Loss and Love | Episode 9 | TBN

Loss and Love | Episode 9

Watch Loss and Love | Episode 9
July 7, 2018
27:01

Restoring the Shack

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Loss and Love | Episode 9

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  • - PAUL YOUNG: MY NAME IS PAUL YOUNG
  • 00:00:03.010 --> 00:00:04.190
  • AND I'M THE AUTHOR OF "THE SHACK."
  • 00:00:04.210 --> 00:00:07.040
  • I WANT TO INVITE YOU ON AN ADVENTURE WITH ME
  • 00:00:07.060 --> 00:00:10.050
  • AND WITH THE BOOK.
  • 00:00:10.070 --> 00:00:11.210
  • A LOT OF YOU HAVE READ IT, YOU HAVE QUESTIONS.
  • 00:00:11.230 --> 00:00:14.060
  • SOME OF YOU HAVE JUST HEARD ABOUT IT
  • 00:00:14.080 --> 00:00:16.060
  • AND YOU HAVE QUESTIONS.
  • 00:00:16.080 --> 00:00:18.000
  • THIS IS A BOOK THAT ALLOWS US TO EXPLORE
  • 00:00:18.020 --> 00:00:20.240
  • RELATIONSHIP WITH THE FATHER, SON,
  • 00:00:20.260 --> 00:00:22.190
  • AND HOLY SPIRIT, QUESTIONS THAT WE HAVE
  • 00:00:22.210 --> 00:00:25.130
  • ABOUT HURT AND LOSS AND GRIEF,
  • 00:00:25.150 --> 00:00:28.220
  • QUESTIONS ABOUT WONDER AND BEAUTY AND JOY.
  • 00:00:28.240 --> 00:00:32.190
  • WHAT DOES IT MEAN TO LIVE A LIFE OF FAITH?
  • 00:00:32.210 --> 00:00:37.210
  • WHAT DO WE DO ABOUT DEATH?
  • 00:00:37.230 --> 00:00:39.120
  • WHY DO TRAGIC THINGS HAPPEN TO US?
  • 00:00:39.140 --> 00:00:42.160
  • THESE ARE THE QUESTIONS THAT WE WANT TO EXPLORE
  • 00:00:42.180 --> 00:00:47.040
  • AND I WOULD LOVE YOU TO COME WITH ME.
  • 00:00:47.060 --> 00:00:49.160
  • THIS IS AN INVITATION.
  • 00:00:49.180 --> 00:00:50.200
  • [JOYOUS MUSIC]
  • 00:00:50.220 --> 00:01:04.090
  • [JOYOUS MUSIC]
  • 00:01:04.090 --> 00:01:12.030
  • I WANT TO READ YOU SOMETHING FROM
  • 00:01:13.250 --> 00:01:14.280
  • CHAPTER 2 OF THE SHACK.
  • 00:01:15.000 --> 00:01:17.230
  • "OTHER TIMES HE-- THAT'S MACKENZIE, "--WOULD DREAM
  • 00:01:17.250 --> 00:01:21.020
  • THAT HIS FEET WERE STUCK IN MUD AS HE CAUGHT
  • 00:01:21.040 --> 00:01:25.050
  • BRIEF GLIMPSES OF MISSY RUNNING DOWN THE WOODED
  • 00:01:25.070 --> 00:01:28.030
  • PATH AHEAD OF HIM, HER RED COTTON SUMMER DRESS
  • 00:01:28.050 --> 00:01:31.010
  • GILDED WITH WILD FLOWERS FLASHING AMONG
  • 00:01:31.030 --> 00:01:33.260
  • THE TREES. SHE WAS COMPLETELY OBLIVIOUS TO
  • 00:01:33.280 --> 00:01:37.270
  • THE DARK SHADOW TRACKING HER FROM BEHIND.
  • 00:01:37.290 --> 00:01:40.250
  • ALTHOUGH HE FRANTICKLY TRIED TO SCREAM WARNINGS TO HER,
  • 00:01:40.270 --> 00:01:43.170
  • NO SOUND EMERGED, AND HE WAS ALWAYS TOO LATE AND
  • 00:01:43.190 --> 00:01:47.020
  • TOO IMPOTENT TO SAVE HER.
  • 00:01:47.040 --> 00:01:49.290
  • HE WOULD BOLT UPRIGHT IN BED, SWEAT DRIPPING
  • 00:01:50.010 --> 00:01:53.100
  • FROM HIS TORTURED BODY WHILE WAVES OF NAUSEA,
  • 00:01:53.120 --> 00:01:55.240
  • GUILT AND REGRET ROLLED OVER HIM LIKE SOME
  • 00:01:55.260 --> 00:01:59.110
  • SURREAL TITLE FLOOD."
  • 00:01:59.130 --> 00:02:02.210
  • LOSS, REGRET, GRIEF.
  • 00:02:04.260 --> 00:02:08.040
  • ONE OF THOSE THINGS THAT WE SHARE IN COMMON
  • 00:02:08.060 --> 00:02:10.190
  • AS HUMAN BEINGS.
  • 00:02:10.210 --> 00:02:12.210
  • SOMETIMES THERE JUST IS NO ANSWER TO
  • 00:02:12.230 --> 00:02:15.240
  • THE "WHY" QUESTIONS.
  • 00:02:15.260 --> 00:02:18.050
  • SO INSTEAD WE HAVE TO LOOK SOMEWHERE ELSE.
  • 00:02:18.070 --> 00:02:22.250
  • [MUSIC]
  • 00:02:22.270 --> 00:02:36.090
  • [MUSIC]
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  • SO FAR WE'VE BEEN TALKING ABOUT FRAMING THE
  • 00:02:46.240 --> 00:02:49.130
  • BOOK, MOSTLY OUT OF CONCEPTS IN THE FORWARD.
  • 00:02:49.150 --> 00:02:53.000
  • NOW WE'RE GONNA BEGIN TO STEP INTO THE BIGGER
  • 00:02:53.020 --> 00:02:55.030
  • CONVERSATIONS IN THE BOOK.
  • 00:02:55.050 --> 00:02:56.160
  • IF YOU'VE LEARNED ANYTHING ABOUT ME, YOU
  • 00:02:56.180 --> 00:02:59.220
  • KNOW THAT I LOVE STORY AND I LOVE QUESTIONS.
  • 00:02:59.240 --> 00:03:03.280
  • STORY GIVES US A SPACE TO HEAR FOR OURSELVES, AND I
  • 00:03:04.000 --> 00:03:10.070
  • THINK THAT'S THE VALUE OF FICTION, THAT CREATES
  • 00:03:10.090 --> 00:03:12.110
  • MORE SPACE THAN IT USES UP.
  • 00:03:12.130 --> 00:03:15.140
  • A LOT OF TIMES NON-FICTION IS ABOUT
  • 00:03:15.160 --> 00:03:16.260
  • REDUCING SPACE.
  • 00:03:16.280 --> 00:03:18.170
  • AND STORY HAS A WAY OF ENGAGING THE READER OR
  • 00:03:18.190 --> 00:03:21.010
  • LISTENER RESPECTFULLY IN THE SENSE THAT IT LET'S
  • 00:03:21.030 --> 00:03:24.270
  • THEM HEAR FOR THEMSELVES WHAT THE HOLY SPIRIT
  • 00:03:24.290 --> 00:03:28.130
  • IS SAYING TO THEM.
  • 00:03:28.150 --> 00:03:30.050
  • QUESTIONS ARE IMPORTANT, AND I HAVE WRITTEN TO
  • 00:03:30.070 --> 00:03:36.160
  • DATE AT THE TIME OF THIS FILMING THREE NOVELS,
  • 00:03:36.180 --> 00:03:40.240
  • EACH ONE OF THEM HAS REVOLVED AROUND QUESTIONS.
  • 00:03:40.260 --> 00:03:43.260
  • I'M NOT AN AGENDA DRIVEN WRITER; THAT IS I'M
  • 00:03:43.280 --> 00:03:46.130
  • NOT TRYING TO GET YOU FROM THIS SPOT TO THIS
  • 00:03:46.150 --> 00:03:49.090
  • SPOT. I'M NOT TRYING TO CONVERT ANYBODY.
  • 00:03:49.110 --> 00:03:53.070
  • I AM TRYING TO OPEN UP SOME SPACE SO THAT INSIDE
  • 00:03:53.090 --> 00:03:56.040
  • OF YOUR ADVENTURE AND INSIDE YOUR JOURNEY, YOU
  • 00:03:56.060 --> 00:03:58.090
  • CAN HEAR FOR YOURSELF.
  • 00:03:58.110 --> 00:04:00.060
  • AND QUESTIONS WILL DO THAT.
  • 00:04:00.080 --> 00:04:01.140
  • QUESTIONS ARE A LITTLE DISCONCERTING BECAUSE
  • 00:04:01.160 --> 00:04:03.270
  • THEY WILL USUALLY RUN UP AT SOME POINT AGAINST
  • 00:04:03.290 --> 00:04:06.160
  • WHAT WE ALREADY ASSUME OR WHAT OUR PRESUPPOSITIONS
  • 00:04:06.180 --> 00:04:09.240
  • ARE, OUR PARADIGMS, THOSE GLASSES THAT WE LOOK
  • 00:04:09.260 --> 00:04:13.190
  • THROUGH THAT WE THEN INTERPRET THE WORLD.
  • 00:04:13.210 --> 00:04:16.070
  • A GOOD QUESTION WORTH A THOUSAND ANSWERS.
  • 00:04:16.090 --> 00:04:20.000
  • IN THE SHACK, IT'S ABOUT THE GOODNESS OF GOD.
  • 00:04:20.020 --> 00:04:22.010
  • IF GOD IS GOOD, WHERE IS GOD IN THE MIDST OF HUMAN
  • 00:04:22.030 --> 00:04:26.170
  • TRAGEDY AND LOSS?
  • 00:04:26.190 --> 00:04:28.210
  • BIG QUESTIONS. LOTS OF QUESTIONS.
  • 00:04:28.230 --> 00:04:31.210
  • WE HAVE THE QUESTION OF LOSS.
  • 00:04:31.230 --> 00:04:34.020
  • HUGE FOR US.
  • 00:04:34.040 --> 00:04:37.150
  • AND A LOT OF TIMES WHEN WE HAVEN'T EXPERIENCED IT
  • 00:04:37.170 --> 00:04:39.230
  • OURSELVES, WE DON'T UNDERSTAND THE GRACE THAT
  • 00:04:39.250 --> 00:04:42.170
  • EXISTS INSIDE THE WORLD OF THOSE WHO ARE
  • 00:04:42.190 --> 00:04:45.190
  • STRUGGLING WITH SUFFERING AND STRUGGLING WITH DEATH
  • 00:04:45.210 --> 00:04:48.220
  • AND STRUGGLING WITH LOSS.
  • 00:04:48.240 --> 00:04:51.010
  • PEOPLE ASK ME SOMETIMES HOW I CAN WRITE A BOOK
  • 00:04:51.030 --> 00:04:53.260
  • FOR MY CHILDREN THAT HAD SUCH A MASSIVE LOSS
  • 00:04:53.280 --> 00:04:57.080
  • AT THE CENTERPIECE.
  • 00:04:57.100 --> 00:04:59.160
  • YOU KNOW, WHEN KIM ASKED ME TO DO THIS AND SAID
  • 00:04:59.180 --> 00:05:02.230
  • WOULD YOU PUT IN ONE PLACE HOW YOU THINK AS A
  • 00:05:02.250 --> 00:05:05.210
  • GIFT TO OUR CHILDREN, I WAS THINKING WHAT
  • 00:05:05.230 --> 00:05:08.060
  • WOULD I SAY TO THEM?
  • 00:05:08.080 --> 00:05:10.210
  • IF ONE OF MY KIDS HAD A LOSS LIKE THIS BECAUSE TO
  • 00:05:10.230 --> 00:05:14.170
  • ME THE GREATEST LOSS A HUMAN BEING CAN
  • 00:05:14.190 --> 00:05:17.130
  • EXPERIENCE IS THE LOSS BETWEEN A PARENT
  • 00:05:17.150 --> 00:05:20.120
  • AND A CHILD.
  • 00:05:20.140 --> 00:05:21.260
  • THANKFULLY GOD KNOWS WHAT THAT'S LIKE TOO BY
  • 00:05:21.280 --> 00:05:26.070
  • EXPERIENCE, AND SO THAT QUESTION OF LOSS BECOMES
  • 00:05:26.090 --> 00:05:32.090
  • CENTRAL, AND IT ASKS THE BEST QUESTIONS:
  • 00:05:32.110 --> 00:05:35.180
  • WHERE IS GOD?
  • 00:05:35.200 --> 00:05:37.230
  • IF GOD IS POWERFUL, WHERE WAS HE?
  • 00:05:37.250 --> 00:05:40.150
  • WHY DIDN'T HE STOP IT?
  • 00:05:40.170 --> 00:05:42.130
  • THOSE ARE SOME OF THE QUESTIONS.
  • 00:05:42.150 --> 00:05:43.290
  • [MUSIC]
  • 00:05:44.010 --> 00:05:55.100
  • [MUSIC]
  • 00:05:55.100 --> 00:06:03.000
  • - CAR LEAVES IN 20 SECONDS.
  • 00:06:03.020 --> 00:06:05.050
  • - WE'VE GOT TO GO. LET'S GO.
  • 00:06:05.070 --> 00:06:06.170
  • - DO YOU THINK THE PRINCESS SHOULD HAVE
  • 00:06:06.190 --> 00:06:09.260
  • A RED DRESS LIKE MINE?
  • 00:06:09.280 --> 00:06:11.080
  • - RED IT IS.
  • 00:06:11.100 --> 00:06:12.150
  • - WHERE IS MISSY?
  • 00:06:15.030 --> 00:06:16.090
  • - MISSY!
  • 00:06:17.040 --> 00:06:18.100
  • - WHERE'S MISSY? SORRY. THEY HAVEN'T SEEN HER.
  • 00:06:18.120 --> 00:06:20.180
  • - MISSY! MISSY!
  • 00:06:20.200 --> 00:06:23.130
  • [SIRENS BLARING]
  • 00:06:23.150 --> 00:06:25.090
  • - I WAS SCARED.
  • 00:06:25.110 --> 00:06:26.140
  • I DIDN'T KNOW WHAT TO DO.
  • 00:06:26.160 --> 00:06:28.020
  • [POLICE RADIO] GROUND TEAMS FOUND A TRUCK IN THE MOUNTAINS.
  • 00:06:28.040 --> 00:06:32.150
  • - I'M REALLY SORRY MR. PHILLIPS.
  • 00:06:32.170 --> 00:06:34.060
  • [SCREAMING]
  • 00:06:36.090 --> 00:06:38.220
  • [MUSIC]
  • 00:06:38.240 --> 00:06:41.060
  • - NEED SOME HELP OVER THERE?
  • 00:06:41.080 --> 00:06:42.130
  • - I'M OKAY.
  • 00:06:42.150 --> 00:06:43.250
  • - HOW ABOUT SOME DINNER TONIGHT?
  • 00:06:43.270 --> 00:06:45.000
  • - MAYBE NEXT TIME.
  • 00:06:45.020 --> 00:06:46.160
  • [YELLING]
  • 00:06:47.230 --> 00:06:49.080
  • I'M SORRY. I'M SO SORRY!
  • 00:06:49.100 --> 00:06:52.200
  • - WE'VE LOST SO MUCH ALREADY.
  • 00:06:52.220 --> 00:06:54.150
  • I DON'T WANT TO LOSE YOU TOO.
  • 00:06:54.170 --> 00:06:56.070
  • - THE LETTER SHOWED UP IN MY MAILBOX WITH NO
  • 00:06:58.150 --> 00:07:00.130
  • TRACKS IN THE SNOW.
  • 00:07:00.150 --> 00:07:01.260
  • - YOU'RE NOT THINKING ABOUT GOING BACK THERE, ARE YOU?
  • 00:07:01.280 --> 00:07:03.140
  • - I'VE GOT TO DO SOMETHING.
  • 00:07:03.160 --> 00:07:04.230
  • - YOU KNOW THIS ISN'T A GOOD IDEA. IT'S CRAZY.
  • 00:07:04.250 --> 00:07:07.050
  • - THIS IS ALL I GOT.
  • 00:07:07.070 --> 00:07:08.170
  • - GOT A FIRE GOING INSIDE IF YOU WANT TO WARM UP.
  • 00:07:12.040 --> 00:07:13.230
  • - MACKENZIE ALAN PHILLIPS.
  • 00:07:18.010 --> 00:07:20.280
  • I'VE BEEN LOOKING FORWARD TO THIS.
  • 00:07:21.000 --> 00:07:22.270
  • - DO I KNOW YOU?
  • 00:07:22.290 --> 00:07:24.070
  • - NOT VERY WELL BUT WE'RE GONNA WORK ON THAT.
  • 00:07:24.090 --> 00:07:26.100
  • - THIS IS INCREDIBLE.
  • 00:07:27.280 --> 00:07:29.070
  • - YOU'RE STILL HAVING A HARD TIME BELIEVING
  • 00:07:29.090 --> 00:07:30.120
  • THIS IS REAL.
  • 00:07:30.140 --> 00:07:31.230
  • - WHY DID YOU BRING ME HERE?
  • 00:07:31.250 --> 00:07:33.070
  • - THERE'S NO EASY ANSWER THAT WILL TAKE YOUR PAIN AWAY.
  • 00:07:33.090 --> 00:07:35.190
  • - WHERE WERE YOU WHEN I NEEDED YOU?
  • 00:07:35.210 --> 00:07:37.280
  • - I NEVER LEFT YOU. I NEVER LEFT MISSY.
  • 00:07:38.000 --> 00:07:40.110
  • 00:07:40.130 --> 00:07:44.060
  • - YOU WANT ME TO FORGIVE HIM.
  • 00:07:44.080 --> 00:07:45.120
  • I WANT HIM TO HURT LIKE HE HURT ME.
  • 00:07:45.140 --> 00:07:48.000
  • - YOU WANT THE PROMISES OF A PAIN-FREE LIFE?
  • 00:07:49.170 --> 00:07:51.080
  • - YEAH.
  • 00:07:51.100 --> 00:07:52.160
  • - THERE ISN'T ONE.
  • 00:07:52.180 --> 00:07:54.000
  • - YOU CAN DO THIS. - I CAN'T!
  • 00:07:55.220 --> 00:07:57.030
  • - ON YOUR OWN YOU CAN'T.
  • 00:07:57.050 --> 00:07:59.000
  • - THIS IS YOUR FLYING LESSON.
  • 00:07:59.020 --> 00:08:00.250
  • KEEP YOUR EYES ON ME...
  • 00:08:02.120 --> 00:08:05.070
  • WHEN YOU CAN'T FIND YOUR WAY...
  • 00:08:05.090 --> 00:08:07.070
  • KEEP YOUR EYES ON ME...
  • 00:08:07.090 --> 00:08:12.050
  • - I BELIEVE YOU.
  • 00:08:12.070 --> 00:08:16.090
  • KEEP YOUR EYES ON ME...
  • 00:08:16.110 --> 00:08:20.140
  • KEEP YOUR EYES ON ME...
  • 00:08:20.160 --> 00:08:25.010
  • [JOYOUS MUSIC]
  • 00:08:26.170 --> 00:08:37.030
  • [JOYOUS MUSIC]
  • 00:08:37.030 --> 00:08:44.170
  • A FEW YEARS AGO, WE HAD A YOUNG MAN WHO WAS
  • 00:08:46.170 --> 00:08:49.080
  • ONE OF THOSE KIDS YOU SORT OF ADOPT
  • 00:08:49.100 --> 00:08:51.260
  • INTO YOUR FAMILY.
  • 00:08:51.280 --> 00:08:53.170
  • HE WAS OUR YOUNGEST SON'S BEST FRIEND, ADAM.
  • 00:08:53.190 --> 00:08:57.210
  • AND WE TOOK THE CLAN TO DISNEYLAND, AND HE WAS
  • 00:08:57.230 --> 00:09:04.210
  • THE ONLY NON-BIOLOGICAL.
  • 00:09:04.230 --> 00:09:07.060
  • HE WAS ONE OF THE FAMILY.
  • 00:09:07.080 --> 00:09:09.080
  • THE GRAND BABIES LOVED HIM,
  • 00:09:09.100 --> 00:09:11.090
  • MATTHEW LOVED HIM DEARLY.
  • 00:09:11.110 --> 00:09:13.170
  • ABOUT A WEEK AFTER WE GOT BACK, MATTHEW AND ADAM
  • 00:09:13.190 --> 00:09:17.240
  • AND I WENT TO EASTERN OREGON BECAUSE MATTHEW
  • 00:09:17.260 --> 00:09:21.030
  • WAS PLAYING IN AN ALL-STAR GAME.
  • 00:09:21.050 --> 00:09:23.020
  • HE'S A BASKETBALL PLAYER.
  • 00:09:23.040 --> 00:09:24.210
  • AND ADAM PLAYED BASKETBALL WITH HIM.
  • 00:09:24.230 --> 00:09:27.030
  • MATTHEW WAS A YEAR AHEAD.
  • 00:09:27.050 --> 00:09:29.030
  • THEY HAD PLANNED THEIR LIVES WHERE THEY WERE
  • 00:09:29.050 --> 00:09:31.030
  • GOING TO GO TO OREGON STATE, THEY WERE GOING TO
  • 00:09:31.050 --> 00:09:33.210
  • ROOM TOGETHER, THEY WERE TOGETHER.
  • 00:09:33.230 --> 00:09:38.170
  • WE GET HOME AND MATTHEW WENT A DIFFERENT
  • 00:09:38.190 --> 00:09:40.150
  • DIRECTION, HE WENT TO BE A COUNSELOR AT A SUMMER
  • 00:09:40.170 --> 00:09:42.290
  • CAMP, AND WE GET A PHONE CALL FROM HIM.
  • 00:09:43.010 --> 00:09:48.180
  • ADAM WAS DEAD. THE FIRST PERSON THAT
  • 00:09:48.200 --> 00:09:53.210
  • ADAM'S DAD CALLED WAS MATTHEW.
  • 00:09:53.230 --> 00:09:57.010
  • AND ADAM WAS GONE AND KIM WAS LAYING ON THE FLOOR
  • 00:09:57.030 --> 00:10:01.240
  • GRIEVING AND WE COULDN'T BELIEVE IT.
  • 00:10:01.260 --> 00:10:05.190
  • THAT QUICKLY.
  • 00:10:05.210 --> 00:10:08.100
  • ADAM IS AN ONLY CHILD AND THE LOSS WAS DEEP.
  • 00:10:08.120 --> 00:10:13.160
  • HIS FRIENDS GATHERED AT OUR HOUSE AND FOR TWO
  • 00:10:13.180 --> 00:10:16.100
  • WEEKS OUR PLACE WAS FULL OF HIGH SCHOOL STUDENTS
  • 00:10:16.120 --> 00:10:20.130
  • WHO WERE TRYING TO FIND A WAY TO GRIEVE TOGETHER.
  • 00:10:20.150 --> 00:10:23.250
  • LOSS DOESN'T MAKE ANY SENSE.
  • 00:10:23.270 --> 00:10:26.140
  • AND INSIDE THOSE LOSSES WE LEARN ABOUT COMMUNITY,
  • 00:10:26.160 --> 00:10:30.030
  • AND WE LEARN ABOUT EACH OTHER, AND WE INVITE
  • 00:10:30.050 --> 00:10:34.090
  • PEOPLE IN TO PLACES THAT MAYBE WE HAVEN'T BEFORE.
  • 00:10:34.110 --> 00:10:39.280
  • [MUSIC]
  • 00:10:40.000 --> 00:10:52.010
  • [MUSIC]
  • 00:10:52.010 --> 00:10:59.180
  • I WANT TO TELL YOU A STORY, SINCE WE'RE ON THE
  • 00:11:01.010 --> 00:11:02.140
  • SUBJECT OF STORY, AND BY THE TIME THAT YOU WATCH
  • 00:11:02.160 --> 00:11:06.050
  • THIS, EITHER THE MOVIE ABOUT THE SHACK IS COMING
  • 00:11:06.070 --> 00:11:09.200
  • OUT SHORTLY, OR IT'S ALREADY OUT, AND I
  • 00:11:09.220 --> 00:11:12.260
  • HAVEN'T EVEN SEEN THE FINISHED PRODUCT MYSELF YET.
  • 00:11:12.280 --> 00:11:16.130
  • BUT I GOT INVITED TO THE SET A COUPLE OF TIMES,
  • 00:11:16.150 --> 00:11:20.280
  • MOST OF IT WAS SHOT UP IN SOUTHERN BRITISH
  • 00:11:21.000 --> 00:11:22.250
  • COLOMBIA, AND I DON'T KNOW, 15 DIFFERENT
  • 00:11:22.270 --> 00:11:26.220
  • LOCATIONS, HUGE CREW, AND I NEVER ANTICIPATED BEING
  • 00:11:26.240 --> 00:11:32.100
  • AS INVOLVED AS I'VE BEEN INVITED TO BE.
  • 00:11:32.120 --> 00:11:36.050
  • LION'S GATE WHO IS THE PRODUCTION HOUSE HAS BEEN
  • 00:11:36.070 --> 00:11:39.160
  • AMAZINGLY OPEN, AND EVEN EAGER FOR MY
  • 00:11:39.180 --> 00:11:45.230
  • PARTICIPATION, WHICH I'M THRILLED TO BE A PART OF.
  • 00:11:45.250 --> 00:11:50.010
  • SO I GET A CALL AND THEY SAID HEY, WOULD YOU
  • 00:11:50.030 --> 00:11:54.080
  • CONSIDER COMING BACK FOR A DAY?
  • 00:11:54.100 --> 00:11:56.030
  • I SAID, ABSOLUTELY.
  • 00:11:56.050 --> 00:11:58.080
  • NOW AT THIS POINT, I DON'T KNOW WHERE THEY'RE
  • 00:11:58.100 --> 00:12:00.240
  • GONNA BE SHOOTING AND I DON'T KNOW WHAT THEY'RE
  • 00:12:00.260 --> 00:12:04.000
  • GONNA BE SHOOTING.
  • 00:12:04.020 --> 00:12:05.230
  • AND IF YOU KNOW ANYTHING ABOUT A MOVIE, THEY DON'T
  • 00:12:05.250 --> 00:12:07.110
  • SHOOT SEQUENTIALLY.
  • 00:12:07.130 --> 00:12:09.020
  • THEY DON'T START AT THE BEGINNING OF THE SCRIPT
  • 00:12:09.040 --> 00:12:10.140
  • AND SHOOT IT IN ORDER.
  • 00:12:10.160 --> 00:12:12.100
  • THEY SHOOT IT DEPENDING ON WHEN THE ACTORS ARE
  • 00:12:12.120 --> 00:12:13.240
  • AVAILABLE AND WHAT SITES ARE SET UP AND THEY JUST
  • 00:12:13.260 --> 00:12:16.270
  • MOVE THINGS AROUND.
  • 00:12:16.290 --> 00:12:18.230
  • SO YOU NEVER KNOW WHAT YOU'RE GONNA BE SEEING.
  • 00:12:18.250 --> 00:12:21.030
  • AFTER THE CALL, I'M THINKING ABOUT THIS AND
  • 00:12:21.050 --> 00:12:23.140
  • I SAID YOU KNOW WHAT, THERE'S A GUY THAT I'VE
  • 00:12:23.160 --> 00:12:25.290
  • BEEN TRYING TO MEET.
  • 00:12:26.010 --> 00:12:27.180
  • HIS NAME IS BRAD JERSAK, AND BRAD HAS
  • 00:12:27.200 --> 00:12:30.190
  • WRITTEN A NUMBER OF BOOKS THAT I LOVE, ONE OF THE
  • 00:12:30.210 --> 00:12:33.030
  • LATEST IS "A MORE CHRISTLIKE GOD."
  • 00:12:33.050 --> 00:12:36.200
  • AND I LOVE THIS BOOK.
  • 00:12:36.220 --> 00:12:38.190
  • I'D ENDORSED IT BUT I NEVER MET HIM.
  • 00:12:38.210 --> 00:12:40.190
  • SO IT JUST, I GOT THE NUDGE AND THOSE OF YOU
  • 00:12:40.210 --> 00:12:45.190
  • WHO HAVE BEEN WALKING IN A RELATIONSHIP WITH JESUS
  • 00:12:45.210 --> 00:12:51.040
  • FOR A LONG TIME AND LEARN HOW TO LISTEN TO THE HOLY
  • 00:12:51.060 --> 00:12:54.240
  • SPIRIT SPEAKING IN YOUR LANGUAGE, YOU KNOW THE
  • 00:12:54.260 --> 00:12:58.010
  • CONCEPT OF THE NUDGE. YOU JUST GET A NUDGE.
  • 00:12:58.030 --> 00:13:00.130
  • AND IT HAPPENS INSIDE THE NORMALCY OF YOUR LIFE
  • 00:13:00.150 --> 00:13:04.050
  • AND THE ORDINARINESS OF EVERYDAY AND IT'S LIKE
  • 00:13:04.070 --> 00:13:05.220
  • OH, THAT'S A GOOD IDEA.
  • 00:13:05.240 --> 00:13:07.130
  • TO ME, I THINK GOD IS ALWAYS INVOLVED IN THOSE
  • 00:13:07.150 --> 00:13:11.070
  • KINDS OF DETAILS. SO I GET THIS NUDGE TO,
  • 00:13:11.090 --> 00:13:13.160
  • WELL, MAYBE I SHOULD CALL BRAD.
  • 00:13:13.180 --> 00:13:15.240
  • THE PROBLEM IS THAT BRAD WHO LIVES IN BRITISH
  • 00:13:15.260 --> 00:13:18.250
  • COLOMBIA AND RIGHT NEAR THE TOWN THAT I WAS GOING
  • 00:13:18.270 --> 00:13:23.060
  • TO HAVE THE HOTEL IN, HE'S ALSO A SEMINARY
  • 00:13:23.080 --> 00:13:25.270
  • PROFESSOR IN LONDON. AND SO I DIDN'T EVEN KNOW
  • 00:13:25.290 --> 00:13:29.080
  • IF HE WAS IN THE COUNTRY OR NOT.
  • 00:13:29.100 --> 00:13:30.280
  • BUT ON A WHIM I SENT HIM AN EMAIL AND I SAID, LOOK,
  • 00:13:31.000 --> 00:13:36.130
  • I'M COMING UP WEDNESDAY, WOULD THERE BE ANY CHANCE
  • 00:13:36.150 --> 00:13:39.110
  • THAT WE COULD ACTUALLY MEET?
  • 00:13:39.130 --> 00:13:40.250
  • BECAUSE WE'D NEVER MET FACE-TO-FACE.
  • 00:13:40.270 --> 00:13:42.100
  • ALMOST IMMEDIATELY, I GET AN E-MAIL BACK, "CAN I COME AND
  • 00:13:42.120 --> 00:13:45.250
  • PICK YOU UP FROM THE AIRPORT?"
  • 00:13:45.270 --> 00:13:49.180
  • I DON'T KNOW. SO I CALL TRANSPORT.
  • 00:13:49.200 --> 00:13:54.030
  • IS THERE A POSSIBILITY THAT MY FRIEND, BRAD JERSAK,
  • 00:13:54.050 --> 00:13:56.110
  • COULD COME PICK ME UP AT THE AIRPORT?
  • 00:13:56.130 --> 00:13:57.290
  • THEY SAID, "ABSOLUTELY.
  • 00:13:58.010 --> 00:13:59.120
  • THAT WOULD SAVE US TWO AND-A-HALF HOURS ONE WAY. THAT
  • 00:13:59.140 --> 00:14:01.110
  • WOULD BE GREAT."
  • 00:14:01.130 --> 00:14:02.230
  • I SAID, "GREAT."
  • 00:14:02.250 --> 00:14:04.040
  • SO I E-MAILED BRAD BACK, YES.
  • 00:14:04.060 --> 00:14:07.250
  • MAYBE WE CAN HAVE LUNCH TOGETHER, AND BRAD SAYS,
  • 00:14:07.270 --> 00:14:10.260
  • "YES, WE'LL HAVE LUNCH.
  • 00:14:10.280 --> 00:14:13.260
  • WE'LL GO DOWN, AND THEN WE'LL HAVE SUPPER WITH EDEN.
  • 00:14:13.280 --> 00:14:16.260
  • WE'LL HAVE LOTS OF OPPORTUNITY TO TALK THROUGH
  • 00:14:16.280 --> 00:14:20.260
  • THEOLOGY AND LIFE EXPERIENCES AND GET TO KNOW
  • 00:14:20.280 --> 00:14:23.110
  • EACH OTHER FACE-TO-FACE.
  • 00:14:23.130 --> 00:14:25.170
  • AND THEN I'LL DROP YOU OFF AT THE HOTEL, AND THE NEXT
  • 00:14:25.190 --> 00:14:27.170
  • MORNING, TRANSPORT WILL COME AND PICK YOU NOT
  • 00:14:27.190 --> 00:14:29.220
  • FOR THE SHOOT." GREAT.
  • 00:14:29.240 --> 00:14:31.080
  • TEN MINUTES LATER, I GET ANOTHER E-MAIL FROM BRAD,
  • 00:14:31.100 --> 00:14:36.120
  • AND BRAD SAYS -- AND THIS ONE'S GOT A PHOTO THAT IS
  • 00:14:36.140 --> 00:14:40.060
  • ATTACHED, BUT THE STORY IS, "HEY, PAUL, I WANT TO
  • 00:14:40.080 --> 00:14:43.270
  • INTRODUCE YOU TO SOMEONE: DWIGHT AND LAURIE, AND THEY
  • 00:14:43.290 --> 00:14:50.190
  • WERE MASSIVELY IMPACTED BY THE SHACK."
  • 00:14:50.210 --> 00:14:53.250
  • AND HE SAID, "I HAPPENED TO BE VISITING DWIGHT AND
  • 00:14:53.270 --> 00:14:58.030
  • LAURIE UP NEAR THEIR SUMMER CABIN UP ON CULTUS LAKE."
  • 00:14:58.050 --> 00:15:02.190
  • AND CULTUS LAKE IS A MASSIVE BIG LAKE UP IN
  • 00:15:02.210 --> 00:15:05.150
  • BRITISH COLUMBIA.
  • 00:15:05.170 --> 00:15:07.190
  • AND HE SAID, "WE'RE ON A WALK RIGHT NOW WHILE I'M
  • 00:15:07.210 --> 00:15:09.180
  • E-MAILING YOU, AND LOOK."
  • 00:15:09.200 --> 00:15:13.120
  • AND I LOOK AT THE PHOTOGRAPH, AND IT'S GOT
  • 00:15:13.140 --> 00:15:15.170
  • BRAD, AND THERE'S THIS A LITTLE BIT OLDER
  • 00:15:15.190 --> 00:15:18.210
  • DISTINGUISHED GRAY-HAIRED MAN, DWIGHT, BUT TO THE ONE
  • 00:15:18.230 --> 00:15:22.180
  • SIDE IS A SIGN, AND IT SAYS "THE SHACK" WITH AN ARROW
  • 00:15:22.200 --> 00:15:28.140
  • POINTING INTO THE WOODS.
  • 00:15:28.160 --> 00:15:30.240
  • HE SAID, "DWIGHT AND I ARE TWO AND-A-HALF
  • 00:15:30.260 --> 00:15:33.220
  • BLOCKS FROM HIS CABIN.
  • 00:15:33.240 --> 00:15:35.240
  • WE'RE OUT IN THE WOODS, AND WE RUN INTO THIS."
  • 00:15:35.260 --> 00:15:40.140
  • HE SAID, "THERE'S GOT TO BE ONE OF THE SITE LOCATIONS
  • 00:15:40.160 --> 00:15:42.090
  • RIGHT NEAR HERE." I THOUGHT, WOW.
  • 00:15:42.110 --> 00:15:45.160
  • NOW, I HAVE THIS LITTLE SAYING, "COINCIDENCE HAS A
  • 00:15:45.180 --> 00:15:49.130
  • NAME" BECAUSE I DON'T BELIEVE IN CHANCE AND LUCK
  • 00:15:49.150 --> 00:15:52.190
  • AND FATE AND KARMA AND ALL OF THAT STUFF.
  • 00:15:52.210 --> 00:15:54.220
  • I THINK COINCIDENCE HAS A NAME, THAT IS THAT GOD IS
  • 00:15:54.240 --> 00:15:58.120
  • INVOLVED IN THE DETAILS OF OUR LIVES.
  • 00:15:58.140 --> 00:16:01.020
  • SO I THOUGHT, WELL, THAT'S PRETTY COOL.
  • 00:16:01.040 --> 00:16:03.140
  • AND THEN BRAD FINISHES HIS E-MAIL, "I THINK IT WOULD BE
  • 00:16:03.160 --> 00:16:08.240
  • A GREAT IDEA IF THERE'S ANY WAY FOR TO YOU MEET DWIGHT
  • 00:16:08.260 --> 00:16:12.000
  • AND LAURIE BECAUSE THE BOOK HAS HAD A GREAT
  • 00:16:12.020 --> 00:16:14.070
  • IMPACT ON THEM.
  • 00:16:14.090 --> 00:16:15.240
  • THREE YEARS AGO, THE YOUNGEST OF THEIR FIVE
  • 00:16:15.260 --> 00:16:19.130
  • DAUGHTERS, 15 YEARS OLD, MADE THE CHOICE TO GIVE
  • 00:16:19.150 --> 00:16:24.290
  • HER LIFE BACK TO GOD BY HER OWN HAND."
  • 00:16:25.010 --> 00:16:31.110
  • SHE HAD COMMITTED SUICIDE IN THE MIDDLE OF THE WOODS,
  • 00:16:31.130 --> 00:16:34.240
  • AND THEY'RE STUCK.
  • 00:16:34.260 --> 00:16:37.150
  • NOW, THOSE OF YOU WHO HAVE LOST A CHILD,
  • 00:16:37.170 --> 00:16:39.200
  • YOU KNOW STUCK, RIGHT?
  • 00:16:39.220 --> 00:16:43.170
  • WHERE EVERYTHING BECOMES GRAY, AND IT SEEMS LIKE THE
  • 00:16:43.190 --> 00:16:47.000
  • WAVES COME THROUGH BETWEEN NUMBNESS AND THIS RIPPING,
  • 00:16:47.020 --> 00:16:51.260
  • RENDING EMOTIONS, AND THEY WERE STUCK.
  • 00:16:51.280 --> 00:16:55.100
  • BRAD SAYS, "DWIGHT THINKS THAT IF HE COULD READ "THE
  • 00:16:55.120 --> 00:16:59.100
  • SHACK" AGAIN, IT WOULD HELP, BUT HE CAN'T
  • 00:16:59.120 --> 00:17:01.220
  • GET PAST CHAPTER ONE.
  • 00:17:01.240 --> 00:17:04.060
  • AND LAURIE, SHE'S JUST FURIOUS."
  • 00:17:04.080 --> 00:17:06.240
  • LATER, I WAS TO FIND OUT THAT LAURIE DIDN'T
  • 00:17:06.260 --> 00:17:09.220
  • WANT TO MEET ME.
  • 00:17:09.240 --> 00:17:12.090
  • IT WAS JUST TOO TENDER AND TOO PAINFUL.
  • 00:17:12.110 --> 00:17:14.230
  • IN FACT, IT WAS HER THERAPIST WHO ENCOURAGED HER
  • 00:17:14.250 --> 00:17:18.210
  • TO BE OPEN TO THIS SAYING, YOU KNOW, THERE JUST MIGHT
  • 00:17:18.230 --> 00:17:21.280
  • BE SOMETHING IN THIS.
  • 00:17:22.000 --> 00:17:24.050
  • LIKE, WHAT ARE THE ODDS, RIGHT?
  • 00:17:24.070 --> 00:17:26.030
  • SO I SAID, "HEY, BRAD, IF THERE'S ANY WAY WE CAN DO
  • 00:17:26.050 --> 00:17:31.180
  • THIS, I WOULD LOVE TO SPEND SOME TIME."
  • 00:17:31.200 --> 00:17:33.260
  • HE SAID, "LOOK, I DON'T KNOW WHERE YOUR SITE
  • 00:17:33.280 --> 00:17:36.100
  • LOCATION IS, BUT WE'LL FIGURE IT OUT A WAY."
  • 00:17:36.120 --> 00:17:39.130
  • I SAID, "GREAT." SO WEDNESDAY, I FLEW UP THERE.
  • 00:17:39.150 --> 00:17:41.110
  • BRAD MET ME, PICKED ME UP.
  • 00:17:41.130 --> 00:17:43.000
  • WE HAD LUNCH TOGETHER.
  • 00:17:43.020 --> 00:17:44.250
  • IT WAS LIKE MEETING A BROTHER FROM ANOTHER MOTHER.
  • 00:17:44.270 --> 00:17:47.140
  • AT 11:30 THAT NIGHT, I GET THE CALL SHEET.
  • 00:17:47.160 --> 00:17:49.270
  • GUESS WHERE WE'RE SHOOTING?
  • 00:17:49.290 --> 00:17:52.030
  • CULTUS LAKE, TWO AND-A-HALF BLOCKS AWAY FROM WHERE
  • 00:17:52.050 --> 00:17:56.230
  • DWIGHT AND LAURIE'S SUMMER CABIN IS.
  • 00:17:56.250 --> 00:18:00.120
  • WHAT ARE THE ODDS, RIGHT?
  • 00:18:00.140 --> 00:18:02.050
  • COINCIDENCE HAS A NAME.
  • 00:18:02.070 --> 00:18:03.210
  • [INSTRUMENTAL MUSIC]
  • 00:18:03.230 --> 00:18:15.030
  • [INSTRUMENTAL MUSIC]
  • 00:18:15.030 --> 00:18:22.130
  • - NOW, WHEN I HAD GOTTEN THAT ORIGINAL E-MAIL FROM
  • 00:18:22.150 --> 00:18:24.250
  • BRAD, I TURNED IT AROUND, AND I SENT IT TO GIL NETTER,
  • 00:18:24.270 --> 00:18:29.220
  • THE PRODUCER OF THE MOVIE, AND STUART HAZELDINE, THE DIRECTOR.
  • 00:18:29.240 --> 00:18:34.290
  • AND GIL NETTER'S WIFE, LANI, IS A SHACK EVANGELIST, AND I
  • 00:18:35.010 --> 00:18:39.280
  • SAID TO THEM, "HERE'S THE KIND OF STORY THAT
  • 00:18:40.000 --> 00:18:45.030
  • IS BEHIND THIS BOOK.
  • 00:18:45.050 --> 00:18:47.050
  • THIS IS THE KIND OF HOLY GROUND THAT YOU'RE WALKING
  • 00:18:47.070 --> 00:18:50.250
  • ON MAKING THIS MOVIE.
  • 00:18:50.270 --> 00:18:52.150
  • AND HERE IS ANOTHER ONE."
  • 00:18:52.170 --> 00:18:54.260
  • AND I HAD GIVEN THEM A COPY OF THIS E-MAIL.
  • 00:18:54.280 --> 00:18:57.260
  • SO THEY WERE AWARE OF THIS STORY WHEN I CAME
  • 00:18:57.280 --> 00:19:01.080
  • ON TO THE SET.
  • 00:19:01.100 --> 00:19:05.040
  • I KNEW I WAS TWO AND-A-HALF BLOCKS AWAY, AND I'M TEXTING
  • 00:19:05.060 --> 00:19:06.280
  • WITH BRAD ON PHONE.
  • 00:19:07.000 --> 00:19:08.280
  • AND I SAID, "HOLD ON A SECOND.
  • 00:19:09.000 --> 00:19:10.200
  • I NEED TO ASK SOMEBODY A QUESTION."
  • 00:19:10.220 --> 00:19:12.060
  • SO I WALK OVER TO GIL AND STUART AND LANI, AND I SAID,
  • 00:19:12.080 --> 00:19:16.130
  • "IS THERE ANY WAY THAT FOUR OF MY FRIENDS COULD COME ON
  • 00:19:16.150 --> 00:19:22.020
  • SET AND SPEND THE DAY WITH US?"
  • 00:19:22.040 --> 00:19:27.050
  • AND NOT ONLY DID THEY SAY YES, THEY SAID, ABSOLUTELY,
  • 00:19:27.070 --> 00:19:31.210
  • AND OVERWHELMINGLY OPENED THEIR ARMS TO MY FOUR FRIENDS.
  • 00:19:31.230 --> 00:19:35.270
  • 20 MINUTES LATER, DOWN THE WATER FRONT COMES BRAD,
  • 00:19:35.290 --> 00:19:40.180
  • EDEN, DWIGHT, AND LAURIE, AND THEY WERE ABSOLUTELY
  • 00:19:40.200 --> 00:19:43.240
  • ENGULFED IN THIS COMMUNITY THAT IS MAKE THING FILM.
  • 00:19:43.260 --> 00:19:47.050
  • ONE OF THE REASONS THAT THEY WANTED ME TO COME THAT DAY
  • 00:19:47.070 --> 00:19:50.000
  • TO THAT SITE IS THAT'S WHERE THEY HAD BUILT "THE SHACK"
  • 00:19:50.020 --> 00:19:55.170
  • ITSELF, THE WHOLE BUILDING, AND THEY ACTUALLY BUILT IT
  • 00:19:55.190 --> 00:19:59.110
  • THREE DIFFERENT TIMES ON THE SAME SPOT.
  • 00:19:59.130 --> 00:20:01.260
  • HERE IS THE SCENE, AND YOU HAVE TO UNDERSTAND THE
  • 00:20:01.280 --> 00:20:07.070
  • SIGNIFICANCE OF THIS.
  • 00:20:07.090 --> 00:20:09.040
  • IN THE SHACK, MACKENZIE HAS ARRIVED.
  • 00:20:09.060 --> 00:20:13.260
  • HE DOESN'T UNDERSTAND WHAT'S GOING ON.
  • 00:20:13.280 --> 00:20:17.240
  • HE IS COMPLETELY DISORIENTED.
  • 00:20:17.260 --> 00:20:19.230
  • HE SPENDS HIS FIRST NIGHT IN THIS TRANSFORMED PLACE WITH
  • 00:20:19.250 --> 00:20:24.070
  • THESE THREE PERSONS THAT HE DOESN'T UNDERSTAND, BUT HE
  • 00:20:24.090 --> 00:20:27.240
  • THINKS, AND THEY CLAIM TO BE, GOD.
  • 00:20:27.260 --> 00:20:33.050
  • WELL, HE HAS A NIGHTMARE THAT NIGHT, A COMMON ONE
  • 00:20:33.070 --> 00:20:38.080
  • THAT HE'S HAD SINCE MISSY WAS ABDUCTED.
  • 00:20:38.100 --> 00:20:40.210
  • AND IT TERRIFIES HIM, AND IT EXHAUSTS HIM, AND IN THE
  • 00:20:40.230 --> 00:20:47.110
  • MORNING, HE COMES OUT ON TO THE DECK, THE PORCH,
  • 00:20:47.130 --> 00:20:49.230
  • LOOKING DISORIENTED AND ANGRY.
  • 00:20:49.250 --> 00:20:54.130
  • AND PAPA, PAPA GOD, THIS LARGE AFRICAN AMERICAN
  • 00:20:54.150 --> 00:20:58.080
  • WOMAN, HAS GOT BREAKFAST WAITING FOR HIM, AND SHE'S
  • 00:20:58.100 --> 00:21:02.150
  • SINGING AND TALKING TO MACKENZIE, AND HE GOES AND
  • 00:21:02.170 --> 00:21:08.170
  • SITS DOWN AND FOLDS HIS ARMS, AND YOU CAN SEE THE
  • 00:21:08.190 --> 00:21:11.190
  • ANGER JUST BURIED INSIDE THAT HE IS KEEPING CONTAINED.
  • 00:21:11.210 --> 00:21:19.130
  • WHEN YOU SHOOT A MOVIE, YOU OFTEN TIMES SHOOT IT
  • 00:21:19.150 --> 00:21:21.200
  • MULTIPLE TIMES SO THAT YOU GET DIFFERENT CAMERA ANGLES.
  • 00:21:21.220 --> 00:21:24.040
  • THE ACTORS HAVE AN OPPORTUNITY TO SAY IT
  • 00:21:24.060 --> 00:21:26.090
  • DIFFERENT WAYS, DIFFERENT INFLECTIONS, AND SOMETIMES
  • 00:21:26.110 --> 00:21:29.190
  • IT'S A DOZEN, FIFTEEN TIMES.
  • 00:21:29.210 --> 00:21:31.260
  • SO WE'RE SITTING THERE WATCHING THIS SCENE WITH
  • 00:21:31.280 --> 00:21:34.000
  • HEADPHONES ON LOOKING AT THE MONITORS.
  • 00:21:34.020 --> 00:21:37.130
  • PAPA'S TALKING TO MACKENZIE AND SAYS, "YOU KNOW,
  • 00:21:37.150 --> 00:21:41.070
  • MACKENZIE, ONE OF THE FLAWS IN YOUR THINKING IS YOU
  • 00:21:41.090 --> 00:21:48.110
  • DON'T BELIEVE THAT I'M GOOD, AND UNTIL YOU BELIEVE THAT
  • 00:21:48.130 --> 00:21:53.160
  • I'M GOOD, YOU ARE NEVER GOING TO BE ABLE TO TRUST ME."
  • 00:21:53.180 --> 00:22:00.130
  • AND MACK LOOKS AT HER WITH THIS ABSOLUTE FURY IN HIS
  • 00:22:00.150 --> 00:22:05.090
  • EYES, AND HE SAYS THESE WORDS, "WHY WOULD I EVER
  • 00:22:05.110 --> 00:22:09.040
  • TRUST YOU? MY DAUGHTER IS DEAD."
  • 00:22:09.060 --> 00:22:19.130
  • AND I KIND OF TAKE A DEEP BREATH, AND I GLANCE OVER TO
  • 00:22:19.150 --> 00:22:23.230
  • LAURIE AND DWIGHT, AND TEARS ARE ROLLING...
  • 00:22:23.250 --> 00:22:29.270
  • DOWN THEIR FACE. WHY WOULD I EVER TRUST YOU?
  • 00:22:29.290 --> 00:22:35.220
  • MY DAUGHTER IS DEAD.
  • 00:22:35.240 --> 00:22:39.110
  • AND WE WATCH IT AGAIN, AND WE WATCH IT AGAIN,
  • 00:22:39.130 --> 00:22:43.270
  • AND WE WATCH IT AGAIN.
  • 00:22:43.290 --> 00:22:47.290
  • A DOZEN TIMES, WE SEE THE FURY, AND WE HEAR PAPA SAY,
  • 00:22:48.010 --> 00:22:51.280
  • "UNTIL YOU BELIEVE THAT I'M GOOD, YOU'RE NEVER GOING TO
  • 00:22:52.000 --> 00:22:53.230
  • BE ABLE TO TRUST ME."
  • 00:22:53.250 --> 00:22:55.150
  • AND MACK SAY, "WHY WOULD I EVER TRUST YOU?
  • 00:22:55.170 --> 00:22:57.270
  • MY DAUGHTER IS DEAD."
  • 00:22:57.290 --> 00:23:02.200
  • WE BREAK FOR LUNCH, AND OCTAVIA SPENCER, WHO IS
  • 00:23:02.220 --> 00:23:06.120
  • PAPA, COMES, AND THEY GET EMBRACED IN THIS ENGULFING
  • 00:23:06.140 --> 00:23:10.210
  • LOVE OF THE FATHER GOD, AND THEY GET HUGGED BY JESUS, AN
  • 00:23:10.230 --> 00:23:17.130
  • ACTOR FROM TEL AVIV NAMED AVIV ALUSH, AND SUMIRE WHO
  • 00:23:17.150 --> 00:23:21.190
  • IS THE HOLY SPIRIT WHO'S JAPANESE/HAWAIIAN.
  • 00:23:21.210 --> 00:23:25.270
  • I MEAN, THINK ABOUT THIS, TO ME, TIMING IS WHERE THE
  • 00:23:25.290 --> 00:23:28.240
  • MIRACULOUS HAPPENS.
  • 00:23:28.260 --> 00:23:30.220
  • TIMING IS THE SANDBOX OF THE HOLY SPIRIT.
  • 00:23:30.240 --> 00:23:33.090
  • LOOK AT THE DETAILS THAT HAD TO BE IN PLACE.
  • 00:23:33.110 --> 00:23:35.270
  • I HAD TO GET AN INVITATION, THE SECOND TIME BACK
  • 00:23:35.290 --> 00:23:39.170
  • TO THE SET.
  • 00:23:39.190 --> 00:23:41.050
  • I HAD TO GET THIS NUDGE TO SEE IF BRAD WAS EVEN IN THE
  • 00:23:41.070 --> 00:23:44.050
  • COUNTRY AND SEE IF THERE WAS A POSSIBILITY OF MEETING HIM
  • 00:23:44.070 --> 00:23:46.140
  • FACE-TO-FACE. BRAD HAD TO BE AVAILABLE.
  • 00:23:46.160 --> 00:23:50.100
  • OH, AND BY THE WAY, THEY'RE SPENDING A COUPLE OF DAYS UP
  • 00:23:50.120 --> 00:23:53.160
  • AT THIS LITTLE CABIN UP IN THE WOOD THAT HAPPENS TO BE
  • 00:23:53.180 --> 00:23:56.130
  • TWO-AND-A-HALF BLOCKS AWAY FROM THE SITE THAT THEY'RE
  • 00:23:56.150 --> 00:23:59.170
  • SHOOTING, AND THIS IS THE SCENE THAT THEY'RE SHOOTING
  • 00:23:59.190 --> 00:24:02.210
  • THAT DAY WHEN WE'RE THERE.
  • 00:24:02.230 --> 00:24:05.020
  • GOD IS GOOD ALL THE TIME, AND GOD IS INVOLVED IN THE
  • 00:24:05.040 --> 00:24:09.150
  • DETAILS OF OUR LIVES.
  • 00:24:09.170 --> 00:24:14.070
  • GOD IS PRESENT, NOT IN A WAY TO COERCE OR TO CONTROL.
  • 00:24:14.090 --> 00:24:18.280
  • GOD IS PRESENT TO BE WITH US IN THE MIDST OF WHAT WE AND
  • 00:24:19.000 --> 00:24:24.290
  • OTHERS HAVE BROUGHT TO THE TABLE.
  • 00:24:25.010 --> 00:24:27.170
  • BY THE END OF THAT DAY, THEY HUGGED ME, AND THEY SAID,
  • 00:24:27.190 --> 00:24:33.030
  • "THIS HAS BEEN THE GRACE OF GOD."
  • 00:24:33.050 --> 00:24:38.200
  • AND IT GOT THEM UNSTUCK, AT LEAST GOT THEM TO BE ABLE
  • 00:24:38.220 --> 00:24:43.060
  • TO TAKE THE NEXT STEPS THROUGH THEIR GRIEF.
  • 00:24:43.080 --> 00:24:47.040
  • AND I'M IN CONSTANT CONTACT WITH THEM.
  • 00:24:47.060 --> 00:24:48.220
  • THEY'VE BECOME MY FRIENDS.
  • 00:24:48.240 --> 00:24:51.250
  • LAST LITTLE NOTE.
  • 00:24:51.270 --> 00:24:54.130
  • MY SON IS ABOUT TO GRADUATE WITH A
  • 00:24:54.150 --> 00:24:56.170
  • PhD IN STATISTICS. YEAH, RIGHT?
  • 00:24:56.190 --> 00:25:00.130
  • SO I WAS ASKING HIM ONE DAY, TELLING HIM THIS STORY AND
  • 00:25:00.150 --> 00:25:04.140
  • SAID, "HEY, CHAD, WHAT ARE THE CHANCES OF THIS?"
  • 00:25:04.160 --> 00:25:09.010
  • AND HE LAUGHS, AND HE LOOKS TO ME,
  • 00:25:09.030 --> 00:25:11.270
  • AND HE SAYS, "DAD, 100%."
  • 00:25:11.290 --> 00:25:19.060
  • AND I LAUGHED BECAUSE HE'S RIGHT. CHANCES OF THIS? 100%.
  • 00:25:19.080 --> 00:25:27.170
  • [INSTRUMENTAL MUSIC]
  • 00:25:27.190 --> 00:25:32.140
  • - WHEN I AM FEELING OVERWHELMED, IT'S USUALLY
  • 00:25:32.160 --> 00:25:35.260
  • IMPORTANT TO SIMPLIFY, THAT IS TO TAKE THE WHOLE
  • 00:25:35.280 --> 00:25:39.130
  • UNIVERSE AND REDUCE IT DOWN TO TODAY AND WHAT'S
  • 00:25:39.150 --> 00:25:42.150
  • RIGHT IN FRONT OF ME.
  • 00:25:42.170 --> 00:25:44.130
  • MOTHER TERESA WAS ASKED ONE TIME, "YOU SEE ALL THE HURT
  • 00:25:44.150 --> 00:25:48.210
  • IN THE WORLD.
  • 00:25:48.230 --> 00:25:50.150
  • HOW DO YOU DEAL WITH IT?"
  • 00:25:50.170 --> 00:25:52.220
  • AND SHE SMILED AND SAID, "I DO WHAT'S IN FRONT OF ME."
  • 00:25:52.240 --> 00:25:56.160
  • SO MY QUESTION FOR YOU IS CAN YOU TAKE YOUR WHOLE
  • 00:25:56.180 --> 00:25:59.160
  • WORLD AND ALL OF ITS COMPLEXITY AND UNCERTAINTY,
  • 00:25:59.180 --> 00:26:01.190
  • PUT IT IN YOUR HANDS FOR JUST TODAY, GIVE
  • 00:26:01.210 --> 00:26:05.190
  • IT TO GOD? SIMPLIFY.
  • 00:26:05.210 --> 00:26:08.180
  • JUST FOR THE GRACE OF THIS ONE DAY.
  • 00:26:08.200 --> 00:26:13.050
  • TOMORROW, YOU MAY HAVE TO DO IT AGAIN.
  • 00:26:13.070 --> 00:26:15.290
  • WE'LL TALK ABOUT THAT NEXT TIME.
  • 00:26:16.010 --> 00:26:18.190
  • THANKS.
  • 00:26:18.210 --> 00:26:20.230
  • 00:26:20.250 --> 00:26:34.090
  • 00:26:34.090 --> 00:26:47.090
  • 00:26:47.090 --> 00:26:52.290
  • 00:26:52.290 --> 00:27:00.140