the "good news" of Christ's salvation, eliciting support and agreement from his audience. Production and filming Nierenberg does not use a narrator in the film to explain details to the audience. Instead, stories are told through memories shared on camera, vintage film footage and still shots, and more intimate scenes Nierenberg set up between performances. He employs a personalized method of documentary filmmaking, using subjects the way a scripted movie uses characters. Contrary to a purist view of making documentaries where the filmmaker only observes without interfering with the subject, explaining that "it's my role to find the story", Nierenberg prompted scenes to play out between the subjects and during editing did his best not to misrepresent the people and the situations they were in. All the cinematographers had to do was film. For example, a scene where Delois Barrett Campbell and her husband are having a discussion in their kitchen about her touring Europe with her sisters was instigated by Nierenberg, who already knew this was a point of contention between them. Campbell and her sisters formed a gospel trio in 1963. Touring Europe with them had been a dream of Delois' for many years. Her husband, Reverend Frank Campbell, says that he wishes she would be more involved in his ministry and not go. She looks at the camera, then asks him if he wanted eggs with his sausage without any further response. Though the exchange was real, when Nierenberg arrived for filming that day, the Campbells had already eaten. He asked Delois to make breakfast again and while she did, he leaned towards Frank's ear and prompted him to ask Delois a question. Nierenberg did not know the moment would be so tense. When Delois looks at the camera, she is actually looking at Nierenberg, behind the camera, in consternation. Conversely, the scene in which Smith's grandson tells her that he thinks women should not be ministers was a complete surprise to everyone, including Smith, who was ordained in the 1940s. During filming, Nierenberg recalls a litany of mechanical problems with cameras, lighting, and sound equipment, remembering it as "a disaster". Much of the time dedicated to technical aspects of filming was spent setting up lighting, which, according to J. Greg Evans in American Cinematographer, acts as support for the narrative structure of the film. Whenever possible, natural lighting was used, but when more was needed, what