Angels filmmaker: films can be positive, entertaining

There are those who feel the current wave of Mormon filmmaking has run its course — that as a form of cinema, it's become stale, stagnant and irrelevant.

But Christian Vuissa begs to differ. The writer/ director and founder of the LDS Film Festival says he believes that some of his fellow filmmakers are "lost sheep" who have "simply lost their way."

According to Vuissa, some of these filmmakers do well to remember the lessons of those who came before them. He added they should be producing feature-length works that will "better serve our audience."

"You cannot talk down to your viewers," he explained. "You have to believe that we are intelligent and that we can make up our own minds about matters of faith and religion. And you have to be honest."

The 38-year-old is even putting his money where his mouth is: His new film, "The Errand of Angels," a dramatic feature, opens in local theaters today.

"Errand" follows Rachel Taylor (television and voice actress Erin Chambers), a sister missionary for The Church of Jesus Christ of Latter-day Saints, who finds her faith and her patience tested by trying circumstances in Austria, as well as with disagreeable mission companions.

The movie is based on some of the mission experiences of first-time writer Heidi Johnson. She came to the Austrian-born Vuissa with stories she was trying to organize and compile. He was helping produce a comedy, "Pirates of the Great Salt Lake," at the time but saw a lot of potential in Johnson's work.

"She came to me with these great tales of her mission exploits," he recalled, saying that he eventually saw that as a way to return to filmmaking.

"I just had to make sure that it wasn't episodic, that it wasn't just a series of scenes with no real direction," Vuissa said. "Once I got a handle on that, we were ready to go."

Vuissa and his 10-person crew shot the film in Austria in just 15 days and for "considerably less than $1 million." Needless to say, there were quite a few challenges.

"It was nerve-wracking and seat-of-our-pants filmmaking," he said. "We had just days to cast some of our bigger supporting roles. And very few of us spoke (Austrian German)."

Worse, he and cinematographer Brian Wilcox "were renting lighting and other equipment the day before the shoot was supposed to begin. We had no time to even do blocking or plan our shooting schedule," he said.