Meet Jayson Johnson, Accomplished Chicago Born Independent Filmmaker

Jayson Johnson is an independent screenwriter and film director. Born in the Chicagoland suburbs to a creative family, he was challenged to seek out his own form of artistic expression and ultimately found himself drawn to TV. As a certified couch potato, Jayson used to watch 7+ hours of television every day. So when it came time for him to choose a major in college, it was an easy decision – Film & Television! Jayson attended Eastern Illinois University and studied Radio/TV/Film while working on several college peer projects.

After college, Jayson landed a job with legendary filmmaker, Francis Ford Coppola and worked for his “Crazy Ideas Department” traveling the country for a stage performance titled Wine, Daydreams and Memories. 4,000 miles and 23 shows later, Jayson left Coppola to work at Discovery ID and produced over 1,400 hours of show content. In 2017, Jayson launched Strike Five Films with the goal of writing and directing his own content. Since then he has made five films that have been selected to over 75 film festivals winning five times.

indieactivity: How would you describe your work as a director?
Jayson Johnson (JJ): Great question! I’m big into character-driven pieces and want the audience to get a good sense of Introspection into the characters. I try to write characters the audience will either love or hate so they have some vested emotional attachment to the characters. I also like to show what’s happening as opposed to telling the story through exposition.

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How did you get into directing?
Jayson Johnson (JJ): Directing for me was kind of a full-circle occurrence. I first wanted to be an actor and went out on a ton of casting calls but rarely got selected. When I would get picked (usually as an extra) I noticed I’d get like half a second of screen time after spending all day on set. It seemed to be a big waste of time. So that’s when I started to think… I thought if I learned how to write scripts then I can write myself into the film. Great! So I taught myself screenwriting with the intention of giving myself the leading role. But when I found directors interested in the script they oftentimes weren’t interested in casting me as an actor. So then I revised my strategy, I thought if I write and produce the projects, then directors gotta show me some love, right!? Wrong again!

They liked me as a writer and producer but that’s where my contribution was to stop. I knew I could do more so that’s when I decided I’m going to write, direct and produce my own projects, and if I wanted to cast myself then by god I was going to do it. But then something happened when it came time for me to write, produce and direct a project I no longer wanted to put myself in the film either. I had fallen in love with the process of making films and no longer wanted to be an actor. Looking back it’s kind of funny, often times a funny way of revealing itself.

How do you choose a project to direct?
Jayson Johnson (JJ): I think you have to tell stories that you’re interested in and want to tell. To me, filmmaking is a very personal endeavor and you subsequently put a piece of yourself in each project so it has to be something genuine and close to your heart. Lastly, I always want to do something original. Over the past few years, we’ve been rebooted and superhero’d to death so I’m always up to see something fresh and original.

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What uniqueness can female directors bring to film/tv/cinema?
Jayson Johnson (JJ): I love female directors & filmmakers. One of my favorite films is “Real Genius” starring Val Kilmer directed by Martha Coolidge. In the film really like how she’s able to show each character’s arc with subtle nonverbal cues. You really get a feel that each character is growing throughout the film without it being explicitly told to you. Maybe I’m wrong but I feel female directors really excel at getting the audience to connect to the characters on screen. It’s one of the many awesome skills that females are effortless pull off and that’s impressive.

Do you often take courses to increase your craft?
Jayson Johnson (JJ): If you ain’t learning you’re dying, so I’m always looking for ways on how I can get better. I’m constantly reading books on positivity, entrepreneurship, and film production. I invest time networking and connecting with other filmmakers. And always apply for any grants available to me. You have to really, really, really want and make this happen if you want to make a successful filmmaker career.

What books do you read?
Jayson Johnson (JJ): I just finished reading The Power of Positive Thinking by Dr. Norman Vincent Peale. Early on in my career I read all of the must-read student film books like Rebel Without a Crew, Save the Cat, How Not to Make a Short Film, In A Blink of An Eye, and many others to get a better understanding of the industry. Now I just like reading books on keeping the right mindset and being the best person I can be. Being a filmmaker is not an easy path and you need all of the positivity you can get.

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Why would you choose an actor, writer, or producer? what do you look for?
Jayson Johnson (JJ): When it comes to talent I look for those who are a fit for the project. In my experience, I’ve met actors and writers who were incredibly talented but their attitude sucked. Attitude is everything with me. If you’re at odds with someone at an energetic level then it doesn’t matter how much talent is attached to the project, it’s not worth it and in the end, it’s not going to work. Producer-wise I’m looking for someone who can actually get something done! The word “producer” is such an ambiguous but powerful word that a lot of people flock to it and hold on to the title superficially. These people can’t get anything done, have no connections, no cloud, can’t raise money but still want to call themselves a producer. What!?!

When you are offered a project, what things do you put in place to deliver a good job?
JJ: A solid team. You just have to work with good filmmakers to make good projects. Think about it you can’t make a lobster roll using canned tuna. There are levels to this shhhhhhhhh….

Briefly explain your latest work?
JJ: I’m in pre-production for two shorts and a feature right now. I just finished a film titled “T.H.O.T?” but it was such a meh experience I’m forgetting about that project and moving forward to what’s next. The two shorts I’m working on center on Transgenderism in sports and Blacks who disagree on issues of culture and politics. After these projects, I’m expecting to go into production on my feature-length debut, R.O.G.E.R & Me, a story about a young Black coding savant from Richmond who is sentenced to carry a live goldfish everywhere he goes for 30 days after he falls asleep at the wheel and crashes into a tropical fish store.

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Explain the key challenges of your last film?
JJ: I used to disregard this until I witnessed it, but… clout chasing is a real thing. Let me start by saying almost no film shoot will be an absolute walk in the park. Even with the best producers and planning, you’ll have little fires you have to put out along the way but when it’s a five-alarm five that’s something else. The ‘fire’ on my last project was a producer who was just out of control, but it was my fault. This is the silver lining; I learned a good producer is worth their weight in gold, crypto, big ass diamond-encrusted rapper chains, or whatever you deem a store of value.

What ‘thing/situation’ helps you during production?
JJ: I like starting each production with a prayer. It gives me peace and puts me in a good place to create. I am a Christian. I never know who’s open to hearing about God. So, I am an open vessel. I allow God to be known in my work.

Explain a creative choice you took on the set of a recent production?
JJ: A few years ago we reverse-engineered a film and filmed it without a sound mixer. We didn’t have any money for the project and couldn’t afford a sound mixer so I just wrote a piece using the concept of thoughts we think and made a narrative around it. Since we were going the experimental route we also decided to film at Albany Bulb which has a lot of interesting and unconventional art structures.

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How do you advise directors to find projects?
JJ: I think the right project finds you. Whatever you are most inspired by is the project you ought to be making.

How can filmmakers finance their projects?
JJ: I know the reader reading this answer is going to be like WTF but a director can best finance their film projects by making their next film. So what do I mean by that? When you stay active making films somehow the money just finds its way to you. I made my first film for $30 bucks on a Mini DV camera and by the time I was finished a friend gave me his old camera equipment and computer and told me to keep going. Then years later I wanted to make my first real budget film and learned about Kickstarter and raised fifteen thousand dollars. The common thread is I made up my mind that I was going to make the film by any means necessary and the universe bent to accommodate my desire.

What do you want from an actor during a production?
JJ: To be cool and drama-free.

How do you prefer to work with a producer during a production?
JJ: By collaborating on making the best project humanly possible within our means and then setting out to do it while checking your ego at the door. I got that ‘By Any Mean’s Necessry’ energy so if my collaborating producer is on that wave too the rest is gonna take care of itself.

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What do you think a female director can do to get into the film industry?
JJ: I think now is a great time for female directors. I think of female-oriented groups like Film Fatales, REEL Ladies and the Alliance of Women Directors have all made big strides in getting more females into helming films. Connect with like-minded filmmakers and then put your best foot forward.

Who is your favorite director?
JJ: I have a shifting love affair when it comes to my favorite directors. It really depends on what type of mood I’m in. If I just wanna sit back and enjoy a flick I go with Steven Spielberg. If I’m writing and want to feel inspired you’ll get all the inspiration you need by watching some of Tarantino’s bests. But if we’re talking all-time favorite, I’m not sure I can just name one so let’s go with my top five. Not in any order it’s gotta be Coppola, Kubrick, Nolan, Federico Fellini, and Marty Scorsese. Hard to leave Spielberg and Tarantino out but the aforementioned five have changed my life.

What advice would you give male/female directors around the world?
JJ: Just to be yourself. I always hear about directors wanting to copy ideas, shots, or styles by famous directors but in doing that you’re not doing anything original. It’s much better to find your own signature style and build from there.

Briefly write about your career
JJ: While I’ve always had ideas about film, I never thought I’d be making them. I grew up in Chicagoland without any film connections so I had to take the trial and error route. Along the way, I learned I have a lot of determination and courage to keep going when things got tough. Interested in my work? Check it out here.

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