Hollywood says there’s no future for family films - here’s why they’re wrong

Glenn’s made no secret of his love for the new movie ‘Little Boy’, a family film that shows how individuals can perform miracles through the power of faith. Leo Severino, producer of ‘Little Boy’, joined Glenn on radio to discuss the film and why people in Hollywood who say there is no room for family films are completely wrong.

Below is a rush transcript of this segment:

GLENN: I'm really excited about a new friend I made here the last couple of days. He's a guy who has started Metanoia Films and made the movie "Little Boy" and previously before that, "Bella" and is a like-minded thinker and a guy who is trying to change the culture from the inside. And you were with Twentieth Century Fox. Right? Flip up your mic. Leo Severino is with us now. Hi, Leo. You have to flip on that red button. Push it up. Or down.

LEO: There it is. Well, I have to say, first of all, what's up, my crackers? I'm Hispanic. No. My wife is Hispanic.

GLENN: Yeah, your wife is Hispanic. No. It's what's up my, cracka? We're not crackers.

LEO: You can call me your Wheat Thin.

STU: Julio, it's okay for us to say that to each other, but it's not okay for you.

GLENN: Yeah, you're Hispanic. It's totally fine for us.

LEO: As you can tell, I've been a fan of you guys so long. Pat, Stu, Glenn, as well.

GLENN: Notice he left out Jeffy.

LEO: Why do you have Jeffy standing? You can't even give him a chair or something?

GLENN: No. Can you imagine how big he'd be if we let him sit down?

PAT: Oh, my gosh. Plus, no chair could hold him.

GLENN: So, my Wheat Thin, so tell me, first of all, I want to get this movie stuff out of the way here. If I have recommended that you go see "Little Boy" -- this weekend is very important for you to see "Little Boy", if you haven't seen it. Because it probably won't be in the movie theaters for very much longer if you don't go see it. Had a good weekend. But it's open on limited screens. And all of the biggies are coming out here the next couple of weeks.

PAT: Ah.

GLENN: So this is the weekend to see "Little Boy."

PAT: Yeah, it's getting to be that time of year when they push the little ones out of the theaters.

LEO: That's it. David and Goliath time.

GLENN: And there are really great names in this movie. Kevin James, who I think is hysterical.

LEO: Greatest guy on the planet.

GLENN: You're friends with him. Right? What's he like?

LEO: He's fantastic. Hilarious. He's hilarious.

GLENN: I love him.

LEO: Not as funny as Stu, but hilarious.

STU: Wow. That's not going to help his career.

GLENN: Wow. That's really taking him down many, many notches.

LEO: By the way, completely kidding. The guy is hilarious. For real. If you ask me, Kevin James. Emily Watson.

JEFFY: That's fantastic.

LEO: Tom Wilkinson. It's an insanely good cast.

GLENN: It is.

LEO: We were blessed to have that caliber of people.

GLENN: This is the kind of movie that we've said -- have you guys seen it yet?

PAT: Not yet. I'll see it this weekend.

LEO: You're killing me. You have to see it this weekend.

GLENN: We've talked about this. This is the movie that Rotten Tomatoes, the critics gave it 10 percent.

PAT: That's unbelievable.

GLENN: And the audience has given it 88 percent.

PAT: I don't think I've ever seen a disparity between critics and people that wide.

LEO: I think the publicity team said we broke the records.

STU: Congratulations.

GLENN: So here's the thing. The reason it's like this is because it -- it showcases the -- the Frank Capra America. It has that idyllic peaceful, loving sweetness to it that we all love in Frank Capra movies. I think this is a modern day Frank Capra Walt Disney. Not what Walt Disney is now. I mean So Dear My Heart. His movies.

LEO: Back when she was ostracized as well.

GLENN: Right. People said it's all candy corns and sweetness and saccharine crap. That's what made those two guys.

LEO: You said something so wonderful, Glenn, when you said about this film. You said you want to believe in the America that we presented. This Norman Rockwell. We do too. That's why we make these films.

GLENN: I don't know if you know this. You're Hispanic, I don't know if you know this.

LEO: It's an odd thing. And the director. The director doesn't speak English. It's between English and Spanish. Somewhere in the middle. And he believes in that America too. Eduardo, you were gracious to have on the show. The three of us -- he is from Mexico. And he believes in that America too because the US has opened the doors for opportunity that we wouldn't have anywhere in the world.

GLENN: It's always the immigrants. It's always the immigrants that renew us.

LEO: This is our love letter in a sense to America.

PAT: I can't tell you how often we go through the list of movies that are open that weekend, and want to go with the family. And there's literally zero movies we can all go to as a family. It's great to actually have something that you can take the kids to and feel good about.

GLENN: We were talking off the stage yesterday that Leo and I were, that we've brought History House, which is -- you know, our kind of, you know, 30-minute television, kind of our ode to Walt Disney and what he did with the Wonderful World of Disney. And they're telling us now, there are no buyers for family television.

LEO: It's complete rubbish. It's absolute nonsense. When you down to the statistics of what actually sells. I actually brought some stuff. There's this great entity. It's called Movie Guide. MovieGuide.org. Ted Baehr is fantastic. He's been a voice screaming in the wilderness in Hollywood saying, sex doesn't sell. Nudity doesn't sell. Vulgarity doesn't sell. It's not just not the case. When you look at the combined averages of the films, for example, in 2013, his latest report, rated R films, films with graphic elements, accounted for about 11 percent of the combined average of the box office.

GLENN: Eleven.

LEO: Eleven. And they accounted for 47 percent of the films being distributed, en masse. So the diplomatic way of saying this is, you know, the supply is not measurable to the demand out there. It's disproportionate to the amount of the demand. Really what it means is that there's something more than the profit motive going on.

PAT: It means there's an agenda.

LEO: If they wanted to make money, you would just make family -- you're doubling the audience. It's pure economics.

PAT: Wow.

GLENN: You worked at Twentieth Century Fox. I don't want to single them out. Because Hollywood is Hollywood. Do you think this movie would have -- do you think "Little Boy" could have been made or would have been made by Hollywood?

LEO: No.

GLENN: Why?

LEO: Pixar, perhaps. That's the model that we really, really, really believe in.

GLENN: Yeah.

LEO: But no.

GLENN: It almost looks like a Pixar.

If Pixar did live action, it looks like a Pixar.

LEO: Thank you for that. And our cinematographer was at Pixar previously.

GLENN: Can I ask you a question. Was it filmed?

LEO: It was on film. The last film in wide distribution that was on --

GLENN: It is beautiful.

LEO: Thank you.

GLENN: I was watching it this weekend, I was thinking I think this is film --

PAT: That was my next question, was it filmed or was it digital? I had to know. I had to know.

GLENN: You won't know why this film hearkens back to that Frank Capra film. You won't know exactly why it feels like those old films. But it's because of film.

LEO: Yes.

PAT: Leo, how was the filmed blocked?

GLENN: Shut up.

STU: What kind of gaffing did you have --

LEO: You have no idea what gaffing is.

STU: No, I don't. These guys do a lot of things to make us look --

LEO: There's something to be said of that. We really thought that we wanted to depict this Americana. The way it would have been predicted if Norman Rockwell were shooting this film. Even at a greater expense and greater time. And you were shooting with a little kid because of these silly labor laws that they have nowadays. You can't shoot so many hours. It was much more expensive. But we thought it was worth it because we wanted something authentic. That was really Americana.

GLENN: Two stories I want you to tell. Tell the story of Eduardo, who he is, and what he's given up to tell these stories.

LEO: If you were a 16-year-old Wheat Thin. I don't know what the appropriate term is. But if you were Hispanic, you would know who Eduardo is. He was this heartthrob, kind of the Brad Pitt of Mexico. Also part of a boy band.

PAT: From a soap opera?

LEO: Yeah, from soap operas. First boy bands then television.

PAT: Was it Maria?

GLENN: Wait. Listen to him say -- go ahead.

PAT: [foreign language]

GLENN: Isn't that great? I think he just lives it. All of a sudden, he's there.

LEO: [foreign language] that was his show. That was Eduardo's big one. [foreign language] was another one. He was on a few. He was like the go-to guy. And his boy band of selling out stadiums with 50,000 screaming women, that sort of thing.

STU: And now he has you.

LEO: And now he has me.

GLENN: Wow. That's good. Big part in this movie.

LEO: That was great. We needed to get him in. But we were like, you don't fit with Norman Rockwell. We'll come up with something. You won't recognize him.

GLENN: At one point they open up a door, and he's like Maria.

LEO: But he had this change of heart. When he came to Hollywood, he did this film called Chasing Papi. Where he was the Latin lover that had three women, he was dating them at the same time. That sort of crazy stereotype. That's when he realized, what in the world am I doing? And then I think God touched his heart. And the rest is history.

GLENN: He told me that he made a promise to his mom and he said, Mom, I will not make a movie that you can't go to.

LEO: That's right.

GLENN: So he has passed on a lot. All the women in the control room when he was on that one day, they were like, you can keep him on. I think we're out of stuff to talk about. Doesn't matter. Keep him going. Because he has quite the opportunity especially in today's world. But he's not going for it. He's not going for the cash. He's going for, let's do the right thing.

LEO: And after he made that promise, he stopped working for years. And him and I met randomly. Not randomly. I think providentially on a random Wednesday at a church. Him and I had kind of similar ideas and similar concepts. At the time I was at Fox, like you mentioned. And I was striving for something of greater meaning. And we connected. And the next thing we know, we did this. It's crazy to start something independent with no connections at the time. No money. We went broke trying to do this thing. And, but we were really firm in the conviction that we needed to do something. You know, there's so much darkness around. We wanted to light a candle.

GLENN: Tell me about the little boy. The actual -- the actor.

LEO: Jakob Salvati. He's fantastic.

GLENN: He is a superstar. I've seen child actors where you're like, that kid will be -- when you saw, Haley Osment. You said, okay, he'll be a star. This kid is off the charts. And it wasn't him that was trying out.

LEO: That's right. They brought in his brother. And he was there as well. Give him a try. First audition didn't go so well. Him and the director kept having the giggles. We passed him up. The casting director was like, this kid got something. He has something.

GLENN: He's magic.

LEO: Not according to the critic. He's been slammed so hard.

GLENN: He carries this movie.

LEO: They call him saccharine. His heart is so pure. He said, I don't understand why -- I don't understand why the critics are saying that. He said, people really love the film.

GLENN: How old is he?

LEO: He was eight when we shot. He's 11 now.

PAT: Wow.

GLENN: He's great.

LEO: He's fantastic.

GLENN: But I hear and, correct me if I'm wrong, the story was told to me because his brother tried out, they went back and got him. And when you decided that it was going to be him, that his brother broke out in tears.

LEO: Yeah. We were in a room together. He said, the director interviewed him, and I was there with him. And the brother starts crying. And we thought it was just a moment of -- you know, maybe he was a little sad he didn't get the role or whatever it was. And he pulled me aside and he said, we're kind of broke right now. And this will save our family. It will save our house. So we talked to his dad. And he's cool with us saying that publicly because they're humble and awesome. This film has touched people in many ways.

GLENN: The kid broke out in tears of joy that his brother got the job. How great -- that is just unbelievable.

PAT: Cool.

GLENN: That's unbelievable.

LEO: , yeah.

GLENN: I'm thrilled to know you. I really am.

LEO: Thank you so much. I am a big fan. Our hearts in the same place. Kind of in different industries. Thank you for supporting. Any way we can support you. We're here.

GLENN: Well, it's an honor. Please go see this weekend "Little Boy". You will not be disappointed. I warn you, it's Frank Capra. So if you didn't like Mr. Smith Goes to Washington. If you didn't like, you know, It's a Wonderful Life.

PAT: Well, first of all, you're a communist.

GLENN: You know, if you don't like Norman Rockwell, you're not going to like this. But if you have that heart for America of what it really can be, you're going to love this movie.

LEO: Thank you. Thank you so much for saying that. Frank Capra is my hero when it comes to filmmakers. It's a Wonderful Life.

GLENN: You're Hispanic.

LEO: I know. You keep reminding me of this. I keep having to check to make sure that that's the case. Turns out, it still is. But -- sometimes it takes -- I mean, I was born here. My parents are from South America. Columbia. I love them to death. Obviously. They raised me with the right values. It turns out it's the American values. The same ones. Sometimes it takes an outside perspective like our director who didn't speak the language until he was 17 to show the beauty of this country. That's part of what we're trying to do. I wanted to say, Ben, your cohort --

GLENN: American Dream Labs.

LEO: Yes. He said, say the cities where you need help. So is it all right?

We need help in St. Louis, Las Vegas, Nashville, and Salt Lake City. Those are the four cities, if we can really do well this weekend, we can hopefully retain the theaters going forward. So that's St. Louis, Las Vegas, Nashville, and Salt Lake.

GLENN: Go see this movie. Please, take your family. Take your friends. Take your friend's family. Don't even ask the parents. Just disappear the children for a couple of hours. And go see "Little Boy". You will love it! Truly love it. Thank you so much.

LEO: Thank you, Glenn. Thank you, Pat.

Carter Page, a former advisor to Donald Trump's 2016 presidential campaign, found himself at the center of the Russia probe and had his reputation and career destroyed by what we now know were lies from our own intelligence system and the media.

On the TV show Thursday, Page joined Glenn Beck to speak out about how he became the subject of illegal electronic surveillance by the FBI for more than two years, and revealed the extent of the corruption that has infiltrated our legal systems and our country as a whole.

"To me, the bigger issue is how much damage this has done to our country," Page told Glenn. "I've been very patient in trying to ... find help with finding solutions and correcting this terrible thing which has happened to our country, our judicial system, DOJ, FBI -- these once-great institutions. And my bigger concern is the fact that, although we keep taking these steps forward in terms of these important findings, it really remains the tip of the iceberg."

Page was referencing the report by Justice Department Inspector General Michael Horowitz, which revealed that the FBI made "at least 17 significant errors or omissions" in its Foreign Intelligence Surveillance Act (FISA) applications for warrants to spy on Page, a U.S. citizen.

"I think this needs to be attacked from all angles," Glenn said. "The one angle I'm interested in from you is, please tell me you have the biggest badass attorneys that are hungry, starving, maybe are a little low to pay their Mercedes payments right now, and are just gearing up to come after the government and the media. Are they?"

I can confirm that that is the case," Page replied.

Watch the video clip below for a preview of the full-length interview:

The full interview will air on January 30th for Blaze TV subscribers, and February 1st on YouTube and wherever you get your podcast.

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On Wednesday's TV show, Glenn Beck sat down with radio show host, author, political commentator, and film critic, Michael Medved.

Michael had an interesting prediction for the 2020 election outcome: a brokered convention by the DNC will usher in former First Lady Michelle Obama to run against President Donald Trump.

Watch the video below to hear why he's making this surprising forecast:

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On Thursday's "Glenn Beck Radio Program," BlazeTV's White House correspondent Jon Miller described the current situation in Virginia after Gov. Ralph Northam (D) declared a state of emergency and banned people carrying guns at Capitol Square just days before a pro-Second-Amendment rally scheduled on Martin Luther King Jr. Day.

Jon told Glenn that Gov. Northam and the Virginia Legislature are "trying to deprive the people of their Second Amendment rights" but the citizens of Virginia are "rising up" to defend their constitutional rights.

"I do think this is the flashpoint," Jon said. "They [Virginia lawmakers] are saying, 'You cannot exercise your rights ... and instead of trying to de-escalate the situation, we are putting pressure. We're trying to escalate it and we're trying to enrage the citizenry even more'."

Glenn noted how Gov. Northam initially blamed the threat of violence from Antifa for his decision to ban weapons but quickly changed his narrative to blame "white supremacists" to vilify the people who are standing up for the Second Amendment and the Constitution.

"What he's doing is, he's making all all the law-abiding citizens of Virginia into white supremacists," Glenn said.

"Sadly, that's exactly right," Jon replied. "And I think he knows exactly what he's doing."

Watch the video to catch more of the conversation below:

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Ryan: Trump Louisiana Finale

Photo by Jim Dale

Part One. Part Two. Part Three.

At the end of Trump rallies, I would throw on my Carhartt jacket, sneak out of the press area, then blend in with everyone as they left, filing out through swinging doors.

Often, someone held the door open for me. Just 30 minutes earlier, the same person had most likely had most likely hissed at me for being a journalist. And now they were Sunday smiles and "Oh, yes, thank you, sir" like some redneck concierge.

People flooded out of the arena with the stupidity of a fire drill mishap, desperate to survive.

The air smacked you as soon as you crossed the threshold, back into Louisiana. And the lawn was a wasteland of camping chairs and coolers and shopping bags and to-go containers and soda cans and articles of clothing and even a few tents.

In Monroe, in the dark, the Trump supporters bobbled over mounds of waste like elephants trying to tiptoe. And the trash was as neutral to them as concrete or grass. They plodded over it because it, an object, had somehow gotten in their way.

It did not matter that they were responsible for this wreckage.Out in the sharp-edged moonlight, rally-goers hooted and yapped and boogied and danced, and the bbq food truck was all smoke and paper plates.

They were even more pumped than they had been before the rally, like 6,000 eight year olds who'd been chugging Mountain Dew for hours. Which made Donald Trump the father, the trooper, God of the Underworld, Mr. Elite, Sheriff on high horse, the AR-15 sticker of the family.

Ritualistic mayhem, all at once. And, there in Louisiana, Trump's supporters had gotten a taste of it. They were all so happy. It bordered on rage.

Still, I could not imagine their view of America. Worse, after a day of strange hostilities, I did not care.

My highest priority, my job as a reporter, was to care. To understand them and the world that they inhabit. But I did not give a damn and I never wanted to come back.

Worst of all, I would be back. In less than a week.

Was this how dogs felt on the 4th of July? Hunched in a corner while everyone else gets drunk and launches wailing light into the sky? configurations of blue and red and white.

It was 10:00 p.m. and we'd been traveling since 11:00 a.m., and we still had 5 hours to go and all I wanted was a home, my home, any home, just not here, in the cold sweat of this nowhere. Grey-mangled sky. No evidence of planes or satellites or any proof of modern-day. Just century-old bridges that trains shuffled over one clack at a time.

And casinos, all spangles and neon like the 1960s in Las Vegas. Kitchy and dumb, too tacky for lighthearted gambling. And only in the nicer cities, like Shreveport, which is not nice at all.

And swamp. Black water that rarely shimmered. Inhabited by gadflies and leeches and not one single fish that was pretty.

Full of alligators, and other killing types. The storks gnawing on frogs, the vultures never hungry. The coyotes with nobody to stop them and so much land to themselves. The roaches in the wild, like tiny wildebeests.

Then, the occasional deer carcass on the side of the road, eyes splayed as if distracted, tongue out, relaxed but empty. The diseased willows like skeletons in hairnets. The owls that never quit staring. A million facets of wilderness that would outlive us all.

Because Nature has poise. It thrives and is original.

Because silence is impossible. Even in an anechoic chamber, perfectly soundproofed, you can hear your own heartbeat, steady as a drum. A never-ending war.

I put "Headache" by Grouper on repeat as we glided west. We were deadlocked to asphalt, rubber over tarface.

And I thought about lines from a Rita Dove poem titled "I have been a stranger in a strange land"

He was off cataloging the universe, probably,
pretending he could organize
what was clearly someone else's chaos.

Wasn't that exactly what I was doing? Looking for an impossible answer, examining every single accident, eager for meaning? telling myself, "If it happens and matters the next year, in America, I want to be there, or to know what it means. I owe it to whoever cares to listen."

Humans are collectors and I had gone overboard.

Because maybe this wasn't even my home. These landmarks, what did they mean? Was I obvious here? When I smiled, did I trick them into believing that I felt some vague sense of approval? Or did my expressions betray me?

Out in all that garbage-streaked emptiness — despite the occasional burst of passing halogen — I couldn't tell if everything we encountered was haunted or just old, derelict, broken, useless. One never-ending landfill.

Around those parts, they'd made everything into junk. Homes. Roads. Glass. Nature. Life itself, they made into junk.

I cringed as we passed yet another deer carcass mounded on the side of the road.

As written in Job 35:11,

Who teaches us more than the beasts of the earth and makes us wiser than the birds in the sky?

Nobody. Look at nature and you feel something powerful. Look at an animal, in all of its untamable majesty, and you capture a deep love, all swept up in the power of creation. But, here, all I saw were poor creatures who people had slammed into and kept driving. Driving to where? For what reason? What exactly was so important that they left a trail of dead animals behind them?

So I crossed myself dolorously and said an "Our Father" and recited a stanza from Charles Bukowski's "The Laughing Heart"

you can't beat death but
you can beat death in life, sometimes.
and the more often you learn to do it,
the more light there will be.

Out here, nothing but darkness. Needing some light, by God. Give me something better than a Moon that hides like an underfed coward.

Jade told me about some of the more traumatic things she'd seen while working at the State Fair.

"Bro, they pull roaches out of the iced lemonade jugs and act like nothing happened."

"All right but what about the corn dogs?"

"You do not want to know, little bro."

She looked around in the quiet. "Back in the day, the Louisiana Congress refused to raise the drinking age from 18 to 21," she said. "They didn't want to lose all that drunk gambler money. So the federal government cut off funding to highways."

We glided through moon-pale landscape for an hour before I realized what she had meant. That there weren't any light poles or billboards along the road. Nothing to guide us or distract us. Just us, alone. And it felt like outer space had collapsed, swallowed us like jellybeans.

Like two teenagers playing a prank on the universe.

In the cozy Subaru Crosstrek, in the old wild night, brimming with the uncertainty of life and the nonchalance of failure, we paraded ourselves back to Dallas. Alive in the river silence that follows us everywhere.

New installments come Mondays and Thursdays. Next, the Iowa caucuses. Check out my Twitter. Email me at kryan@blazemedia.com