acting. They just, they obviously just get up there and they feel their feelings and they do what they do. And for whatever reason, people have paid money to see it. But I think acting really means I'm. I don't. I'm supposed to act as hateful but not be hateful. And I do, I do certainly know there's acting coaches that want you to be hateful. I don't know what you say. You just smile. You know, I don't, I don't see how you can. First of all, I'm not sure how you can do that. Frankly, I even wonder whether that that's even possible. So watch out. I'm sorry, I should. Let's get to some other questions, but that was a great question.
- [29:27]
Tim Keller
It's estimated that most of us spend half of our waking hours at work. How does the wisdom of the Bible apply to our careers? In other words, how can our work connect with God's work? And how can our vocations be more missional? In his book Every Good Endeavor, Tim Keller draws from decades of teaching on vocation and calling to show you how to find true joy in your work as you serve God and others. The book offers surprising insights into how a Christian perspective on work can serve as the foundation for a thriving career and a balanced personal life. Every Good Endeavor is our. Thank you for your gift. To help gospel and life share Christ's love with more people around the world. Just visit gospelandlife.com give. That's gospelandlife.com give. Now here's Dr. Keller with the remainder of today's teaching.
- [30:18]
Max McLean
Let's keep going. Max, you made a distinction between Christians.
- [30:23]
Audience Member 2
Acting other people's works.
- [30:25]
Max McLean
Yeah.
- [30:25]
Audience Member 2
And Christians creating their own biblical story. Do you have a vision for Redeemer's role in the second part of that?
- [30:37]
Max McLean
I'm all for it. Not specifically, no. Of course. Who knows? I didn't realize. When did the Salvation Army. Two years ago. Yeah, you know Ray Kroc's. It was in the paper. Did you see that the founder of McDonald's, his widow recently gave the Salvation Army $1.5 billion? Well, yeah, but they're trying to create community centers. 25 community centers. That's a lot of money. Who knows? I'm not sure what they expect to be doing with all that, but if they're building, if they're able to build small theaters and all that. Yeah, that is beautiful when you see Flannery o' Connor. And what I did was it had been years since I read the short story when I said, gosh, what would take Bill T. Jones, who's clearly even says he's hostile to Christianity, he doesn't like it at all, but he was overwhelmed by what a great story it was. I said, wouldn't it be great? I mean, we don't have many contemporary Christians who create stories that good, that actually it draws people in because they sense the truth of it, even though intellectually, I mean, intellectually, they don't believe Christian doctrine. But the trouble a story flies beneath the radar and hits them in the imagination where the Bible says there is a knowledge of God. Romans 1 where it says they hold down the truth and unrighteousness, there is a knowledge of God. And stories get to people at that level, frankly. So I, you know, I would say it's going to take time for us to, you know, you don't have enough Christians even trying. And it takes, you know, it takes, it seems to take thousands of people trying to get a few people through, you know, and hit it. So we need a lot more people trying to. But sure, I mean, I'm all for it, seriously. But I can't say beyond that. Exactly. I know what's going to happen. I'm open to suggestions. I'm sure you're all ready to give me some. Some other. Yes, go ahead.
- [32:34]
Audience Member 3
Could you comment a little bit about working the Christian storyline deep down into the fabric of something, the way you do with the Lord of the Rings?
- [32:46]
Max McLean
Yeah. In other words, the Christian storyline. I didn't mention it because I always thought that. I thought that actors, I know actors would like to be writers. Right. They like to put your own stuff together.
- [32:57]
Audience Member 3
Well, also, is there anything. Another part of the question, Is there. Is there any other forms of theater or film or anything that you would cite as a very good example of that, that it's not, you know, purely a sort of a Christian play or on the surface.
- [33:16]
Max McLean
Oh, yeah. You know, I need to access my memory tapes. Yes. The question would be. First question is, and I agree with this, even since I said it, it's nice that I still agree with what I said a year ago. Is that one of the problems that I think a lot of Christians make when they tell the Christian story is they don't bury the narrative deep in. Yeah. In the cultural form. So what was, to me, brilliant about Tolkien, here's a guy, he's a professor of Anglo Saxon. He's probably one of the Three or four people in the world in his heyday who knew the most about Old English, the language and Gothic and Icelandic and Finnish and Northern European, pagan, prehistorical roots. And what he did was he saw, he said, did you know, for example, northern European mythology, you know what Girder Demmerung is? You say, well, yeah, it's got something to do with Wagner. Do you know in Northern European mythology, the Danamoi in the final sort of Armageddon is that the gods and the heroes of all the centuries are resurrected to battle against the monsters and the ogres and the demons and all the villains. There's this huge battle on this particular plane to see who's actually going to win the world for the rest of eternity. And the gods and the heroes die. That's what's called Goethemerung is the twilight of the gods. They all die, the good guys lose. And that's how history is going to go. And the Anglo Saxon, the Northern European mythology was that's okay, because nobility is to be good, even though you know you're going down to a never ending defeat. That was nobility. A high doom was before the hero. That I'm going to do what is right. And actually what's interesting is if you've ever read the Dream of the Rude, which is an old English poem, but it's a Christian poem because Christianity came, they were fascinated by the idea of Jesus Christ going to the cross. That's nobility. Knowing that the right thing to do was to go down to this terrible defeat. And that got into the Anglo Saxon world and sort of came in. It wasn't a complete head on collision between what Christianity said and the pessimism of the Northern European world met the optimism of Christianity and it changed the pessimism. But the idea of nobility and heroism and valor and doing what's right even though you're dying as you do, it was not really changed, it was redeemed. Now Tolkien tried to imagine the Anglo Saxon mythology which is all lost because those dirty French speaking Normans came over across the Channel in the Battle of Hastings and wiped out the Anglo Saxon culture. We have almost, we have something like 45 pages of Anglo Saxon ancient literature and all the rest of it's gone. So what Tolkien said is, I want to imagine what all that mythology would be like. I'm going to imagine and they have to be pre Christian, but I'm a Christian and therefore what I'm going to do is I'm going to imagine pre Christian mythology sort of cleansed of a lot of Its pessimism, yes. Even though if you read Lord of the Rings, it's sad. It's a very sad. He wanted to keep that, and he wanted to keep the idea that you can't win without losing as least as much as you won. And he kept that because he loved the sadness and he felt that that was part of. He thought that was Christian. He was pre Christian. It was common grace. It was general revelation. It was revelation that came to them even though they weren't Christians yet. It was truth. So what he tried to do was he tried to enter into these ancient myths and preserve the truth and actually enhance it a little bit from a Christian perspective. And when it was all done, he's a great example of this because there's no overt reference of any sort in the Lord of the Rings to Christianity or religion or even God. But when you're all done, you feel cleansed with it. You know, when you read the thing, you say, I've read a holy thing, I feel cleansed by it. How did that happen? He buried the narrative, the storyline. So you have Gandalf's the resurrected lord, and Frodo's the suffering servant, and Aragorn's the returning king. And you've got, you know, you got it everywhere. But he doesn't have a Christ figure. He's got so many of them. So if he had a Christ figure, if he had an Aslan or something like that, then it looks like a Christian fable or a parable. Okay, now, what was your. The second part of your question, though.
- [37:41]
Audience Member 3
Was, is there any other works that you would.
- [37:46]
Max McLean
No, no. But, you know, there are a lot of movies when you're done with them, or plays when you're done with them. You say, it's very obvious the person who wrote that is not a Christian. But what they wanted to say was very important for people to hear if they're ever going to be prepared for Christianity. And I see them all over the place.
- [38:01]
Audience Member 3
Well, yeah, I mean, whether or not they actually realize that. That they're writing something that is profoundly. Yeah, you know, I used this example first. The first movie we had. It just. It was just like a scene in the Hours when Virginia Woolf says to her. Virginia Woolf's husband says to her, why does somebody have to die? Her answer is, so that others will. I can't remember exactly, appreciate or appreciate life now or something like that. And then he says, who has to die? And she says, the poet, the visionary.
- [38:37]
Max McLean
Yeah, there's lots of, you know, what Lewis said that God gave the pagans good dreams, you know, and there's all sorts of clues all through them. You know, even, you know, the Clint Eastwood movie, Unforgiven. Anybody know that movie? Very violent movie, really. It's just about a guy who goes and shoots everybody. It's kind of interesting at the very end, this kid sidekick who's seen all this bloodshed, do you remember this at all? He's just chugging down some alcohol, just trying to steady his nerves. And he said, all these people that we've killed, they had it coming. They deserved it, right? And Clint Eastwood says, we all deserve to be killed. We all deserve to die. We all deserve to be shot. You know, which, of course, from a Christian point of view, is absolutely true in a way. But, you know, I don't know what. I don't know what was in the mind of the writer, but it's all. I mean, I know to some degree, you actors have got to pay your dues. You've got to act, you've got to get your experience, you've got to get to know people, you've got to hone your skills. And very often you're doing things that you say, what redeeming social value is this? But on the other hand, a lot of preachers spent a lot of time doing that in the early days, too. You know, what am I doing for Jesus? Preaching here in the middle of Hot Coffee, Mississippi, to 15 old ladies every Sunday? And a lot of people, that's how you get started. It doesn't seem like you're really changing the world. It's not a whole lot different. So some other. Yes, I'm sorry, go ahead.
- [39:59]
Audience Member 2
Oh, yeah, I actually had a question. You probably already know this. Like in the past, like before modern age, a lot of actors like Moliere, like, they were excommunicated from the church for acting. And it goes back to the whole St. Augustine thing about mendacity of acting and all the aspects. I'd just like to hear from you a few more examples of acting in the Bible, would you say, like Jeremiah portraying something silently?
- [40:28]
Max McLean
Well, you're asking two good questions. The one question, of course, is the church has been nasty to actors for many years, and I still have some trouble, frankly. And I know something about church history. I have a little trouble understanding the theological justification for excluding acting and drama. Because I keep thinking one of the things is it's impossible to preach. You don't, you know, preaching is a form of acting. I don't think they know that. I mean, you're acting out ideas, you're acting out illustrations. Sometimes you're acting out stories. I'm trying to figure out why they would say, I don't quite completely understand. There's no doubt that you're doing immoral things.
- [41:13]
Audience Member 2
You're portraying a character who's doing immoral things.
- [41:15]
Max McLean
Well, yeah, you're portraying. So you're not allowed. Well, see, the real. If they had said, you must never write fiction in which you're portraying people doing immoral things, which is, to me, the difference is very, very, very small. Whether you're writing a story or acting out a story, you are still telling a story. And what I can't quite figure out is what the theological distinction would be between writing the screwtape letters and acting evil on a stage. You know, acting like an evil character on a stage. I don't understand. I still haven't figured that out. Now, second question, though. In the Bible, my friend Tremper Longman, who has written the best commentary ever on Ecclesiastes, says the book of Ecclesiastes is almost certainly a play. And here's how this works. He wrote his doctoral dissertation at Yale on fictional Acadian autobiography. Akkadian, A K, K A D I A N. I'm not. Don't write it down. But I just want you to say, what is this? And what he meant is that in ancient times, the Akkadians, which were contemporaries to the Jews and all that, there was a particular form of. I guess you could say it was a literary genre in which in the beginning you spoke in the first person and you said, I'm going to tell you this story. I'm going to do this and this and this. I'm going to be this person, this person. And then you go into character. You say, now I'm this and I'm doing this. Now I'm this and we're doing this. Now. At the end, you come out again and say, now what did we learn? And if you actually look at the book of Ecclesiastes, which is notoriously hard to outline because in the very beginning he talks about, you know, Solomon the king in the third person. And then he talks about, I am Solomon the king, and I have seen all these riches and it means nothing to me. It's vanity. All is vanity. And then suddenly he says, and now I have, you know, I have done learning and I have gotten all my PhDs and it means nothing to me. And at the very end, he comes out and says, now what have we learned? And Tremper pretty much proves by saying this is exactly the kind of literary genre we had in the past where it's basically a one man play comes up and says, I'm going to do this, and then acts it out. And then at the end says, what have we learned? And he says, it's a written out play which could be acted out. And it actually could be acted out extremely well. The other thing is all the prophets did do acting, as you have already wisely alluded to. Ezekiel was the worst. I mean, I'm trying to remember what they were, but I mean, you know, Jeremiah would not just come in and preach a sermon about the fact that you have thrown off God's yoke. He would come in wearing a yoke and he would say, you've thrown off God's yoke. Or he would take a scroll and cut it up and throw it in the fire as he was talking and so on. So he acted as well. The problem with saying you shouldn't be an actor or you shouldn't do those things is that the line between fiction writing, fiction and acting, the line between preaching and any kind of storytelling, and then going one step further with I bring an object, you know, one step further, I bring in a yoke or something, and the next, what are you doing? I mean, I don't know how you can. Where do you draw the line? Say that's acting and that's not. That's stage and that's not. It's impossible and it's legalistic, frankly, whenever you try to draw lines the Bible hasn't drawn. So did you get a lot of. Well, never mind, let's keep going. Yes, go ahead.
- [44:31]
Audience Member 2
I just want to ask about drawing the line because I tend to look at the whole piece as a whole. Like you were saying, if there was any redeeming value in the. In the whole story or the whole play or whatever, and then, you know, whether that's something I'd want to participate.
- [44:49]
Max McLean
Yeah.
- [44:49]
Audience Member 2
You know, because any character you do is going to be doing things that are not righteous and holy. Right.
- [44:56]
Max McLean
It wouldn't be a story. Right. So you gotta have antagonists, right.
- [44:59]
Audience Member 2
You're gonna. Dramatic conflicts.
- [45:00]
Max McLean
You're gonna.
- [45:01]
Audience Member 2
By drawing the line, there's a point where you draw the line in terms of what I would portray and also how I view the whole.
- [45:09]
Max McLean
Your conscience. Now this is the sort of thing that you should be trying to come together as actors in a city and talk about. And you ought to give one another. Here's how I draw the line. And here's where I draw the line. And you need to try this out. And maybe you would develop cumulative wisdom that we don't have right now and that there might be a couple of different theories, guidelines that Christian actors in New York have developed about where you draw the line. But in the end, we have got a. Presbyterians have a confession, and there's a chapter in the confession called liberty of conscience. And that confession says that you mustn't bind other people's consciences where the Bible hasn't. So the Bible says you can't commit adultery, then you just can't. I'm sorry. I don't care what God told you. I don't care what you think the Spirit told you. You can't. But as you say, I can do this on stage, but I can't do that. I can do this on stage. Common sense, I think, for most Christians would be, no, you can't do. But we have to be very careful about saying, if you're a Christian, you shouldn't be doing that, because liberty of conscience is. The Bible hasn't told me exactly where. So we're going to have to use. Watch your conscience. Do not violate your conscience. See, if you go further than your conscience really will let you go, because I need the job or I want the prestige or I want the money. You hurt yourself pretty badly. Don't do it. Don't say, well, you know, everybody else thinks this is all right, and I guess it's okay. If your conscience can't bear it, don't you dare do it. It says in James, whatever you do, it's not of faith for you. It's sin. You just cannot do it. So it is important to check your conscience out. You know, you had your hand up, right? And then, oh, is this on? This? Go ahead.
- [46:51]
Audience Member 1
What about the weaker brethren?
- [46:53]
Max McLean
Is that part of your conscience you're talking about what other people think? Yeah, well, you know, you're part of a community. You're part of a community. And if you find that you're the only one that thinks it's okay to do that, and you know, your 25 best Christian actor friends think it's wrong, he probably ought to think twice.
- [47:10]
Audience Member 1
What if you're just being extra sensitive to that one or a few people.
- [47:15]
Max McLean
That may be offended, your artist, you're going to be sensitive. If anybody. If anybody thinks you've done wrong and you. They're really disappointed in you, Is that what you mean? In other words, you do something and you feel like, here's A person over.
- [47:27]
Audience Member 1
There responsible for causing anyone to stumble.
- [47:31]
Max McLean
What's define stumble?
- [47:32]
Audience Member 1
Good question.
- [47:33]
Max McLean
Mad at you? Think you're stupid? That's not stumbling. That's true. You're absolutely right. When the Bible says don't cause somebody to stumble, what that really means is you should not be helping someone else do something. One of the troubles is the actual place where this happens is Jews were eating meat offered to idols because in their culture, an idol is nothing. Many of the pagan people had become Christians. To them, the idols were really a big deal. They had worshiped them and so on. And when they saw Jews eating meat offered to idols and it didn't bother them, the Gentiles said, I guess I can. And when they did it, they felt cut off from God and terrible and all that. And so Paul said, what you're doing is encouraging somebody else to do something that they just can't do in faith and don't do it. But I'm not quite sure what that would be here, so be careful. Stumbling doesn't just mean offend somebody or even upset them.
- [48:30]
Audience Member 1
Well, I can dance. If that may be hard for some people who have issues watching dancing, fine.
- [48:41]
Max McLean
Right? I mean, you do know from culture to culture, what is considered authoritarian in one culture is considered, you know, is considered sort of a normal exercise of authority. And what one culture, I mean, it's not what one culture considers lascivious, another culture doesn't. So ultimately, you do have to beg one another not to try to bind people's consciences where the Bible's left them free, and just say, you know, I beg you if this bothers you or if you can't do this, if it gets into your heart to be kissing somebody for eight weeks in a row, then just don't do it. Follow your conscience, but then respect each other's consciences. Don't say, oh, you're a weakling, or what's the matter with you? You're not professional. What's the matter? Can't you deep, detached, nor do the opposite and say, look at that person who's clearly going into sin, but keep in touch with each other and ask each other, are you really able to do that? You had your hand up right a minute ago.
- [49:42]
Audience Member 1
I just wanted to mention, okay, current pope started life as an actor and he wrote a really beautiful letter to the artists, Christian artists of the world, about your vocation as mine and still what it means to the Christian community.
- [49:58]
Max McLean
Yeah, the Catholics right now are vastly better at supporting artists than evangelical Christians. Way, way, way past I mean, yeah, they may have burned a few of you at the stake over the years, but, you know, come on, you know, let's bygones be bygones. But they were actually good. Actually, Flannery o' Connor wrote a great book called Mystery and Manners. That is wonderful. It's mainly for writers, but you'd learn a lot from it. I haven't. Over here. Yes, go ahead. Let me get. There's three of you over here. Yes, go ahead.
- [50:29]
Audience Member 1
I sing opera now, but I started out wanting to be an actress. And one of the things that I faced was that people at church felt that I was only seeking glory for myself. And I was wondering what your thoughts are on how we can project what attitude we should have as artists and what attitude, how can we help people?
- [50:54]
Max McLean
If you were singing in the church, that'd be different. In other words, if you're singing in the church, that's not seeking glory for yourself. I mean, think about this. I mean, have any of you ever been in choirs? Do you think there's any people in choirs around the country that are seeking glory for themselves? Nah. What about preachers? Do you think there's any preachers? I mean, everybody who's up front has got the danger of seeking glory for themselves. I think that's what you have to say. Of course. Of course it's a huge danger, but we don't have any more. You say we have the same amount of danger of that that the ministers do or the Christian singers do. So nevertheless, after you've dealt with that problem. It is a problem, by the way. I mean, I have to say, why am I really doing this? If I hone certain skills that are like acting to some degree, I hone certain skills. It's sort of preaching is a combination. In some ways, I gotta be a good writer. In some ways, I gotta be a good actor. And if I hone those skills and people come out to listen to me, you've come out to listen to me. Why am I doing that? I mean, I've got the same problem you do. I mean, it's no different. It's a big problem. But just because you want to be an artist or an opera singer or an actor doesn't mean you got a bigger problem than anybody else. That's all. Yeah.
- [52:12]
Audience Member 1
What do you think of sitcoms? Like, when I was in high school, I remember the teacher. Three's Company is the most audacious show. I can't believe they're showing three people living together. They're man and woman. And now there's all these shows that are like so much more explicit and I have friends that are on sitcoms and I'm so divided. I'm like, awesome. They're an insider now. They can be a witness in this industry. That really bothers me that children see this at night. And, you know, some of these things.
- [52:37]
Max McLean
I just wonder what you thought I would not say to a Christian. Oh, you can't. Again, the conscience, very important. Where is the titlization line getting drawn here? I mean, you know, there's some stuff you say, obvious everybody knows, you know, there's, you know, full frontal nudity and I mean, there's some things you say, okay, so we start where we all agree you're not going to do. But then what happens is we go, what about this? What about this show? What about this show? Next thing you know, we're divided. Some of you say, well, I don't have a problem with that. And some of you say, we have those conversations and then please respect each other's decisions. And over a generation, you could become wise as a Christian community and come to more consensus and work the thing out. Just don't freak out over somebody. There's always somebody to your left and somebody to your right. There's always somebody who thinks you're the liberal, you know, or you're the sellout, or there's somebody who thinks you're the moralist, you're the legalist. I generally feel that, like I said, just like ministers, you gotta, you gotta take roles that at least you gotta do some things that at least are probably useless. You know, they're useless to society. They don't really do much of anything. I just want stuff that is really, you know, really. There is plenty of stuff out there that is just trying to pull away traditional values. It's just after it, they're just trying to do it. And I don't wanna be part of that. But how do we know that one's there and there? Talk about it with each other. Try to draw lines. You're not going to figure this out overnight. You're not going to figure it out overnight. The younger you are, the more likely you are to do things that you just, you know, you feel a little bad in the conscience, but I think you can do it. But watch it and talk to each other about it and don't violate your conscience very much. You know, once, you know, you violated it, back out when you're not sure. Sometimes I can't tell I violated it until I try and Then I realize I'm over the line. Keep going. Yes, sure.
- [54:31]
Audience Member 1
This question can kind of apply to any profession, but particularly for acting where it's such a. It enters into so many parts of your life. It's not like a 9 to 5 job. And one thing I'm struggling with right now is the element of trusting God in terms of, you know, how hard do I work, how hard do I push, you know, and that element of saying, okay, God, I know you're in control, control of this and trusting him, and then doing my part as well in terms of like, the business aspect of this. And that really applies to any profession. But.
- [55:08]
Max McLean
Well, you know, the problem with acting is that you don't get nearly as much neg. There's almost no other. There's almost no other career where you get so much negative assessment. You just don't get turned down. I mean, it's just nuts. You know, once a year you take a job in one of these high rates. Once a year you sit down and you get a performance evaluation. And they say, well, you're not doing very well, or maybe even we're gonna fire you if you don't stop this. And that's, you know, and then six months later they fire you. That's a lot better than being an actor where you get all these turndowns and being ignored. It's pretty tough. So I. And actually, I really do think it's because of that a lot. As you all know. I guess your community is filled with people who have a lot of emotional, well, fragility, really emotionally fragile, which doesn't surprise me, I don't think. I'm not sure you're emotionally fragile and therefore you want to be an actor. I think you're an actor. And next thing you know, you're like, you know, but so you do need that. But nevertheless, with any career, you have to say, when have I. Should I be pushing harder? Is that why I'm not getting any further? And when do I give up and try something else? But on the other hand, when I was in seminary, there was seminaries that train ministers. They don't care whether you're gifted or called or going to be any good. They just want your tuition. So they're putting you through. And halfway through or at the end, people are saying, I want to be a minister. And almost everybody can look and say, that person's never going to be a minister. That person doesn't have what it takes. But nobody told them about that. So actually I spent a good deal of Time some of you heard me do this before, I came up with a tripod called ability, affinity, Opportunity. And ability means you're good and other people think you're good. Affinity means I'm really passionate. I love it. Opportunity means God opens the doors. And you might say, how do I know whether or not I'm. You can't mess up your life. You can't. Just the other day somebody called me and said, I listened to this sermon by somebody and they seemed to indicate that the reason I'm not married is because I'm not praying enough, okay? And I want to be married and I'm not praying enough. And so is it the reason I'm not married because I'm not praying enough and therefore I'm sinning? I said, well, you know, Jacob sinned. He dressed up as Esau and he ruined his whole family and created all. You know, he just really screwed everything up. And God used the sin to find him in the family that God wanted him to have. He wouldn't have found the family, wouldn't have had the children. It was all through the sin. So I said, what about your theory that the reason my life's not going the way God wants it is because maybe I'm sinning? I personally think God is so sovereign that if you sin, if you do something wrong, there's going to be devastation in your life for a long time and it's your fault. And yet if you sin and if you are his child and he loves you, then all those promises are going to come true anyway and he'll bring his blessing into your life through the sin. Now, you know, you'll spend all your life wishing you hadn't done it and you shouldn't have done it. But you can't mess up your life. So just don't kill yourself trying to be successful. If he's. Just don't. However, if after a period of time and I don't know how long to tell people to wait, the affinity, ability and opportunity don't come together. There's some people who want to do it, and everybody says they can do it, and the opportunities just don't come. You're just never the right person at the right time, place and the right time with the right cheekbone structure. You know how that works. You know, it has, you know, so often it has absolutely nothing to do with talent, just that I'm looking for somebody your size or your cheekbone structure. You know, the way you wink, you know, that's the way that we want. And next thing, you know, the career is made. You know, if that won't make you a Calvinist, I don't know what will. I don't know what will. So if the opportunity doesn't come, or if you, unless they all come together at once, and after you've knocked and knocked and knocked and knocked, then don't be afraid that somehow you have failed, you've mucked up your life, that God wanted you to be an actor and now you can't be because you didn't try hard enough. Just relax a little bit. So in some ways you are where everybody else is. But I think it is emotionally harder to stay at acting long term if you just don't have those doors open. Other people can work a lot longer at their job before they say, I'm going to try something else. So you do need to support each other. But in the end, I think acting actually most people I know who've been actors who go do something else, it enriches their ability to do a lot of other things. Don't think I put all this time into it. Almost anything else you do. Presentation is very important and your ability to do presentation and to know how to do presenting to people will stand you in good stead for a long time.
- [60:08]
Tim Keller
Thanks for listening to Tim Keller on the Gospel and Life Podcast. If you'd like to see more people encouraged by the gospel centered teaching and resources of this ministry, we invite you to consider becoming a Gospel and Life Monthly partner. Your partnership allows us to reach people all over the world with the life giving power of Christ's love. To learn more, just visit gospelandlife.compartner. that website again is gospelandlife.com partner. Today's talk was recorded in 2004. The sermons and talks you hear on the Gospel in Life Podcast were recorded between 1989 and 2017 while Dr. Keller was senior pastor at Redeemer Presbyterian Church.
- [60:51]
Audience Member 2
Sam.