{"id":9963,"date":"2005-07-29T02:18:47","date_gmt":"2005-07-29T02:18:47","guid":{"rendered":"http:\/\/production.ou.org\/life\/other\/confessions_of_a_hollywood_marrano\/"},"modified":"2015-10-21T07:52:48","modified_gmt":"2015-10-21T12:52:48","slug":"confessions_of_a_hollywood_marrano","status":"publish","type":"post","link":"https:\/\/www.ou.org\/life\/inspiration\/confessions_of_a_hollywood_marrano\/","title":{"rendered":"Confessions of a Hollywood Marrano"},"content":{"rendered":"

From\u00a0the pages of Jewish Action – Spring 2002<\/strong><\/p>\n

“I hear you have some special diet,” he said.Several years ago, I arrived on location for a film\u00a0shoot in North Carolina. As I settled into my office, there was a knock at\u00a0the door and I looked up to see a long-haired, tattooed, tough-looking\u00a0young man who introduced himself as McCluskie.*<\/p>\n

“Yes,” I said, wondering\u00a0what his interest could be in the matter. He held out his hand.<\/p>\n

“I’m the caterer.”<\/p>\n

Silenced, all I could do was take his hand and\u00a0think, “Boy, this is going to be good…<\/p>\n

I told McCluskie that I\u00a0kept kosher and though he’d heard the term, he said he wasn’t familiar\u00a0with its details and invited me to his catering truck to show him what I\u00a0could and couldn’t eat. In the truck, he took\u00a0out a notepad and scribbled as I went through his inventory, showing him\u00a0certification symbols and explaining my\u00a0preparation needs. He didn’t say much that day, other than registering\u00a0surprise that fully one-half to two-thirds of the products he regularly\u00a0used were kosher without his ever knowing it.<\/p>\n

A few days later, he approached me on the set and\u00a0asked if we could talk. We stepped aside, and as we sat down outside his truck I prepared for what I was sure was going to\u00a0be a grievance about the difficulties of kashrut.<\/p>\n

“What’s the difference,” McCluskie began, “between\u00a0an O-U, and an O-K?”<\/p>\n

I was caught off guard by the question, and\u00a0explained what I knew about the two agencies. McCluskie\u00a0listened intently, then continued with a battery of other\u00a0questions, and I quickly regretted my early misjudgment of him. He had a keen and thoughtful mind, and as we spoke a
\nlot over the next month, our conversations\u00a0migrated from kashrut to more general considerations of Judaism. McCluskie\u00a0said his own religion (which he didn’t practice)\u00a0had never made any sense to him, and he was intrigued by the\u00a0consistency and meaning in what I had told him about Judaism. He\u00a0wasn’t interested in converting, but did go so\u00a0far as to pick up some books from a local store and return with\u00a0increasingly perceptive questions and insights.<\/p>\n

On the last night of the shoot, we ran particularly\u00a0late, but at about 3:00 AM, McCluskie was\u00a0intent on serving the celebration he had prepared. As the crew flooded\u00a0into the food tent, I\u00a0sat\u00a0packing up my things and McCluskie came over. “Come on,” he said. “You’re\u00a0going to miss the party.”<\/p>\n

I told him thanks, but I just wanted to get to bed.<\/p>\n

“There’s great food, stuff you can\u00a0eat, too…”<\/p>\n

“Really, I’m wiped…”<\/p>\n

Just then a teamster walked by, stuffing his face\u00a0from a dessert plate.<\/p>\n

“McCluskie,” he called, “Awesome\u00a0cheesecake!”<\/p>\n

McCluskie smiled and waved his\u00a0thanks, then turned to me.\u00a0“Star-K,” he\u00a0winked, “Rabbi Heinemann.”<\/p>\n

McCluskie taught me a lot.\u00a0As a writer working alone, the complications of keeping mitzvot do not\u00a0generally rear their head until a project goes into production. While\u00a0writing, your hours are your own, and nobody\u00a0cares or even has to know what days you did or didn’t work, as long as the\u00a0script comes in as ordered. Your ardent hope\u00a0during this time is that the project will go into production (it’s rarely\u00a0guaranteed), but when that “green light” finally comes, it brings\u00a0with it a new, and often daunting, set of work\u00a0conditions. You no longer sit alone in a room with a computer. You now\u00a0interact constantly with a director, producers,\u00a0prop people, costumers and the myriad others it takes to make a movie, all\u00a0of whom usually work long hours, seven days a\u00a0week to make it happen. Like it or not, as an observant\u00a0Jew, you are about to be “outed.”<\/p>\n

My own experience, and the experience of most of my\u00a0colleagues, has been to postpone this inevitable\u00a0exposure as long as possible, to exist as a type of Hollywood\u00a0Marrano, tzitzit under t-shirt, making baseball-capped brachot and\u00a0mysterious disappearances for Mincha. The\u00a0entertainment industry is competitive enough without offering extra cannon\u00a0fire to the arsenal of potential rejecters. “We\u00a0like him, but he can’t work on Saturdays” are not words you want your agent to hear.<\/p>\n

He saw I wasn’t joking,\u00a0and was quickly adamant that my renting a car to leave the set early was\u00a0absolutely out of the question. As I\u00a0stared at him in disbelief and braced for combat, he countered that if\u00a0anyone was going to rent me a car, it would be\u00a0the company. He calculated, in fact, that my situation would actually help\u00a0him. He had business to take care of in the city, and\u00a0could now come out later in the morning in the\u00a0rental car, which I could then drive back before Shabbat. Needless\u00a0to say, I was both surprised and overwhelmed by the support, and even more\u00a0so at two o’clock that afternoon when, an hour before I\u00a0expected to leave myself, the producer started agitating to get me\u00a0off the barge and back to the city in time for candle lighting. I can’t\u00a0say he showed the same interest in Judaism as McCluskie did, but he was intrigued by the concept of someone other than his late grandfather\u00a0keeping Shabbat. On several occasions afterward, he avowed how “healthy” he thought Shabbat sounded, and how much he\u00a0admired anyone who “had it in him” to keep it.On my first movie ordered for production, I was\u00a0summoned to Vancouver, British Columbia, during Chol HaMoed Sukkot. A\u00a0lengthy set of revisions helped me finesse Shemini Atzeret and Simchat\u00a0Torah during pre-production (I worked round the clock both before and\u00a0after), but the first erev Shabbat of actual\u00a0shooting was scheduled to take place on a barge off a remote stretch of\u00a0coast an hour north of the city. The weather was terrible – water\u00a0scenes are always difficult – and the director\u00a0said he categorically needed me there for on-the-spot script revisions.\u00a0The shoot wouldn’t end until an hour after\u00a0candle lighting and I was informed that the only transportation back to\u00a0the city was the single run of the crew bus.\u00a0This was my first shoot and so far everything had been going\u00a0magnificently. I didn’t want to upset that, so I simply avoided the issue\u00a0until the last possible moment. At five o’clock\u00a0Friday morning, as we were all loading onto the bus to head to the\u00a0location, I said to the one Jewish producer as nonchalantly as I could, “Now how’s this going to work? I need to be back for Shabbat.” He looked at me as if I were\u00a0joking. “It’s at four-thirty,” I said. “Maybe I should rent a car.”<\/p>\n

On a different project, so deferential was another\u00a0producer that when I was repeatedly trying to get hold of her for several days in a row and began to think she was\u00a0avoiding my calls, she explained “Well, I know\u00a0you won’t talk on the phone or do business after sundown. That’s difficult\u00a0for us to work around, but I want you to know I think that’s really beautiful.”<\/p>\n

“Sundown Friday,” I had to explain.<\/p>\n

The three encounters were as instructive as they\u00a0were surprising. Together, they turned out to be highlights in a series of\u00a0events culminating in the humbling recognition that I had, in fact, been placed on that North Carolina film set\u00a0specifically for McCluskie, and on that barge in\u00a0Vancouver, and at every other milepost of my career, for others like him.<\/p>\n

As Jews, like it or not, we are all born into a\u00a0specific profession, one primary job that we share with\u00a0equal and awesome responsibility: that of kiddush Hashem of\u00a0sanctifying God’s name. I am indebted to Rabbi\u00a0Elazar Muskin of Los Angeles for pointing out, in the name of the father
\nof Chief Rabbi Lau, the special universality of\u00a0this mitzvah: it is the only place in the entire Mishneh Torah where the\u00a0Rambam uses the language kol beit Yisrael, “the\u00a0entire house of Israel” for whom the mitzvah applies to. The\u00a0unique language is taken to refer to the conduct of every Jewish\u00a0man, woman and child, twenty- four\/seven.<\/p>\n

Within the Orthodox community, misperceptions about\u00a0the entertainment industry abound. One is that\u00a0the industry in general and television in particular have a specific agenda to promulgate\u00a0values that are anti-Torah. When I was in film\u00a0school in the mid-1980s, the then-head of programming at one of the\u00a0networks came to guest-lecture to us. His first words were that he didn’t\u00a0want us to be under any misapprehensions:\u00a0“Commercial television,” he said, “is about filling the blanks between\u00a0commercials so that viewers will stay to watch
\nthose commercials.” Like any other business, television has no\u00a0agenda other than making money. It operates on the simple principle\u00a0of supply and demand, and the networks and\u00a0advertisers have extremely sophisticated research departments that\u00a0monitor, with frightening accuracy, what viewers want at every half-hour\u00a0of every day. At the moment, that determination\u00a0includes a great deal of violence, sex and broad humor. Next year, if by\u00a0some miracle it is found to include dramatizations of the Chidushei HaRitva, believe me, that is what we will see.<\/p>\n

Observant Jews who work in entertainment are often\u00a0asked why we can’t do better stories, more uplifting stories that espouse Torah values. The current reality is simply\u00a0that the audience for them is limited. The\u00a0problem is on the demand end, not the supply, and the implications of that\u00a0are particularly sobering for Jews. We must ask if those of us\u00a0who proudly and publicly (and easily) rid our homes of the\u00a0supplier are not turning our backs on our more difficult\u00a0responsibilities with the demander. If Klal Yisrael were effectively\u00a0doing its job as mekadshei Hashem,
\nas the true or l’goyim we are intended to\u00a0be, then it is axiomatic that we could expect the sea change we would\u00a0like in the demand for programming.<\/p>\n

The response, however, to\u00a0television, the Internet and most other things secular has been a growing\u00a0insularity, an us-and-them mentality that reflects a tacit\u00a0insecurity that what we have (i.e., the life of Torah) might not be as attractive to our children as what they have.\u00a0Beyond an obvious failure at education, this\u00a0breeds, at its worst, a homogenization that stifles the very tools Hashem\u00a0has given us to sanctify Him. With Jacob’s\u00a0blessings of the tribes in Parshat Vayechi, the Torah goes out of its way\u00a0to delineate the diversity of the Jewish People. Each tribe has a unique\u00a0character and set of skills that defines it.\u00a0Later, in Parshat Naso, it is precisely by capitalizing on these\u00a0different traits that the princes of each tribe\u00a0arrive at offerings of exactly equal content and value to celebrate the sanctification of the Mishkan. The message is clearly that it is the very expression of these differences that\u00a0makes us equally valid and integral parts of a\u00a0united whole.<\/p>\n

No one serious about Judaism can downplay the\u00a0importance of a constant and rigorous learning schedule, but it is absurd\u00a0to think that we are all suited to be Torah\u00a0scholars any more than we are all suited\u00a0to be carpenters or brain surgeons or fishermen. The lesson from Naso is,
\nin fact, the opposite: that the truest and\u00a0most effective means of completing our mission of kiddush Hashem is\u00a0through identifying and using the specific talents and characteristics that Hashem has given\u00a0us.<\/p>\n

Some of us are Torah scholars; others are brain\u00a0surgeons and fishermen, and it is much more likely that the great kiddush Hashem of the fisherman will be done on the\u00a0ocean rather than in the operating room or beit\u00a0midrash. That is, after all, what the fisherman is there for.<\/p>\n

So too is it with art. If not biologically, then at least spiritually, the Jewish artist is the descendant of\u00a0Betzalel, whose talent was explicitly given to\u00a0him for the ultimate artistic kiddush Hashem, the design of the Mishkan.\u00a0Today, the Jewish artist is not necessarily the\u00a0creator of Jewish-themed art, but simply a Jew who creates art and is\u00a0therefore most likely to find his or her\u00a0greatest responsibilities and opportunities for kiddush Hashem somewhere in that world. My encounters with McCluskie and the\u00a0others in entertainment showed, if anything, as
\ndesperate a need there as anywhere else for exposure to the beauty of\u00a0Torah life. Ironically, it would, I believe, be\u00a0the waste of a powerful opportunity to avoid supplying that.<\/p>\n

This is in no way to suggest that\u00a0the spiritual perils of the entertainment business are no greater\u00a0than in any other profession. They are. Cliches\u00a0about Hollywood are cliches because they’re true. Temptations abound, and\u00a0constant consultation with a halachic authority
\nis absolutely necessary for survival. Religious Hollywood hopefuls\u00a0in search of what Rabbi Yitzchok Adlerstein calls “fame, fortune
\nand frumkeit all wrapped up in one” will be\u00a0disappointed. History shows the over-whelming likelihood of losing the\u00a0latter in search of the former two. I can by no\u00a0stretch of the imagination hold myself out as a model of Torah observance,\u00a0and I don’t know what’s become of McCluskie\u00a0since I last saw him, but I do know three things – 1) his first real\u00a0encounter with Judaism was a positive one 2) somewhere down the\u00a0line what he and I shared will be put to some\u00a0greater use that I will probably never know about, and 3) I am forever\u00a0grateful to have had the opportunity to shake his hand.<\/p>\n

* Not his real name, but in the spirit.<\/p>\n

Brian Ross received an M.A. in English and\u00a0Creative Writing from the University of Windsor, and\u00a0completed an M.F.A. in Screenwriting at the UCLA film school. He\u00a0has written for all the major networks, as well\u00a0as basic cable and first-run syndication. His credits span genres from\u00a0period docu-drama to contemporary thriller, and\u00a0include the acclaimed CBS miniseries “Gone in the Night” and Lifetime’s\u00a0“Against Her Will: The Carrie Buck Story.” Brian lives in Los\u00a0Angeles with his wife, Susan and new\u00a0\u00a0daughter\u00a0Cohava.<\/em><\/p>\n

To subscribe to\u00a0Jewish Action,\u00a0click\u00a0here<\/a>.<\/strong><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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