All language subtitles for Holy Frit (2021) documentary

I'm rolling.

You rolling?

Yeah.

In your gut, how do you think this

window's going to turn up?

It's Jack in the Box right now.

It's got to be great. It's got to be--

it's got to be the best.

It can't be the biggest shitty window in

the world. It's got to be

the biggest and the best.

I can't answer what is an artist, because

it's too big a question.

Everything I did that had a foundation in

common sense, I always failed in.

But everything I did when I dreamed

something intensely,

I always got it.

It's like you're holding it

together with nothing rational.

It's pure energy stream. It's almost like

Mickey Mouse that goes off the cliff, and

he falls only when he looks down.

It's kind of like that.

I grew up out of touch with the world,

(...) suburbia. (Music Playing) That's why

I could never become a real artist.

Damn thy family. They ruined my life.

(...) They gave me no

opportunity to struggle.

And then I go to art school, and I'm with

a bunch of, you know, quote unquote,

weirdos and artists who are, you know,

painting with urine on the walls. And I

watch sports, and I played golf, and I

wore clothing that wasn't torn.

I just never thought any of

my work was ever important.

I loved when people thought it was great.

(...) Ha, ha, ha, yes. I'm doing well. I'm

winning. I'm the best. I'm huge.

Everybody praise me. Like, ugh.

Not good. It's not good for the heart.

I should have done bad about that.

I should have done more drugs.

I have very vivid memories

of the first time I came here.

That day completely changed my life.

I wanted to see if they had any reason to

show my artwork here.(...) But when I

walked in the building, I was kind of

looking around going, what do you guys do

here? I just got a sense that there was

something special going on here.

All right, David, interview take one. All

right. Well, I'm David Judson. I'm the

fifth generation of Judson's who've run

the Judson Studios. We've been making

stained glass since 1897.

I met David, and I told him I'll sweep

the floors, whatever. I just wanted to be

part of this building.

It wasn't more than a few days, and I was

working here. Yeah, I

was gonna do that one.

Both lights up. No blood.(...) Cutting

glass for half an hour. That is a victory

for me. I'm trying

not to rip my face off.

So just try to bend down a little bit

more with your head.

Tim is a very good artist, and I have a

lot of faith in Tim.(...) I believed in

Tim since he started at the studio. We've

been working together for so long, it's

like we speak the same language. And he

can take almost anything that I throw at

him and make it work. Yeah, beautiful.

I don't think anyone ever grows up

wanting to be a stained glass artist. It

just kind of finds you.

I saw the job on Craigslist, maybe. I was

going to school at Art Center for my

master's in fine arts. I had very long,

beautiful hair then.

I think Judson Studios is a family.

Started out as a nuclear family, and now

it's a family of artists and artisans and

technicians.(...) For the longest time, I

told Dave, I'm like, I won't change my

last name to Judson. But I don't know. We

all did.(...) We all tried that.

See how the queen looks here.

You based this off of photos? You know,

it's kind of a collage. She just wanted

it to look Victorian, kind of

pre-Raphaelite. When I came here, I was

mostly thinking about my own personal

work and how I could continue to make a

name for myself. But now, I hope my

legacy will not just be something that

makes me a famous artist, but instead

puts my name in the history book of the

studio and has an impact on the legacy of

what's been done here over 120 years.

(Chatter) I met Tim at an art show that

he was in at Judson Studios. When he was

saying he was looking for models, it

sounded like more of a line. And then my

friend, she came up and said she liked

his work. I was like, oh, OK, I'll model

for you. And so I gave him my number.

I was still in love with my boyfriend.

He calls him Dumb Nuts, McGillicuddy.

He proposed to me at Judson. It was

really special.(...) There's been a lot

of special moments there. Yeah! Come on!

All right, guys, we're down by one run.

Woo!

Thank you all for a great year. We'll see

you in two minutes. OK. (Chatter)

It's very alluring to have this long

history and to say, oh, yeah, well, we've

done it for 120 years. But there's no

guarantee that next month you're going to

have everything you

need to make it happen.

The Wall Street Journal basically came

out with an article writing off the

stained glass industry, saying that

churches aren't buying stained glass

anymore.(...) A lot of firms are going

out of business. That tradition is

somewhat dying. And the problem is you're

dealing with a product

that no one really needs.

We're part of an industry that is 1,000

years old. It needs to be revitalized,

for sure.(...) But there's that whole

thing where you can bitch and complain

about something or you

could do something about it.

I like to bitch and complain about stuff.

And then I like to go sit

on the couch and watch golf.

Last year, we were having a Christmas

party in the office. The phone rang and I

picked it up. And on the other end of the

line was an architect. And he goes, I

just want some information about how

large you can make a stained glass panel.

I was like, well, how large do you want

to make it? He's like, well, the window

itself is 100 feet long by 40 feet high.

I'm like, that's 400 square feet at our

normal price. That's a lot of money. And

then I go in and I tell David. And David

goes, that's 4,000 square feet.

I mean, it was beyond the scope of what

my math could even do.

It's one of the largest windows in the

history of stained glass. We just didn't

understand who could possibly want a

window this big.(...) Mr. President,

Madam First Lady,(...) Vice President,

and Dr. Biden, it's a privilege to be

with you today and to be sharing the

word, especially on the occasion of the

second inauguration.

My name is Adam Hamilton. I'm the senior

pastor of the United Methodist Church of

the Resurrection in Leawood, Kansas. I

was 25 years old when I was sent to start

this congregation 25 years ago. We began

the church and a funeral home. And after

the first worship service, I think we

were running around 90 people. I actually

looked like I was about 16. So this is

part of why I wore a clergy robe on

Sunday mornings. It at least gave me a

little bit of an air of authority.

There are 70,000 mainline churches in the

United States. We went from being one of

the smallest of those now to being the

largest. The sanctuary that we're

designing right now is this sanctuary

here. This is a unique and set apart

building that is unlike any other

anywhere in our community and perhaps

really a unique building, any place in

the world. The stained glass is the one

thing when you walk into the space that

you will see first. It is

the showcase of the room.

We surfaced about 60 names. Who had

designed excellent stained glass windows

around the world in the last 20 or 30

years? We narrowed it down to three

firms. One was in Florence, Italy. One

was in Germany. And then

Judson here in the United States.

Our final competitor, they are a

well-oiled machine. It is like the story

in "Rocky IV" where you had the drago,

the oiled up, beautiful, giant specimen

of a person. Meanwhile, Rocky is the

little Italian dude. He's lifting logs

and doing sit-ups and barns and things.

I think Tim is in the hot seat right now.

The critical element right now is the

design. And all the pressure is on him to

bring that design together.

There it is. It's the

first scribble that I did.

We've had hundreds of hours of

conversations with Tim Carrey and just

great back and forth.

Well, the bidding process was very

intense. They're calling me all the time,

adding figures and subtracting them. We

responded to their requests. We spent a

lot of time, a lot of time working on

this, not knowing whether or

not we were going to get it.

When they were starting to call for

proposals, I had not realized even the

magnitude of how big this

project was going to be.

You might be witnessing the

largest thing is of the world.

There were definitely people early on on

the committee that seemed not too excited

about having us be the builders of this

window. For lack of a better way to say

it, have we decaucasianed Christ enough?

The edges of his mouth seemed to be

turned down. Cross seemed to be in a

wrong place. We really can't even

identify who those people are. The Adam

and Eve are a whole different scale than

most of the figures. It sort of feels

like running through a field of gunfire

and you just happen to choose the path

that gets you through. For us, this is

our window. This image is going to be

here for, I hope, over 1,000 years. Gosh,

you just want to make sure you get it

right. Like, is there a lamb in there? Is

there bread and wine? Are they wearing

the right things? Are they wearing enough

of the right things?

One of the biggest criticisms was the

concern that it might be busy. This is

going to be like Where's Waldo as you

look at this picture.(...) This is the

actual size of the window. Oh, look at

that. Oh, there you go. Here's the window

with the school bus driving by.(...) My

goodness. It was only when we blew it up

to a full size where we could show

people, here's the actual size. And this

is just a small part of the window where

people are, oh, wow. That's really big.

And it doesn't look so busy. We do have a

quorum of our committee. All in favor of

Judson proceeding with the design that

Tim has created for us,

please raise your hands.

I think that's a full

count. So the motion is passed.

(Applause)(...) (Music Playing) Well,

there's no hiding now. Yeah.

I really don't know how we got the job,

to be honest with you.

What keeps me up at night is the fact

that we don't know how

we're going to do this.

As I was doing the design, I was thinking

we have to secure this job. I knew what

we were competing against. And I knew

that it wasn't going to be OK just to do

a traditional dark stained glass window.

I'm thinking, like, once we get this job,

we'll figure out how to do it.

I was surprised if a studio like Judson

would take on something as risky as this.

You already had the project. Yeah. Yeah,

yeah. But you weren't sure how you were

going to do it? Right.

Well-- There's balls.(...) Yeah.

(Music Playing)

So here's why my design is impossible to

do with traditional

stained glass techniques.

Stained glass, for the last 1,000 years,

has been a mosaic of individual colors

bound by strips of lead. And within each

piece, there's only one color. You can't

combine different colors of glass without

separating them with a lead. But my

design demands combining lots of colors

within each piece of glass.

And you just can't do that.

Traditional colored glasses contain

different minerals with different

chemical properties. And if you try to

melt or fuse them together, they crack

apart because they don't heat and cool at

the same rates. So this is why my design

is impossible with traditional

techniques.(...) And those are the only

ones we know how to do

at Judson. (Music Playing)

(Music Playing) Can I expect some

part-hitting controversial questions?

(...) My name is Ted Sawyer, and I'm the

director of research and education at

Bullseye Glass

Company.(...) (Music Playing)

The people who started this company in

the late 70s managed to figure out how to

make glasses that, when joined together

in a kiln, could survive cooling back

down to room temperature. I mean,

disparate colors, a whole palette.

Before we started doing this, this

material was not available ever in the

history of the world.

But it took a while for the stained glass

industry to realize the potential here.

Bullseye developed glasses that could be

fused together successfully, and a kiln

would hold up over time.

That's our single biggest accomplishment.

And Narcissus represents sort of the

pinnacle of that exploitation.

(Music Playing)

As soon as you get introduced to stained

glass, you know about Narcissus. Him and

Chagall, maybe you're the two, from the

second half of the 20th century. So he's

famous. I've admired his work for many

years. I mean, Narcissus is a genius. You

know, Narcissus recently completed a

major project for a transit station in

Taiwan. It's pretty incredible. I saw

pictures of his amazing, amazing Asian

installation. He used to stain glass what

somebody like Steven Spielberg is to

filmmaking, or Michael Jordan is to

shoes.(...) And he's done big, small

domes, historic sites, contemporary

stuff, traditional work, copper foil. I

mean, he's done everything in glass.

Bolzai had this vision in the early 90s.

They called artists to come and use the

material so that they could see what

could happen with the material. Narcissus

was going to be our stained glass artist.

Only he would not do stained glass.

Infusing, you can put 50

colors in an area like this.

It's a totally different process.

I could see the potential of what was

there. They were like, who's this guy?

You know, he comes here and he has this

idea, and then that idea, and then that

idea. He loves to have controlled chaos.

We butted heads. I don't think he

remembers that he made me fly. I was

working on a piece in the reheater, and I

caught on fire. I didn't know I was on

fire. So I just simply beat on his arm

till the flames went out. And I was

annoyed. Somewhere between wanting to put

him out and wanting to let him burn. I

wasn't quite sure where I

was at. I was vacillating.

Great person to work with. They thought

that I was possessed.

One day I saw on the internet an

advertisement for a Narcissus Quagliata

fusing workshop in Denver. He hasn't done

a lot of workshops in the past. I knew

that I had to go there and meet him,

hopefully develop a relationship with

him, and basically tackle him and bring

him back to LA and

have him help me do this.

What is your name? You asked me-- Tim.

(...) Tim asked me a very relevant

question. This is a new experience for

you.(...) It's not there 100%, but

listen, I actually think they look fine.

My father, I don't think, really got

along with Narcissus. I think that's what

I was thinking. I was thinking, what he

represented in the stained glass world. I

mean, he was the maverick and the rebel.

And there was a side of me that was very

nervous to introduce that into my life

and Justin Studios and

Tim and all these things.

Narcissus was the only person in the

world that could bring what

we needed to this project.

Narcissus.

Hello.

Hello.(...) Hello, Narcissus.

Is it David? Yes.

David, we're thinking, can you talk to my

mother like a parent about her birth to

people here? OK, how

about tomorrow morning?

Yes, tomorrow morning I'm fine. All

right, thanks,

Narcissus. All right, bye-bye.

Try it.

If he says no and he doesn't want to work

on the project with us, it'll be a blow.

It'll be tough. If Narcissus doesn't come

on board, then we'll give it a go.

I have no idea.

You better come on board.

Do you have the flight information?

I think it landed at 1140 this morning.

Oh, it did? Yeah, just keep going around

and he'll call us if he

doesn't find somebody.

You're welcome.

Yeah, good to see you. You guys kind of

look like cousins or something.

(Interposing Voices)

Hamilton, nice to meet you. And so this

cluster you'll see, he's about to start

to land out.(...) Wow.

So this is our old kiln. When I was a

kid, I'd come down here, all the guys'

lunch would be on top of the kiln. Wow.

What's cool about these is that they're

run on a computer. And you

can just fit one layer in here.

We've tried regular firing with two

layers. He looks nervous too.

(Laughter) You know,(...) I was surprised

by the size of the studio. I'm thinking,

there is no way this building can house

the artisans and the kilns and everything

else needed to create this kind of

window.(...) What does it do in terms of

your cost, going with fusing versus your

traditional-- Double

the price of the window.

(Laughter) I'm nervous about it.

(Laughter) Narcissus. David, how are you?

Good morning. Hey, Narcissus. Oh, hi,

Tim. How are you? Get down here already.

Yeah. Tim's ready for you. Well, I'll

make my trip for two weeks. Is that OK?

Yeah, I think so. And I'll arrive on the

night deep. Great. Well, listen,

Narcissus, I have the man who's made this

all possible here. Pastor Adam, I want

you to meet him. Hello there.

(Laughter) I'm really excited that you're

working with these guys. And I'm just

excited about Judson and Tim and David

and what they're doing. Yes. The window,

the way you have it, that enormous space

demands a very light treatment, something

that is joyful.(...) I will put my heart

in it. I look forward to that. Thank you

very much. Nice to see you today. All

right. Bye-bye. Bye-bye. So tell me what

his role will be. He's the guru. He's the

guy who's been there and done it all. And

he's inspired by this design and this

project. And he just wants to help. He

has no ego involved in it. Because of

course, that's the word, that he comes in

and he starts telling me-- Right, that's

what I'm wondering. Yeah, this is what--

We've hashed that out quite a bit. That's

not going to happen. Because we've let

him know, this is the design. This is

what we're doing. And we're not going to

start tweaking anything or making any

changes to suit his aesthetics. Right.

(Music Playing) I'm just going to hit the

ground. There he is.

There's our guy flying in to save us.

(Music Playing) I am excited. And I'm a

little bit overwhelmed.

There's a lot of problems to solve. If

you're sitting where I'm sitting, you

would be a little anxious.(...) OK, here

it comes. Great. One is the cross here.

Everything is-- what I think the problem

is, a little bit bigger, a little bit

smaller, is competing with the figure of

Christ. They've been telling you, oh, we

need this guy. We need this thing. Then

we need Mandela. No, take Mandela out.

Remember what you're thinking. Now,

another thing that I'm not convinced by.

(...) (Music Playing)

Oh.(...) (Music Playing)

Time to just fight back. Anybody know?

Come on. That's fine.

(Music Playing)

You know, I'm willing to try whatever you

want to try.(...) I also don't think the

church is going to go for a dramatic

change like that.(...) We should forget

about them for a moment.

We can't forget about them, of course.

But for a moment, we should be able to

say what is the best possible piece, and

then try to sell it to them.

You really stirring the

pot over here in our sissies?

That's what I'm supposed to do.

We knew this was it. You know, like, this

was the design that was approved by the

city. You know, we were like high-fiving

each other. Like, we had it. And then our

sissies comes in here, and

it wasn't it. It needed more.

(Music Playing) And then I spoke with

Adam last night at midnight his time. And

I was trying to figure out what to tell

him to kind of make him happy. And then

suddenly behind me, I hear this pen

scrolling on a paper, and he hands this

to me. And I go, ah, OK, I'll say that.

I don't know, man.(...) I don't know. If

the window turns out badly,

(...) wow, yeah, what happens?

I think I'm still going to heaven.

(Laughing)

I hope.

Where's Adam?

Great to him. Send this one to me. I like

the way he's incorporated

Matthew.(...) I guess we're good.

We embarked on this process, but the

stained glass is unfunded at this point

in time. I worry about that. You know, as

the CFO here at the church, I always am

asking, so how are we going to pay for

this? The window is made up of 161 panels

that are 4 feet by 5 feet each. And now

Adam is asking if we can have a panel

fully completed and delivered to Kansas

to use in his fundraising sermon on

February 22. And he's going to hoist it

up into the rafters with the light panel.

It's a big reveal.(...) But the timeline

we have is tight. It's three weeks.

I was very annoyed. We had to have a

finished product before I had time to

sort out the problems.

We'll just keep this pallet in front of

us, and we'll try to make the face, OK?

Well, this is driving me mad. All the

junk in here. I need to

have clean, clean towels. Yeah.

Like,(...) you do your job. I want to

watch you. No, I'll teach-- I have plenty

of chance to teach you. Let's

get these done. Do your job.

Tim is a very talented painter. I don't

need to teach Tim how to paint, which is

really the problem when I teach most of

the time. I'll put the fred on on this

one.(...) Cut some glass the way you feel

comfortable on these colors.

This is actually terrifying. It really

is. I have no belief that this is going

to work. Good.(...) That

way you're going to relax.

Ow, fuck.

Sorry.(...) It's fun to

have a student for real.

(Music Playing)

Are we ready? Yeah.

(...) It's a pretty warm up.

Well, that's not going to

work. No, it's not, is it?

Rainbow Noah.

That's a little too intense.(...) It's

that damn tangerine color. It's just so--

you can't-- You probably put three times

the material you should have. Yeah.

I've been here for a week. I love the

place. But I'm here trying to set up a

whole new dimension, so the whole place

feels to me that it's in the Stone Age.

The only way that we're going to actually

finish a panel by the deadline is to go

to Bullseye up in Portland, because they

have the glass. They have the facility.

They have the know-how.

(Inaudible) All right.

(Inaudible) Hey, Morgan.

Wow, look at this place.

This is pretty amazing.

Judson has the largest stained glass

window in the world to make. And there

are all sorts of decisions that need to

be made about color and transmission of

light. What technically is the best way

to approach something with the greatest

efficiency? Why the lines? It's all

leaded. They want a leaded window.

There's sculptural quality to it. Isn't

that antithetical to the whole process?

You've just made yourself four times the

amount of work by putting the lead line

in it. You know that.

Tim, who had never touched this process

before, I could just see the sort of pain

that he was going through of what he had

to learn. I'm cutting out these patterns.

They're just shitty patterns.

It's a big fucking window

with a lot of big pieces.

Are you planning on cutting all this? I

don't know. We're failing pretty

miserably. I did just realize that I'm

over cutting glass.(...) Whoa.

(Music Playing)

He still won't let me put the frit on. I

mean, laying the frit is the most

difficult thing to transmit. And we've

got this panel. He's a frit snob.

Frit is just ground up glass. And it can

be used to create all sorts of painterly

effects. (Music Playing) What are you

going to let me start playing with frit,

narcissist? Calm down, Tim. Calm down.

(...) The one thing that I am discovering

is he wants to know everything now. But

earlier, you said he was a man of

incredible patience.(...) Ah, see?

Did I say that? Yeah. I take it back.

(Laughter)

OK, I'm good with this palette here.

You're good with that palette. I like the

blue frit that you put on there.

I think we're on the right

track here. (Music Playing)

OK.(...) Very nice.

(Whistle Blowing) All right, one down.

160 more to go. Exactly. Exactly.

Thank you for calling Jesse's videos.

Hey, Tim. We're a little worried about

the cracks in it. Is that

something you guys can fix?

I hope you-- I hope you're teasing me.

I'm teasing you, man. (Laughter) I hope

you're messing with me. I'm messing with

you. I hope that thing's not cracked. It

looks awesome, man. You did a great job.

This is really fantastic.

Oh, wow. That's great to hear.

I think the Noah panel did the job.

I don't like it.

There's too much paint on it. It's too

belabored. We have to start somewhere.

(Music Playing)

Good morning.

First, I want to ask a question.(...) And

that is, does God care about art?(...) I

don't know how you cannot say that God

cares about art if you've

ever looked at a butterfly.

When we think about this window that

we're about to show, within it, embedded

are hundreds of stories captured not with

words that I can speak in a 30-minute

sermon, but instead captured in this--

(Inaudible) Glass and light so that for

generation after generation, they might

feel and experience this good news of the

gospel in a way that no sermon could

possibly convey. This panel is 20 square

feet, and it's $20,000.

Levon and I have been saving up, and

we're buying a panel in honor of our

children and our granddaughter.(...) And

my hope is that when Stella is 80 years

old and she's a great-grandmother,(...)

that she'll bring her children here and

say, you're a great,

great, great grandpa.

Gave one of those panels for us. Adam is

magical in what he creates and the vision

he's taking this whole congregation of

people through-- Let's

go ahead and light it up.

(Music Playing) (Applause)

When he showed the image, all I heard

was, oh.(...) The banker who was sitting

next to me, I could hear him go. Wow.

There was a line out the door to take

pictures with it, and the thing is

getting puffed up and blown up, you know,

like a giant balloon.(...) It could pop.

At least it's not my name on it. It just

says Judson Studios. I don't know who

these Judson people are,

but it's not Tim Carey.

(Laughter)

Hi, how are you today? High five. Good to

see you. I'm so glad you're here for

Grandbricky. How old

are you? Seven. Awesome.

What happens if the

church doesn't raise the money?

Well,(...) I think the

church has raised the money.

I did? Yeah, I mean, I think

it took him what, three weeks?

(Applause)

(Music Playing)

This panel took us almost three weeks to

make. At that rate, this project will

take us eight years, which we've got two,

maybe one and a half.(...) Are you guys

going to make the church's deadline? No.

It's not going to happen.

There's too many people

involved, too much money.

(Music Playing)

I told David straight on, to make the

project, you need to renovate yourself.

For recycling old glass, we've been

trying to remove all that old junk, and

this will be our fusing

space. Oh, wow. Crisis.

The gas kiln that we have there has

probably been in the building since 1920.

And it just happened that while they were

taking it apart, it just kind of

collapsed on itself.

Oh, shit. What happened to our kiln?

San Andreas. San Andreas? Yeah.

Hey, how you doing, John?

I need a kiln.

Did you guys bring your cajones today?

No.(...) I live in Mexico.

Where's the beers?

Paying for all the equipment that we're

buying right now is a major thing. I

think about it every day.

We've never spent this

much on anything before.

If we get caught up in the weeds on this

project and the money just starts pouring

out, he could sink us. I mean, there's no

doubt about it.(...) He's got a legacy.

He's got a family that has kept this

place afloat for 120 years.(...) The

family legacy of a fifth-generation

business is a weight on their shoulders.

(...) It's something that you don't want

to be responsible for ending.

What helps lighten that weight, I think,

comes from the people

that we have working here.

It was kind of a bit of a train wreck to

start.(...) I didn't really know

Narcissus very well, and so I was kind of

entrusting Tim, who I knew pretty well,

but he'd never done anything like this

before. It's a lot of pressure, and it

just feels like it's on me. A lot of it

just feels like it's on me.

I used to be the young rebel,(...) and

then all of a sudden, I became a maestro.

Whose story are you calling you that? In

Mexico, of course, and in Italy. It was a

little disconcerting,

but now I'm used to it.

You are the artist, so you have to do the

first gesture,(...) then we'll work

together. The ceremonial first gesture?

It's a ceremonial first gesture. Cheers

to great art and great whiskey.

This window is the first time in a

thousand years that the technique will

have a significant change.

It's not going to be somber, laden with

black the way usually stainless windows

are, because this technique allows for an

impressionist painting to be made.

I am the father of this technique, but

it's never been used to do a mural with,

I believe, 99 figures.(...) I've been

building up to this for 40 years.

It's not going to be easy.

It's not bad. I mean, it's just a hard

edge, isn't it? There is

partial success everywhere.

You know what we did today?

You just do that right

there.(...) Look at this face.

I'm tired, man.

(Door Creaks)

The way I came to be here was(...) I was

kind of going through a difficult

situation. I guess I would be considered

kind of a drug addict.(...) That landed

me in jail for a little while.(...) Slide

it down. You're picking it up?

I got a phone call from my brother one

day, and he says, "My girlfriend has a

son who's looking for a job, and I'm

wondering if he can help him out." And I

kind of just said, "Sure." I needed a

place to come and a place to work and

kind of changed my life around. And how

old are you? Nineteen.

(Dramatic Music)

We're into the project, and he's actually

doing a lot of the work himself.(...) He

doesn't think we know enough. I mean, I

spent the last two days on my computer

working on something else while

Neurostasis is in there working on the

head of Mary.(...) I am your father.

What?

(Sighs) Feels like a big

hangover day right now.

But I'm not hungover.

I don't think the church should suffer

because you need to be trained.

No, it's just a question of when, you

know, when you start. Right now, our

priority is to get the stuff in the kiln.

There is all of these moves that you have

to get acquainted with, and I know what

the moves are. They're not an infinite

number of moves. I've

got moves, I'll tell you.

Yes. You haven't seen my moves yet.

I feel responsible for the fact that this

piece has to be a masterpiece. I have to

make sure it's a masterpiece. I have

this, I have that. Everything is

like--it's suddenly like he's the one who

we're all trying to please.

I can do it. I mean, there's just

things--I have this feeling that I can do

a lot of the stuff that

he's not letting me do yet.

Honest to God, I feel you are a little

bit overwhelmed by the project, in a way.

And therefore, your defense mechanism

says, "Oh, well, you know, I will work."

No, honestly, the reason I don't feel the

stress is because I just don't think

whether this thing succeeds or fails.

It's a referendum on my life or who I am

or what-- It is. It's not. It is. No,

it's a piece of art.

We just do the best we

can. If it sucks, it sucks.

I mean, I don't think it's going to suck,

but-- Not my thinking.

If it sucks, the people in that community

for 500 years are going to look at

something you did that sucks, and it's

your responsibility to

make sure that it doesn't.

Why?

My initial agreement with the studio is

that I would spend a third of the time

here, meaning you count the days, and

then you do your

best, and then you leave.

He's back in Mexico, and he's going to

weddings and parties, and he's kind of

having art shows down there. He's got a

museum show. So he's not here. It's a

little weird. It feels a little bit like

I'm on an island.(...) Well, he said,

"Get the background done for these eight

windows." He's not going to freak out if

we don't give him exactly what he wants.

Well, I know he's not going to freak out,

but-- He's not even going to remember

what he asked us to do. He was told that

we said-- He's like 97 years old. I

wanted, let's just get to, you know--

Tim, I think just because how much stress

he's under tends to be a nightmare

sometimes, most of the time. Look how

they shine for you, because it was all

yellow. Right? Good money up. She doesn't

think I'm very funny. Take these broken

wings! I have wanted to quit a few times.

Usually when people aren't amused by me,

that means they think I'm an asshole.

I've run into that many times before.

Just find my iPhone, keep stinging. I

always think Tim's freaking out. Oh, I

hate it when I can't find something.

Yeah, he's a complainer. This is making

my prostate hurt. I think we should do a

model of the project. Yeah, I thought you

were working on that. How's that coming

along? I don't know.

Let's make a model

means Tim, make a model.

Narcissists have sent me some emails,

just a bunch of stuff that I should be

doing. I get these kilns all set up and

shelves and subshelves and blankets, and

I feel like this is the time where he

should be here. Thank God I get to stay

home with the kids, because I don't know

how you're going to do any of that, but I

love you, honey. Good luck. Why are you

doing this? Because I didn't get into

medical school. So our

$2,500 glass cutter is a lemon.

The guy who sold it to us, it seems like

he's full of crap, gave us

a computer with porn on it.

I'm pissed.

Trying to get ahold of Narcissus.

I'm going crazy. I didn't get any sleep

last night. You know, I've been having

these sweating spells lately and waking

up in the middle of the night, cold

sweats and feeling like I'm getting hot

flashes. He does this thing where he puts

his hand, you know, and he does it again.

Seriously, gaining weight. Oh, son of

a... Whoever decided to raise him should

look like chocolate chips. It goes

straight to hell. I really hated

Braveheart. I hated The Lord of the

Rings. I hated Ativan. And then there's a

whole bunch of other ones, right? There's

other Hobbit movies.(...) I hate them.

Do you have any more

questions about my mustache?

How's Tim doing?

How's Tim doing? Tim's a mess, yeah. The

guy's got to take some time off. He's got

to go and relax and

spend a little downtime.

Yes, William's catcher on Saturday. Get

your cup. You got a cup? You can borrow a

cup. Don't borrow a cup. Get a cup.

Tim was always a little different.

The middle child never feels that

anything is fair.(...) He was always

eager to be involved in athletics, but he

was a little bit on the shy side as an

adolescent because he suffered from the

late puberty situation.

All his siblings are all super smart, but

he's the black sheep. He got a degree in

biochemistry and he was going to be a

doctor. His dad's a surgeon, and he was

going to do it, too, and it just wasn't

in him. He had a photographic mind. Tim

can do anything he has interest in, and

if he doesn't, it's not going to happen.

But when he went to the first art class

and the teacher said, "I've been teaching

here for 17 years, and I have never seen

a talent like you." That was it. He

needed those accolades.

He needed the challenge.

He probably liked the nudes.

Trying to get a hold of Narcissus.(...)

When he left, he wasn't happy with how we

were working, and so I asked him to give

us some solutions, and it's a month

later, and I have no solutions, and I

can't remember fucking get a hold of him.

I've had a lot of emails back and forth

that have been relatively pointless. "I

am at SHART. It is here that I decided

over 40 years ago to give

my all to light and glass."

I'm sharding a little bit

myself for other reasons.

Look at that. That's what we've done, and

none of it might even be any good. I

can't wait for him. I have to just step

in and just become the leader of this

project and go forward with it.

So I decided to make one of the heads

from the cloud of witnesses without

Narcissus. It's the head of, I think it's

Nicodemus. I poured the frit all myself.

I wanted to test whether

or not I really do get it.

Light, actually.

I thought I put a lot of frit on there.

See, I thought you were going to cut. I

didn't put any cuts, yeah. You should get

in here, too. I could have. I could have.

There's like a little bit

of a coloration there, right?

The face is amazing. We had absolutely no

idea how we were going to make these

things, and now the

option is really amazing.

What also helped the process a lot was

that Narcissus wasn't there all the time.

It forced him to learn quicker than he

probably would have if

Narcissus was there 24-7.

I made it. You drunk at all?

You got all your crap? Let me see what

you got, what you did. Do you have stuff

out there? Yeah,

there's stuff to look at.

This is good. This is what I wanted you

to do. This tells me a lot of information

about the relationship between the size

of the window and the feeling of the

space. You see my point, man? Yeah, no, I

totally do, yeah. I

made a big blue head. Good.

This is perfect. It works, huh? It works.

I now feel a little more relaxed. It's

time to integrate Tim in every aspect of

the piece. Tim has to really be intimate

with the material. So now we're... Oh,

sorry. I'm just getting

intimate with the material.

Now we're working together. To make the

face stand up more, good.

Good. And then come down the edge, come

down the edge. Okay, to it, yes.

The difference between painting and

working with glass, you don't burn a

painting. Everything we do on this goes

through a volcano. Whoa!

You know, we have that moment every

morning, oh my gosh, what's going to look

like today? I can't think of any other

art form that you get to have

that reveal every single day.

What?

It's good. You like it? It's good. I've

never had a mentor, I've never had

another artist help define me and my

career.(...) This guy who's done it all

wants to put his knowledge into me.

It's pretty amazing.(...)

And so I'm really grateful.

How many traditional

painters will make a blue beard?

But it looks completely natural there.

Spontaneously you bring to the work a

kind of feeling, a genuineness that is

very rare in people that

paint Christian figures.

Usually they paint a cliche.(...) You

paint from your heart.

Well I think, well my faith is relatively

new in the sense that I'm,(...) I don't

quite know how to communicate. Religion

is a very delicate subject. People tend

to get really turned off by it. And I

think it's a really, especially in the

art world,(...) I think that there's, I

don't want to say that. I don't want to

say that there's a larger power involved

here but I just feel very fortunate that

it's happening this way.

(Music)

The first time Adam came here, we were

all explaining to him how we're going to

do this here. After he left, we realized

just how huge this thing is. The studio

that we have now is too small. And it's a

lot slower. To produce ten windows a

month out of that

little space is a nightmare.

We need an ideal

studio which is big enough.

Sometimes you got to grab a meal on the

run. You're worth doing the biggest

window in the world.

Oh, I got to change my life.

There's this building in South Pasadena

that I've been driving by for two years

watching them build it. And I'm like,

this is the perfect studio

to do a large project in.

We'll probably make a

decision pretty quickly here.

It's a big one. It's good though.

I don't know how we can justify that

space. What must that cost to rent that?

This has got to be expensive.

We still don't have any money from the

church.(...) Can you believe that? We've

done all this without even a contract

still not signed. You

must be kidding. No.

We do not have a contract yet for the

building of the window yet. To be honest,

it's a matter of not knowing exactly. I

mean, we're treading into new territory

here. And the original proposal that

David made was basically made under a

stained glass window. And we're not doing

a stained glass window. You did not have

me in that budget, in your first budget.

And you didn't have all those figures.

Each one of those figures, how many days

is it going to take? It's like a client

asking an architect to add six bedrooms

to his house. It isn't us who have raised

the price. It's them

who have raised the price.

The truth is, I don't know why I'm even

involved in those financial discussions.

I told him, you're going to die of stress

if you don't have an adequate budget.

You're going to see it from here? You're

going to see that crane? Holy shit.

It's just so real to me now to see it in

person. It's this giant solid thing with

a big gaping hole that I've got to fill.

We were hoping that we'd show up and

you'd say, "Oh, Dave, sorry. It's going

to be looking like Christmas the next

year." We're not going

to get that? No, yeah, no.

This is the first design we did, which is

kind of amazing to think about. We'll

have to let the flamingo and the landing

van get some bangs. If you compare to

this, it's dense, it's powerful. There's

a lot of people, there's a lot going on.

This window is going to be part of the

history of glass.(...) I hope you

appreciate that you have an extremely

talented artist,(...)

that young man there.

They did a good job of trying to butter

us up and get us ready with, "Here's how

cool this window is going to be. This is

why it's..." I knew as they were doing

that, I knew where this was going. I

think when we initially talked with them,

we were at 2.8 million. Are you

comfortable talking about cost? We don't

want to ruin dinner tonight.

We were here in the upsell. This could be

a while. Bring in some union beer.

The number that we've probably been the

most comfortable with, some of us more

than others, is probably around 3.7.

We feel that. You're thinking all in? All

in, yeah.(...) It was like, "Okay, we

can't do that. We can't come to that

level." The timing of the discussion was

difficult. We had

already raised the money.

I'm just not very excited about going

back to Greenville. Hey, we told you it

was this, but it's actually more... Are

there places in the window that could be

simplified? That would dumb me out. I

feel like this project is... Obviously,

I'm not the one who's going to look at

it. So that worked for you.(...) I've

taken stuff out here and there for the

sake of a thousand years it's going to be

up there.(...) What else can we... I feel

like it would be creative

about doing other things. Sure.

It was a brief conversation.

We had the conversation, and then it was

over, and we moved on.

And everything was good. And everything

was good. Yep, that's right.

It was a very tense dinner. He was

sideswiped by the price. We felt like we

let him down, and Tim especially took it

hard. It made me squeamish.(...) I was

doing all the talking for an argument

that I didn't even want

to make in the first place.

I thought it went great,(...) because

they did not say no.

But it generated a lot of stress.

Cheers! I'll bring you to that. I won't

leave.) To the big giant painting in the

sky. To the big giant

painting in the sky.

Music plays ) It was like, "Okay, we're

going to get into the new building in

June." And it was, "We're going to get

into the new building by July, then it'll

be August." And, "Oh, November!" And our

sister's like, "You guys are false shit.

It's going to be January." And we were

like, "No way!(...) Now it

might not even be February."

Generally, if the city sends it out, it's

two weeks automatically. That's what

Alice told me. But as soon as it goes

out, it's two weeks ago. No. I think

David is pushing hard, as hard as he

should. It's hard to stay on top of it. I

mean, you can only push it so fast. You

know, there's only so much you can do.

You should keep throwing and breaking

shit right about now. Because the church,

trust me, will if we don't get our shit

together and get it done.

Okay,(...) you have to let this go.(...)

You're very impatient. Yeah. Right now,

it can't be finished. Tim just created a

lot of friction with a lot of

relationships here at the studio.(...) I

had to support him through those

scenarios. Just keep going. Everything is

going to be fine. I'm not even... This

thing is going to blow everybody away. I

got a pep talk. I

wasn't even asking for one.

The date they've given us right now to be

ready is March 1, 2016.

But I still don't feel like they're

moving fast enough. God, I

have a lot of complaints.

This is a pattern developing here. I

think I'm the problem.

(Music)

We have to carry all those creams in.

That's how you do it, you guys.

That's how it's done. It's been crazy

because I've been setting everything up.

Walking in here, it's awesome, but I love

it at the same time. There's so much to

be done a half time.(...) There's

approximately 7,000 square feet here

total. As you see all that brick area

over there, that's all going to be

Bullseye's Resource Center.

Five, four, three, two, one.

(Cheering)

Grand Opening, Judson Studios, where

emerging artists will surprise people

with their artwork. I put

peanut butter in my beer.

That was surprising. I

have no clue what's going on.

I'm not comfortable, boy.

The comfortability level's low because

the window's not done. And I've got seven

Coors lights in my belly.

(Music)

(Camera Shutter)

(Gunshot) (Birds Chirping)

Let's face the real issue.

It's all about this gentleman.

If you have the head finished

successfully, you've

done a third of the project.

Are we fasting?(...) You are fasting.

I'm smoking and drinking.

(Laughter) Jesus, I think, wants me to do

a good job. I don't think he's interested

in how many cigars I

smoke. (Laughter) (Music)

All right, let's do this thing. Right

there? Right there.

(...) Nice job. Good start.

So we cut glass from the

house where he's-- (Gunshot)

I'm not ambiguous about Jesus himself.

(...) You know, Jesus is God.

There's nothing to say.

But, you know, everybody is criticizing

these days extremists as lamb and jihad.

So Christianity has been terribly

intolerant for the last 2,000 years. I

mean, the Christians might have the right

gospel, but certainly they have left

behind a trail of blood.

So, you know, if I stay

focused on the image of Jesus,

I have no problem.

(Music)

It seems like more often than not, you

set something up, and then when you

actually do it, it's kind of messier than

you expected it to be. And it hasn't been

this religious experience that we kind of

all thought it might be.

I don't know what I really believe about

how much God is interacting with this

project. I just feel squeamish about it.

Not in a way that's like my-- I don't

have faith, but I still do, but this

window could potentially affect tens of

thousands of people, so it's a really

heavy responsibility.

Every degree of a rotation of a piece of

glass turns them from serene, peaceful,

welcoming Jesus into scowling. That's

what happens when you do something for

the first time. You have to figure it

out, but it takes patience,(...) and

that's something that our young artist

doesn't have very much of.(...) I'm at a

point where I'm kind of--(...) Why don't

you use this, and why don't you pile up a

fade? Just pile, frit. I'm having to

listen to somebody else tell me how to do

a face, which I've never had do that

before. I'm not against painstakingly

cutting every slider and making it

perfect, but what if I overlap them like

that? Just do some tests and see how I--

I'm gonna try another one

where I take all these pieces.

I don't know how much he's willing to

buckle down and focus on making this into

a masterpiece. If he does the

minimum, I will be mediocre.

If I'll be mediocre, the entire fucking

business is gonna go down in two years.

All right. Yeah, I was confused based on

the fact that I'm seeing stuff here

that's not-- I know, but

that is not finished. Okay.

You're so nervous.

What? Relax.(...) I'm just saying.

Cut me down.

Ow!

What do you think that's gonna be like

when we open up the kiln? I have no clue.

None whatsoever.

For the first time this week since we

started, I felt like we

weren't gonna finish the project.

I'll tell you, when this is under

control,(...) I'll tell you if we're

gonna finish the project.

(Music)

Yesterday when you looked at me and you

said, "You know, for the first time I

have the feeling that we might not do

this in time," I have a problem with that

statement.(...) First of all, it can be

done in time. When I did the dome and I

came to this point, I understood that I

had no weekends.(...) I understood that I

had to work 14 hours a day for several

months.(...) If I were you, I'd come live

here during the weekends. I would not

have contact with my family, and I would

spend all my time putting

quality into this project.

Every time you say, "That will do," and

you haven't done absolutely everything to

the limit of your ability, you're

notching down the

radiance of that window.

We're making something that's never been

done before.(...) Usually people who like

to paint like to do it because they like

the romance of it. Seeing the image

develop in front of them, infusing you're

responding to something that hasn't even

happened yet. You pour a frit on there,

and you're not going, "That looks good.

Let me pour this there." You're just

pouring it and go, "I don't know what

that looks like. Let me do something else

that I don't know what it's going to look

like. I'll do something else I don't know

what that's going to look like either."

So you've created this giant pile of, "I

don't know what the hell I just did," and

then you put it in there and it's like,

(...) you have to have so much faith to

put that thing in the kiln. You've got to

have a lot of balls to do it.

Narcissus has big

balls.(...) He just does.

I have long balls.

Let's go have a drink.(...) We need it.

(...) Let me check in with my family and

make sure that

everyone's in control over there.

Who is my dad?

Hmm.

No fucking idea.

He has this internal drive. When he came

to the U.S., my grandparents didn't give

him any money. So he got to San Francisco

and he was like, "Well, now I have to

figure it out." I mean, he says there

were so many other artists that were so

much more talented than I was. Yet no one

made it like he did. And that's because

he never quit. He'd be gone a lot. I used

to stay by myself when I was 13, 14 years

old for a week at a time. But whenever he

was there, he was

there. He was 1,000% there.

He listens, and he listens to himself and

the people around him.

That's why we love him so much.

(Music Playing) (Music Playing) For me,

all this had to do with one thing. Does

this head have the soul

it needs to have? Whoa.

I looked at it very

carefully and I said, "Yes, it does."

I went up the stairs to look down on it

and it kind of caught me off guard. It's

like one of those things where all my

life I've been involved with glass and

I've never seen that.(...) And you kind

of step out and you gamble and you do

things and you don't know what's going to

happen. And so to see that, it's worth it

right there just to see it. (Laughter)

His plane arrives at LAX at 845. I'm

guessing he'll be here before 11. What is

the policy if he doesn't like it?

I told him, "You said I should do it like

that." I'm not joking. How could he not

like the head? I don't know. How the hell

do I know what he has in his mind?

If I show you the face of Christ and I

say, "Okay, Doug,(...)

are you okay with it?"

I don't know.

That's what I'm saying. You have to say

yes.(...) Before you put that in the

grave, you have to say yes

with every fucking panel.

Where are you going with that?(...) No,

no, no. We've got to have room to walk.

What are you guys studying the parking

lot out of? Hey, man. How are you? Good

to see you, Tim. We've got a full

workshop going here. All right. Look at

this. We've got a lot of stuff happening.

Wow. Are you ready to see it? Yes. Let's

turn the lights off. All right.

You'll have to move around a little bit

because there's some bars behind it, some

hollyons that help you kind of give you a

better sense of what's...

That's amazing.

I love the eyes.

I don't think he gets knocked off his

socks very easily. And the first thing he

said was, "I like the eyes." And so I

think that was him trying to find

something for certain that he knew that

he liked.(...) His mouth, he looks a

little stern. Is it as much that warmth

on the mouth, on the eyes? Yes. His

concern was that Jesus would look

judgmental. I kept thinking about

different people who I knew would walk in

the sanctuary, who were walking through

trauma, who are... I mean, just today we

have a funeral for a young woman who took

her own life. And I'm thinking, you know,

that service would... you know, if the

sanctuary finished to be in the

sanctuary. And I could just imagine

Jesus' arms wrapped around, you know, all

those people who were grieving. And so my

hope is the window acts like a sacrament

as a visible means of grace through which

God communicates and says, "I'm here. I'm

with you. I've got you. You're going to

be okay. You're safe in my arms."

I think he was blown away, but in a way

that he could not control or predict.

(...) And it took him a while.

Thank you, Narcissus.

(...) Well done.(...) Tim?

Thank you. I'm proud of the work that

you've done. Thank you. That was awesome.

Well, I tell you, every minute that I

look at it, too, I feel more engaged by

it. I feel more drawn to it, which is the

mark of a great piece of art, I think.

So can we have one more year to finish

the window? No, you can't.

We are trying to make a shipment of 55

panels in the next six days or so. And we

haven't even finished some of the work

yet. So we're going to make it by the

skin of our nose, basically. We had made

this date with a plan to ship 20 panels,

and then Narcissus decided 55 panels.

Narcissus, you know...

He just wanted to see the entire center

of the window.(...) Right over there.

He's back at his home in Mexico. We're

staying here till midnight, working 13,

14-hour days. I hear Narcissus in my

head, like, "This is your last chance."

(...) It has to be a

masterpiece. Don't compromise.

It's the arm. Well, the whole drawing has

to be changed. Okay, it has to be redone.

Mary's arm looks like a freaking pogo

stick or something. It looks terrible. We

have to fix it. It's a week of work.

So if we do that, that means the Mary

figure doesn't go to Kansas. It's her

right arm. It's really stiff. It's

supposed to be bending back. You don't

feel that bend at all?

Oh, I see it now. Okay. Yeah. I think

it's okay. I think we've got to just go

with it. But I've got Narcissus in my

head all the time, like... But he's not

realistic about stuff. He can be kind of

crazy. I don't want him to make me crazy.

I can't sit there and look at it and go,

"Ah, I could have done this. I could have

done that." This is Mary.(...) There's

going to be postcards and posters, and

three out of five people are going to

look at that arm and go,

"What kind of artist did this?"

I was going to ask him to

help me make a decision.

But I'm kind of feeling

like the decision is made.

Tim said he needed a week to make the

change, but we didn't have a week. So he

figured out a way to fix it over the

weekend and got it ready for the truck.

Handle with carf?(...) Yeah, I was

kidding. I was kidding. It's for you,

Guillermo. I know you

like your ass, Brad.

A million dollars. A million dollars of

insurance for the truck ride.

My name's John Patrick. I've been driving

semis for 28 years. This is my first

stained glass loaded out pole. But when

you strap it in, you should be able to

take the semis, turn it all the way

upside down, and everything should stay

where it's at if it's done properly.

There it is. Two John Patrick safe

travels. That's what I'm going to write.

(...) Judson Studios.(...) Put that dude

right up there with you. He'll keep an

eye on you. Oh, yeah.

That's beautiful, man. Yeah.

Driving south on 69 Highway in Johnson

County, you really can't miss this

massive building that's going up. The

church has 20,000 members since it's

beginning 25 years ago. This expansion

will allow for them to take many more.

There are some who think we shouldn't be

building. And others who have questioned

if $90 million is excessive. This is

something that's going to actually

increase what's done for the poor.

The new building with God at the center,

he says, will grow the congregation and

current $4.5 million in missions each

year.(...) For me personally, I had to

deal with that. That sounds like a crazy

amount of money. It sounds absurd,

actually. But then you've got to put that

in some perspective. A high school in our

community costs $60 million to build.

Well, we're going to have the equivalent

of eight student bodies in

this building every week.

It seems $90 million for a huge church

and 20,000 members. That's a little bit

beyond me. The story in Scripture that

comes to mind is about a rich young

ruler. And then Jesus says, "Sell all

your possessions and

give it to the poor."

That's a beautiful piece of art.(...) And

I'll be honest, I don't know if God would

like it. Well, certainly I'll go check it

out. I mean, people go to Disneyland. I

can certainly go out and see the biggest

stained glass window in the world.

How's it going? Lewis. I'm Adam. Nice to

meet you. All right. Pastor Adam. Pastor

Adam, that's right. Is your wife Eve? I

know she's not. That'd be good.

Well, I've been doing this for like 16,

17 years.(...) I've worked with panels

this size before, but definitely not this

weight. Come on, don't unhook it. No, no.

Drag it in. We're up there kind of high.

These windows are a hundred pounds and

they could just drop.(...) But, you know,

we don't--I don't think about that.

Ready? Okay, go.(...) Okay.(...) My

hands. Bring it up, bring it up. That

corner, that corner, that corner. There

we go. Oh, geez.(...) Oh, my God.

Since they started installing the window,

I've come over here two or three times a

day just to see, okay, what does it look

like with one more panel in? What does it

look like now? How's it different now?

I watched a couple of the guys cross

themselves before they, you know,

installed the panel of Christ. And I just

stopped to pray there, you know, once

more, "God, please use this glass as an

instrument through which

you'll speak." Here we go.

There's probably another 20 people in the

back of the plane that are waiting for

him to gather up his iPads and sweaters

and scars. He's got his Mexican iPhone,

his American iPhone, his iPad, his

laptop. We're a little pent

up. Let's get this thing moving.

Take me to the biggest stained glass

window in the world.

Okay. 42 minutes till

we find out our fate.

Tim developed a design of the window that

only later did he tell us was

unachievable with what he knew about the

current technology in stained glass. I

mean, I gotta tell you, I mean, there's a

part of me that's like,(...) "Dude, you

can't do that. That's not fair, right?"

What if it doesn't look good?(...) I'm

thinking about that a lot. There's just

so much that happens when light is coming

through something at you. It doesn't let

you hide.(...) Light is a real bitch.

Oh,(...) my God.

Holy cow.

We didn't fail. We're

gonna hug at this moment.

Man, love you guys right now. Love you

guys right now. Good to see you again.

Good to see you, man. There's a lot of

light still streaming in here. I think

Jesus is a little too

big. Can you re-do him?

(Music)

There's like 4,000 families that made

that window happen. There are children

who bought one square inch of glass. Now

it's not the super wealthy who are

commissioning some great work of art, but

these are ordinary people, school

teachers and business people and

custodians who are saying, "You know, I

played a part in making that happen."

In the artistry, you just look like him.

I'm the artist now. What do you think?

I'm happy. I'm pleased. I'm relieved.

This is the hardest part of the whole

window. It's being done with the

technique that I invented. Oh, cool. We

were the last to American firm. Oh. Wow.

We have six hard months ahead.

(Music) He was scared of me when I was

pregnant because I did not get his humor.

I hope you're being honest.

As honest as I can be. I mean, I'm

holding back a little bit. Did you tell

him about my long balls?

Hi, Luke. How are

you? How are you? (Music)

Do you remember me asking you-- Oh, yeah.

So they're going to make their target?

Not a chance. It's too complicated.

Forget it.(...) Honestly speaking, dude,

I think this window is

going to be finished on time.

In my gut, I say yes.(...) In my head, I

say no. (Beeping) Hi, I see you.

We've gone from 12 employees to the

studios up to 25. I mean, we doubled our

size. This is Ted. Nice to meet you.

Pleasure to have you all here. He's

managing the facility and learning how to

fly.(...) When Quinn started, he was

basically just sweeping the floor, and

now he's nearly running the studio over

there. I don't know why they're trusting

it all. They're a 20-year-old. That might

be a bad move on their part.

Seven weeks, one a day, 35 panels, and I

don't think it's that many. It's all

feeling kind of doable right now.

This looks beautiful. You're learning,

you're learning. I have a breakthrough.

This is amazing. It's alive. Get me some

LSD. I'm ready for it.

I'm not afraid anymore.

We did this at Bullseye. We weren't just

careful. We were just...(...) wow.

Miles, miles better than the first one.

Hey, Tim, can you live with that? Yeah,

you may want to hit some more of your

contour lines, but good, you're learning,

you're learning. I'm glad.

I can get in front of the

camera and say we're doing good.

That's my interview. Ciao.

I wouldn't be here if it wasn't for Tim.

I'm 72.(...) I don't have 40 years in

front of me, but he does.

He will make what I know flourish.

Tonight the governor issued a cease and

desist order against Bullseye glass after

air quality monitoring found dangerously

high levels of lead at a daycare that's

just down the street from the plant. The

Department of Environmental Air Quality

from Portland discovered that the air

around Bullseye is filled with toxic

chemicals. They had previously put an air

monitor across the street from us. We

never heard anything from them, and then

all of a sudden they rush in one day

around three o'clock. They said, "This

has been leaked to the press, and it's

going to be very bad for you. Brace for

it." I'm safe. You're safe. We're all

safe from our city. I went from having,

like, the coolest job in town to being

that guy. "Oh, you work at the glass

factory." We've been getting death

threats. We've had windows broken, eggs

thrown at our facility. The last thing

you want to think is, "Gosh, wow, did I

poison the neighborhood?" It's worth

noting that the factory here, it's

possible, is not the only source of

cadmium and arsenic contamination. This

is an industrial area, after all. They're

demonizing a $20 million company. There

is a $3 billion company south of them

that emits 30 times the pollutant. The

company also told us today that on the

two days that DEQ said had the highest

concentrations of those two heavy metals,

the plant wasn't even in operation. We

had been in complete compliance with all

regulations, but that was the start of a

$1.2 billion class action lawsuit. We

immediately ceased production of glasses

using cadmium and arsenic. Cadmiums used

to create reds, yellows, and oranges.

Shortly after that, it got worse. They

were told they couldn't use chromium,

which is a good number of their greens

and blues. So here we have this yellow

and orange tree and a green tree on the

other side, and they're basically telling

us those colors can't be made. This

entire project is dependent on bullseye

glass, and if anything

shuts them down, we're screwed.

I called David and Tim at Judson, and I

said, "Get your glass order in." So we

had to make our final order, and they

asked us to estimate how much glass we

were going to need for the rest of the

thing. You know, we're only halfway done.

We're not halfway done. So I have no idea

how much glass we're going to need of

each color.(...) We made our best guess,

and hopefully it's enough.

Everything they touch... I

know, but that's our team.

We got who we got, and we have to get

them to the finish line.

Is that a good deal to go lower? I need

to make this better.

It's been like three hours of my day just

making up for the

stuff that I did yesterday.

Don't stress me out, Clinton.(...) I got

enough stress in my life. Your job is to

absorb the stress of the guys that are

fucking up below you. Not give it to me.

I take all the heat from Tim, and then I

pass it on down the ring so all the other

people were heavily understaffed at the

moment. And what does that mean for you?

It means I'm stressed out. Hey, it's

better than jail.(...) Is

it? A little bit. Maybe not.

I'm stretched a bit thin right now, but

I'm in this awkward position of trying to

make sure that this place is up and

running, as well as the old facility. You

know, it's almost as though we're

creating two different businesses.

Within the busiest time, Johnson's ever

been. We landed three huge contracts this

year, one for Disney, the Kansas Job, and

another huge church in Stanislaus.

Some people primarily work in the new

space, but now we need to have them shift

over to the other studio.(...) But in a

pinch, if we need them to come and help

out, they can do it?(...) Yeah. I mean,

there's a ton of design work right now,

so it depends. It'd be nice to have Luisa

full-time. We need more stuff. Could you

have Luisa, like, a day or two days?

Like, one day a week? Yeah. But we need

more than one day a

week. You do? God, yes.

Our estimate that we've created to come

up with the price says 24,000 hours of

labor. 24,000 hours of labor is eight

people,(...) 40 hours a

week for a year and a half.

And David sometimes expects us all to be

plastic men, you know? Stretch here,

stretch there, do this, do that. And he

has this expectation that things are just

going to get done. I looked at that

picture from that other studio on

Facebook where they are doing a window

that's 2,000 square feet.(...) They've

got 27 artists working on

it. And we have one and a half.

It's not fair for me to just be getting

paid a normal salary to basically cover

most of the labor costs

and all of the artwork.

I feel for Tim.

I know exactly what he's going through.

It isn't that when this window is done,

Tim is going to come back and be in the

old role, because we're going to have to

make that studio work.

Yeah, that's what it's all about right

now, Mercissa. So, you know, all the time

that he's put into this is preparing for

that next step and has to be defined.

And I told him the way for the studio to

grow is for you to grow as an artist. The

studio is going to have to find a way to

sell your stuff. We've never done that.

I'm so glad.(...) Are

you that bad an artist?

You know, I don't agree with him. Your

best chance to make it as an artist is by

doing your own work, meaning personal

stuff that was my idea start to finish.

(...) Right now, he's going to look at me

and go, "Oh, he's bringing me four

million dollar jobs and five million

dollar jobs. Why would I want to change

it?" Because one day you're going to quit

and want to do your thing.

So, either you do your thing inside this

umbrella or you do your

thing outside this umbrella.

I actually am happy here. I actually like

doing this work. When my art was my life,

I was unhappy.(...) And I've had this

feeling of freedom since I've been here

that I don't want to change.

Quentin, thanks for everything. You're

welcome to stay at my place. Don't worry.

What do they say, Tim? I'm going to

finish the text of my

book this weekend. Okay.

I'll be in the Bay Area.

Ciao. Adios.

(Door Opens)

You did all of those. I did all of them.

I'm doing both the trees.

Beginner's luck. (Laughs) I mean, they

held my hand through, like, the first

one, but then they just let me go at it

after that.(...) It's fun. It's fun to be

part of the actual artistic process,

making my own panels.

This project will be successful if the

congregation and the community start

discovering those meanings, and they feel

a presence or they feel elevated. But in

our historical terms, let's give it 300,

400 years before we determine how

successful it is. (Clears Throat)

We're still really not through a massive

portion of the window. We're barely at

halfway.(...) God, it fucking stinks in

here. Oh, I know what

it is.(...) Taco meat.

Go on. Fuck it.

Enough already.

So I went to the hospital this morning.

I forgot I was just a rash. How you

doing, Dick? Dick Cooper came to see

where we were and assess our schedule.

For every day, you guys

are late. It cost us $20,000.

Bro!

That thing was 1,500 degrees. I got up

really bad cold. The whole ability to

finish on time

requires perfect attendance.

I'm ready.

Today was definitely one of those days

that I knew was

coming, where it was like,

I kind of felt like I might die.

It's boring.

This is the heap of figures for all of

the proper protocol. St. Augustine, here.

St. Peter's, here. Perpetua, here.

I think Tim was under a certain pressure

to be proper. It feels puritanical. Come

on, you know, Adam and Eve have been

portrayed in the nude for centuries, but

the church didn't want to see any nudity.

Even Cain and Abel, which is the only

violent act in this piece, it's not

violent. It's beautiful.

Michael Anschuler didn't have a problem

depicting some drama.

But who am I to judge?

Mommy, let me see. Let me see you.

Do it. What's wrong? I'm a

little dead in the nearby.

He was going to build this window, and he

was going to do what it took.

And I remember him coming home and

saying, like, wow, I worked like 14 hours

today. The kids felt his absence. Where's

Dad? Why can't we go to the parking and

play ball? Where's my bike rides after

school? And that was really hard on him.

I hope I was nice to him.

Some of the time, at

least. (Music Playing)

I just feel like there's not

enough hours on the day anymore.

I've been exercising in like three weeks.

(...) And then on top of that, I'm trying

to be entertaining for

you for this fucking movie.

I've got nothing right now.

I'm always super appreciative to be here.

I mean, before I came here, I was looking

like I was going to be homeless,

probably.(...) And even when I'm doing

something really shitty here that most

people wouldn't want to do, I know that

there's a world out there that's 100

times shittier, and that's where I

probably should be. I don't know. I'm

not, like, religious, but divine

intervention, something along-- I don't

know.(...) I'm sure some religious person

could put some sort of something to that.

We're getting it done, and we're

apparently a lot faster than last year.

I have no doubt we'll do it,

because we are that awesome.

We estimated the glass for the whole

project, and it's not even close to what

we're going to need. It's like we

underestimated,(...) insanely.

So we got to milk every little piece of

glass that we can, especially the greens

and blues. They are the most in danger.

Yesterday, I need to order a bucket of

1118. She's like, "Oh, you're in luck. I

have one left. There's one left in the

world."(...) Without more Midnight Blue,

we won't finish on time. I mean, Martin

Luther King himself will take ten sheets

of Midnight Blue, and we've got ten left.

The church has

trusted me to do this thing,

when in reality, they

never should have trusted me.

I never really felt we would ever close

this company down or move. I could not

live with myself doing that.

I'd rather end up in the poor house,(...)

on the dole, having

fought this thing than to quit.

Bullseye, they're completing production

of their Pilot Bag House, a filtration system that'll allow them to use certain

hands The team of guys worked morning to

night, round the clock, to put together

an air emissions control system that

exists nowhere in the world.

And now we're doing it. I mean, we're running the cleanest glass facility in the world. We're running the cleanest glass facility in the world. We're running the cleanest glass facility in

the world. I mean, we're running the

cleanest glass facility in the world.

We are very proud of being able to do

that within six months. That is pretty

much behind us. What is not behind us is

the ongoing lawsuit. And we will

eventually clear our name.

Happy birthday to you.

(Speaking In Spanish) Cheers. Woo!

21. That's a big day.

(...) (Laughing) (Music)

This is the last panel of the window.

Martin Luther King, Billy Graham, Rosa

Parks, last panel. (Music) One more

lighting on the

cigar. You must be kidding.

(Laughing) (Music)

I said it today with Justin in the

beginning. Everybody will come out of

this a different person. And that's

basically what's happening. Nobody knows

exactly who they are yet.

(Laughing)

It's an incredible adventure to make a

major project. But then you're spit out

at the other end.(...) And you're left

like an empty shell.

I knew that Tim had changed. He knew that

things were not going to be the same, and

I knew they weren't going to be the same.

At some point, those two points were

going to cross, and

they had to be dealt with.

I'm just not appreciated by David.

He basically told me, "We're going to

give you a little bit of a bonus for

Kansas," because I asked for that. I had

to ask him multiple times. He's like,

"I'm going to give you a good will, a

good faith bonus," which was about 15% of

what I was asking for. We're bringing in

$4 million for Kansas, $4.5 million for

Wyoming. I got less than .1% of those

jobs combined as a commissioner.

So what are you going to do about it?

I think I have to leave.

As a small business owner, you have to

think about what's going to keep it

running, what's going to keep it afloat.

How are we going to be able to pay the

rent, pay the electric bill? It's not

just a financial thing. It really isn't.

It's just an overall culture. It's an

overall leadership thing. The truth is

that I asked him to become a partner in

the business and become part owner of the

company, and he said no.

I don't ever remember him asking

specifically to be a partner, but if that

was something that, you know, feeling

like wanting to be a partner of the

organization, I think is,(...) you know,

that wasn't something that I felt like we

could do because our visions were so

different. For these last few years on

this project, I felt like I didn't look

at the clock. I didn't think about my

position. I just went into work every day

and said, "We have to do this and get

this done. We're traveling the country

together. We're getting these jobs

together. I'm acting like a partner. I'm

representing you. I'm building

relationships."(...) Why

would I not be an actual partner?

I said to him, "It's staggering to think

that the guy who did that incredible huge

window did it at an hourly pay. You've

got a salaried person to do something

that a partner would do."(...) You know,

when an artist does that, it is for

themselves to a certain extent, and that,

you know, Judson Studios is like a ship,

you know, and I'm like the captain of the

ship, and you need to all be on the same

ship in the same direction. I'm

disappointed, but you have to learn how

to prioritize what you need as an artist.

Obviously, the studio has not given you a

path to do that through partnership,

but the studio is giving you use of a

spectacular studio for quite a while. I

wouldn't step away from the spectacular

studio until you're ready.

It's blinding, you know.(...) Anger is

blinding. Anger is blinding.

(Footsteps Thudding)

Where's the sunshine? California's

supposed to be a sunny state. Where's the

sunshine? I'm serious, not this year.

(...) (Laughing) All right, you good?

(Phone Ringing)

Cheers to the team.(...) To you guys for

all your work this week, for lifting

those fucking panels a thousand times, up

and down and up and down,(...) Quentin,

(...) you've pulled it all together, man.

(Upbeat Music) (Cheering) (Upbeat Music)

Ready, one, two, patro.

That's it, one more third.

They're gonna have their minds blown, and

people are gonna go to this church for as

long as it stands just to see this. And

the only thing I really hate, loathe, and

despise about it, and I know he's gonna

see this, are the speakers he's gonna

hang in front of the window, which are as

big as a freaking car.

(Phone Ringing)

We were shown these images by the

architects. Right smack in the middle are

these speakers. What century are they in?

(...) They should go to a movie theater,

right? Even in terms of like

merchandising, you'll never get a clean

shot of the image. As you're walking into

the church, those areas of the window are

gonna be gone from wherever you're

sitting. I don't know how big they are.

For the size of a Volkswagen van. Wow.

We agree with you, we all hate them.

For everybody to hear the spoken word,

regardless of your seat, our acoustics

and sound folks said, look, this is where

they have to be, and so it was something

that we had to accept. But it would be a

solution to just have them go straight up

on a pulley system. Right. And then come

down when you were using them. Right.

People were just coming in

tourists to see the window.

(Electronic Whirring)

When I first walked in

and saw the speakers,

I cried a little. I did.

I mean, I talked to people who were in

distress. This cannot be, I mean, this

has to be a mistake. Somebody has to fix

this. I had a phone guy, I love him, he's

a really great guy, and he said, what

would Jesus think about those speakers

being there? Adam, what would Jesus do?

And I'm like, I'm pretty sure Jesus will

want people to hear.(...) What finally is

being designed is the ability to have

motors or winches up in the ceiling and

to be able to raise them up when we're

not worshiping. Which I wish they would

have done originally. Would have been

nice, but it won't happen until after the

church is open, until summer probably.

(Dramatic Music)

Okay, we're gonna go, go left side, left

side. Left side, primero. Another one.

There is a resurrection member in this

window, and that's Matthew Joyner.

Matthew was the founder of our Matthew's

ministry, and he passed away several

years ago. And Matthew in his life could

never read or write or dance or sing or

talk.(...) But in the kingdom of heaven,

we see him doing all of those things.

(...) And part of what we wanted was for

all of the people with special needs to

know that one of them was in this window.

Good to see you.

Oh, honey.

Yeah, it's been quite a time. Oh, honey.

(...) Oh,(...) honey, you're so funny.

Oh, honey.

It's her funny.

And I don't know what to say.

That's what I'm expecting to see when we

meet again. It was a real honor to get to

do it. I'm really glad you like it.

(Laughing) (Applause)

When I was finally

finished and I walked in,

and it exceeded my expectations, it was

everything that I had hoped for. It was,

you know, you walked in and you felt like

Christ really is

standing there welcoming you.

Well, when I saw the Christ for the first

time, I just burst into tears.

I don't consider myself a religious

person, nor does Dan. It's impossible to

sit in that space and not be overwhelmed

by the window, the power of

the stories that it's telling.

It just feels like a pride for our

community in Kansas City. I think a pride

for the nation to

have such a masterpiece.

I don't know what you're supposed to feel

like in these moments.

I think this is as good

as it could have done.

It just sort of looks like

how I expected it to look.

I want these guys to be happy. Is this

the leader's seat right here? This is the

spot of the house right here. Yep.

Let's do another one. Let's do it. We

gotta get it. Let's do it again.

(Upbeat Music) (Crowd Cheering)

(Upbeat Music) And in the night tail room

Here we go When I'm darlin'

You were walkin' for the night

I said, "We need a cabaret."

(Laughing) See everybody

(Birds Chirping) (Soft Music)

I just think about everything that's been

happening in the last three years. It's

like a lifetime's work.

People have been so thankful.

It's been a long journey and very

exciting and I am

pumped, I have really pumped.

(Soft Music)(...) Wow, it's just

fabulous. It's just

sensational. Thank you.

Well, good morning.

Welcome to the United Methodist Church of

the Resurrection. Today we're dedicating

the stained glass window. And I wanna

begin by recognizing David Judson, who is

the president and CEO and

owner. He's the big shot.

(Audience Applauding) David went out on a

limb to take a project like this. Took a

great risk actually in doing this. I

wanna recognize Narcissus Colliado, who

is the man who invented the techniques

that are used in this window.

(Audience Applauding) I wanna recognize

Quentin Blackmon. And Quentin, if you

would please stand. I know you're around

here somewhere. There's Quentin. So

Quentin is the production manager who was

involved. He's also an artist, so he

helped shape some of this window.

Quentin, thank you so much for your

leadership and what you

did. This was magnificent.

(Audience Applauding) Thank you.

And the man who we work most closely with

is the artist himself, Tim Carey. Tim.

(Audience Applauding) (Upbeat Music)

(Audience Applauding)

I mean, I've never expected this kind of

response.(...) Kind of blowing me away.

What do I love to hear, right?

Having people come up to me and thank me

and people asking me for signatures and

stuff, I never thought I'd be somewhere

doing that. The last time I wore this

suit was in front of a judge.

Something has protected me. So I'm really

grateful for that. That should keep

happening for me. (Laughing)(...) I'm

glad that this community really loves the

work. People have come to me in tears.

But for me, the experience

has been being able to transmit

something very dear to me.

I am proud of Tim.

There is a soul to what he does, and I

feel Tim understands.

(Upbeat Music)

(Audience Applauding)

(Audience Applauding)

I'm grateful to them for trusting me to

do this. Because they had every reason in

the world to not.(...) I think we all

kind of believe that there was something

bigger working here, but it still

requires people to do our

part, you know, to say yes.

They did. They had faith in me, and all I

would say to everybody is thank you.

Are you happy with the way it turned out?

Honestly, the most important opinions to

me are the opinions of everybody but me.

I'm glad they like it.

And I'm glad I don't hate it.

I'm really at peace with

the way everything went.

That's how I feel about

the window. (Dramatic Music)

They're just gonna be stunned.

For the first few months, I'll bet they

don't hear a word he says.

Because they're too busy.

He's gonna have to get a curtain.

(Laughing) You think you'll go out and

see it in person? No.

The only thing that's important to me is

what I'm working on at the time.

I'd like to die at the bench.

There's been people at Judson's who have

done that. And that's

always been my goal.

(Laughing)(...) Yeah.

(Dramatic Music)

I think so far my favorite figures of the

whole piece came in.

Everybody asked me, they say, how did you

decide on that particular face you could

do with Jesus? Why did you, why did you

choose, you know, Jesus has been

represented so many times over the years.

Why did you choose the way you'd

represent him? I wouldn't move that.

It's a complicated answer usually.

I think I use a

different answer every time.

(Laughing)

The company in its own way and Tim in his

own way are in a very similar place.

Everybody stepped out of their comfort

zone. Now they have to work it out.(...)

If you risk, then there are results.

It could be total failure

or total success or life.

Big day, big day, today's Tim's last day.

We were thinking, it was 14 years now?

That was 15? 14, yeah, yeah. 14 years,

we've worked together and I think we're

both better for it. And I appreciate

everything you've done.(...) And the

studio is a better place because you are

here. I wish you luck. Thank you, man.

(Clapping) Thank you guys.

(Clapping) (Upbeat Music)

(Upbeat Music)

(Upbeat Music)

(Singing In Foreign Language)

(Upbeat Music)

(Upbeat Music)

(Upbeat Music)

(Upbeat Music)

(Upbeat Music)

(Upbeat Music)

Party's over.

Now the party just begins. (Laughing)

I let the Uber driver go

with our bags and our glass

and your bags and your cameras. I don't

know what the hell is enough bags.

One parking ticket, one moving violation,

one phone headed move. That guy better be

pulling up here any

second. I'm gonna shit my pants.

I just gotta get home. This is one of

those days. Just gotta

like, make it to bed.