You Are What You Imagine

Particularly, one of the things is how they use color.

And in the life of the monastery- Mm ... where this monk interacts with the other monks and at the orphanage, they show all of the color- colors that are bleak and bland.

It's, like, pretty much this whole landscape of, like, dull browns and grays.

But then when he goes out into the wider world, it's, like, vibrant pinks and blues and oranges and all of the colors.

And the same is true about how they characterize kinda the relational environment in both of these places.

In the life at the monastery, it's like all of the relationships are sort of, uh, uh, bleak, strict- Yeah ... um, bland.

Yeah.

Like, not a whole lot of excitement or- Yeah ...

even care or concern for one another.

Whereas out in the outside world, it's like they're exciting.

This is adventure.

It's people and relationships that are unpredict- unpredictable.

Yeah.

There's all this kinda stuff going on.

I just think it's a really interesting kinda- Yeah ... juxtaposition about sort of the world of, of kinda Christian religion- Mm-hmm ... versus the broader world out there.

Yeah.

And it's not a new idea, and it's certainly not something that's sort of a, a new way to portray this in movies by any sense.

Yeah.

Think about movies like, um, The Sound of Music in the '60s, or a movie like Footloose in the '80s.

Mm.

Or a movie like, um, um, uh, what is it called? Oh my goodness, Sister Act, yeah, in the '90s, right? These are all movies that kind of do that same kinda thing, juxtaposing sort of the world of the Bible and of Christian spirituality- Yeah ...

or religion as boring, bleak, strict, bland, whereas the world out there is full of adventure, and color, and unpredictability, and excitement, and all of this kind of stuff.

And one man put it very strongly, "Holiness is boring.

Sin is exciting." I, I mean, that's totally what it is.

Yeah.

Particularly, one of the things is how they use color.

And in the life of the monastery- Mm ... where this monk interacts with the other monks and at the orphanage, they show all of the color- colors that are bleak and bland.

It's, like, pretty much this whole landscape of, like, dull browns and grays.

But then when he goes out into the wider world, it's, like, vibrant pinks and blues and oranges and all of the colors.

And the same is true about how they characterize kinda the relational environment in both of these places.

In the life at the monastery, it's like all of the relationships are sort of, uh, uh, bleak, strict- Yeah ... um, bland.

Yeah.

Like, not a whole lot of excitement or- Yeah ...

even care or concern for one another.

Whereas out in the outside world, it's like they're exciting.

This is adventure.

It's people and relationships that are unpredict- unpredictable.

Yeah.

There's all this kinda stuff going on.

I just think it's a really interesting kinda- Yeah ... juxtaposition about sort of the world of, of kinda Christian religion- Mm-hmm ... versus the broader world out there.

Yeah.

And it's not a new idea, and it's certainly not something that's sort of a, a new way to portray this in movies by any sense.

Yeah.

Think about movies like, um, The Sound of Music in the '60s, or a movie like Footloose in the '80s.

Mm.

Or a movie like, um, um, uh, what is it called? Oh my goodness, Sister Act, yeah, in the '90s, right? These are all movies that kind of do that same kinda thing, juxtaposing sort of the world of the Bible and of Christian spirituality- Yeah ...

or religion as boring, bleak, strict, bland, whereas the world out there is full of adventure, and color, and unpredictability, and excitement, and all of this kind of stuff.

And one man put it very strongly, "Holiness is boring.

Sin is exciting." I, I mean, that's totally what it is.

Yeah.