Among 'Gods and Generals'
Editor's note: This is the first in a series of columns by Rebecca Hagelin on director, screenwriter and producer Ron Maxwell and his new movie, "Gods and Generals" which is currently in production. WND.com was on the set of the film for six days, and was provided with exclusive photographs from the set which will be posted in upcoming columns. Today, Hagelin describes what she sees are the motivating factors and character of Ron Maxwell.© 2001 WorldNetDaily.com
His most compelling feature is the pensive nature of his dark eyes. You get the feeling that he never misses anything – that he has the ability to zero in and finely focus on his subject in a manner not unlike the beam of a highly powered laser in the hands of a skillful surgeon.
One imagines he can quickly and accurately peel away the layers of the object in his view, revealing a beauty previously unknown to those around: a beauty which might have been obvious to the casual observer if only he had taken the time to look closely and analyze the subject with a little thoughtful reflection.
The next thing I noticed upon meeting veteran director and writer Ron Maxwell was not a physical feature at all. It was, rather, something I didn't expect to find so easily identifiable in a "Hollywood producer." He was genuinely kind and interested in me as a person. I got the feeling that he truly cares about all those he meets – wanting to connect in order to better understand them, learn from them and assist in whatever endeavor or worthy cause that person may have.
I recently spent six days on the set of his new movie, "Gods and Generals," a Civil War epic based on Jeff Shaara's best-selling novel of the same name. I watched Maxwell work; how he combined those thoughtful, searching eyes with his innate desire to connect with others and I discovered what must be the secret of being a great director. From the actors, to the production assistants, to the extras, to the drivers on the set, Maxwell seemed to focus on each one – and at once make them feel both relaxed and determined to deliver their very best service or talent.
I spoke to some 30 different individuals of varying degrees of authority on the set and found the description of Maxwell to be the same: he is a passionate and compassionate man, who cares about people and truth.
It is the combination of the scientific qualities of acute observation and analysis with a God-inspired love and interest of and for people that also sets Ron Maxwell apart from other historians. In several private conversations with him I learned (and was not at all surprised by this time to hear) that his love of history revolves around his interest in the characters of the people he has studied, the cultures in which they lived, and what can be learned from generations past: "The characters in the story are what moves me. The films I've made and the films I've wanted to make – are centered around the characters. We have everything to learn from those who lived in the past. I try to give them back their authentic voice. Telling the truth about the individuals and the moral climate in which they lived creates understanding of the past and touches our heart."
Ron spoke very passionately about the need to represent history accurately, of his desire to pay attention to detail, to portray individuals as they were. Already a great fan of his 1993 film, "Gettysburg," I've also been inspired by Maxwell to spend time with his two video tapes "The Gettysburg Interviews," in which he discusses the making of historical movies and his commitment to making sure he "gets it right."
He told me, "We are all very susceptible to the power of the media. The media, particularly films, have a powerful influence on our lives. Films have the ability to tell stories with such authority that the stories they tell can pass as truth, whether or not they are truth. I have a moral obligation to exercise responsibility in my telling of history. The telling of history is the life and death of a people. An inaccurate portrayal can be the death of a culture over the years."
Maxwell has no patience with those who use history as propaganda. They are the miscreants of both the film industry and our culture to him, which is one reason my husband and I were so eager to read his scathing review of "The Messenger," the popular movie on Joan of Arc, which he bluntly entitles, "Dumbed Down Dame." During our interview he said, "Many filmmakers don't care, or don't invest the time, or even worse, maliciously pervert the truth because of a personal agenda. Using history as propaganda is abhorrent to me."
As someone who has often been concerned about Hollywood's "fast and loose" portrayal of historical events, I left my interviews with a renewed sense of hope. Ron Maxwell is a champion of history, and his work is something to be treasured.
