An Interview with Jayson Johnson, Director

by Mike Haberfelner

July 2025

To kick this off, why don't you introduce yourself to those of us who don't already know you?

Absolutely. I’m Jayson Johnson, an independent filmmaker, writer, director, and founder of Strike Five Films. I’ve made nine short films that have been selected to over 90 film festivals worldwide, picking up six awards along the way.

I didn’t actually get into filmmaking until later in life. I’m originally from the Chicagoland suburbs and earned my MA in Communication Studies with a focus on film production from Eastern Illinois University. But most of my real education came from jumping into projects headfirst. My first film was shot on a $35 mini DV camera with no script, no actors, and no real plan—just a love for cinema and a willingness to figure it out as I went.

A chance interview early in my career led me to work under legendary filmmaker Francis Ford Coppola. After four years contributing to a variety of successful wine and food ventures, Coppola gave me advice that stuck: “Go out and become famous.” That pushed me to start carving my own path as an independent filmmaker. Since then, I’ve gone on to write, direct, and produce award-winning content for Discovery Networks, ABC, Amazon, Netflix and several other major brands. Through Strike Five, I focus on telling stories that center BIPOC characters and narratives that don’t always fit neatly in a box. I’m also building a film-inspired streetwear brand under the same banner because I believe storytelling doesn’t have to stop at the screen—it can be something you literally wear and live. Right now, I’m gearing up for my first feature film, R.O.G.E.R and Me, so it’s an exciting time. Thanks for letting me share a bit of my journey.

What got you into filmmaking in the first place, and did you receive any fomral education on the subject?

My first experience with film actually started in college. My roommate was making a film and needed an actor, so I jumped in as a joke—but ended up finding the whole process surprisingly fun. I enjoyed it so much that by the next semester, I changed my major to Communications with a concentration in radio, TV, and film. It wasn’t exactly film school, but in my mind, it was close enough to the goal. Somehow, some way, I figured I’d find my path. Over the next few years, I threw myself into every type of media I could. I drew comics for the school newspaper, worked at the student news station, and hosted a radio show—learning the ins and outs of storytelling across different platforms. But after a while, I found those mediums pretty limiting. The newspaper would often censor my comics, and I got bored with the radio and the local news format. That’s when I got the chance to work on another indie film called Empire of Danger. It was a low-budget project, but it was film—something creative—and I threw myself into it completely, learning everything I could on the fly. That’s really been the constant in my education: jumping into projects and soaking up as much as possible in real time.

Do talk about some past film of yours, and about your growth as a director?

Sometimes I think about how I’ve even gotten this far as a filmmaker. Like I’ve said before, I didn’t go to film school, and I didn’t get into filmmaking until later in life. For my very first film, Black Rodgers, I bought a $35 mini DV camera and just started shooting. I didn’t have a plan, actors, or even a script—I just knew I loved cinema and was willing to put in the work to see if there was a place for me in this world. Along the way, actors started seeing posts I was putting online and got interested in the project. Somehow, we managed to get that film done. When it was all said and done, it was honestly terrible—lol. That’s when I realized this would be a lifelong journey of learning and trying to get better every single day.

Since those early days, I’ve discovered a lot about myself and the kinds of stories I want to tell. Terry Zwigoff—director of Ghost World, Crumb, and so many other great films—once told me, you have to be yourself as a director. Don’t try to mimic other people’s styles or techniques. Just do what you think is cool, and that’ll become your own special sauce.

You're currently in post production on your short The Envelope - so what's that one about?

The Envelope is about a writer who finally finishes her big-break manuscript, only to find herself unable to complete the simplest task: writing the address on the envelope to mail it to the publisher. While that might sound a bit absurd, it’s actually rooted in the very real experience of impostor syndrome. Before writing this project, I had long conversations with our lead actress about dreams and ambitions—and all the moments when impostor syndrome either slowed us down or stopped us outright. Those personal reflections became the backbone of the story

What were your sources of inspiration when writíng he Envelope?

The Envelope was a project I reverse-engineered. My DP had just returned from a Guns N’ Roses world tour and asked if I had any ideas for a film. At the time, I didn’t—but I started thinking about the assets we already had: a full camera package, a 1-ton grip truck and a versatile actress I’d worked with before. That’s when I called Phoenyx Rose, our lead, and we began tossing around ideas. Over a few weeks, we zeroed in on the concept of impostor syndrome and how it can completely paralyze you. Once we had that kernel, the writing came quickly—within a week, we had a draft ready to shoot. Creatively, I drew a lot of inspiration from short, intense indie pieces like Christopher Nolan’s Doodlebug, the Duplass Brothers’ This is John, and Darren Aronofsky’s Pi. I love how those films create tension and psychological complexity with minimal setups. That approach really shaped The Envelope—lean, contained, hopefully funny, but still layered enough to provoke thought.

Do talk about The Envelope's approach to comedy!

For this project, we really aimed to keep the comedic beats relatable. Most people have pulled out an envelope, misspelled something, and had to start over—so frustrating. Normally, we’d just crumple up that piece and nail it on the next try. But that’s not really funny. We wanted to exaggerate those moments instead, layering in a few surprises along the way. That’s what comedy is for me: it’s grounded in reality but pushes into the absurd, catching the audience off guard in ways they didn’t see coming. Striking that balance was our goal from the start.

What can you tell us about The Envelope's cast, and why exactly these people?

The only on-screen talent for this project is Phoenyx Rose, a multi-disciplined artist in the Bay Area who is a singer, actor and model. I had worked with Phoenyx before on my last film, T.H.O.T?, where we needed her to take on a challenging role, which she handled like a champ. For more of Phoenyx, here’s her Instagram: https://www.instagram.com/phoenyx_rose/

A few words about the shoot as such, and the on-set atmosphere?

I guess it really depends on the set and the project. Early on, a lot of the shoots I worked on were pretty stressful. Crew and talent would pull long hours just to get the necessary shots — those were challenging times. Looking back, it often came down to poor planning, a lack of team cohesion, or simply not having the right people in key roles. In film, there’s no substitute for experience or for surrounding yourself with a crew that knows what they’re doing.

With The Envelope, it was a completely different vibe. I’ve been working with the same crew for years now, so we all understand how each of us operates — it’s like clockwork. Plus, I’ve done a lot of personal work on meditation and staying calm, so these days I let things roll off my back much more easily. At the end of the day, it’s really about putting the right people in position and trusting them to get the job done.

You're also in pre-production of R.O.G.E.R. and Me - so what's that one going to be about?

Yeah, I’m really excited about R.O.G.E.R. and Me. It’s my first feature, and it’s a quirky, heartfelt story about a young black coding savant from Richmond who gets sentenced to carry a goldfish everywhere for 30 days after crashing into a tropical fish store. On the surface, it’s pretty absurd—and that’s by design. But underneath, it’s really about growth, limitations, and the unexpected ways we’re forced to connect when life pushes us outside our comfort zones. It’s got humor, awkward moments, and some genuine emotional punches along the way.

Bluntly put, why a goldfish? And other sources of inspiration when dreaming up R.O.G.E.R. and Me?

During a downturn in my film career, I bought a goldfish and named him Roger. I needed to learn how to write scripts and honestly had no idea where to start—I was completely stuck. So I set Roger on my desk when I began teaching myself screenwriting, because I needed something—anything—to be present with me through that challenging time.  Roger became this quiet mainstay, there for some of my best wins and certainly some of my hardest losses. With Roger by my side, I wrote my first three short films and was really starting to find my groove as a writer. Then one morning, I woke up and found Roger floating on his side. He had died overnight, and I was devastated. I buried him in an Altoids tin and made a private pact to keep his memory alive. When I came back inside, I sat down and just started writing. I was still a struggling screenwriter, but somehow managed to pour out thirty pages in that first sitting. Those pages would later become the foundation for R.O.G.E.R and Me.

A few words about the film's intended look and feel?

I love ’80s films and honestly think that was probably the golden age—not just for cinema itself, but for how movies and marketing worked hand in hand. There was this perfect blend of bold storytelling, iconic visuals, and larger-than-life campaigns that turned films into true cultural events. That era is a huge influence on how I approach both filmmaking and how I think about promoting a project. For R.O.G.E.R. and Me, I’d love it to capture that same kind of vibe—visually and tonally—so it feels reminiscent of those classic ’80s films. Ultimately, I’d love to see it as a theatrical release with a full marketing campaign behind it, giving audiences a chance to discover and rally around it the way people did back then.

Andything you can tell us about R.O.G.E.R. and Me's projected cast yet?

We’re still pretty early on in pre-production, so I don’t have a lot of insight yet into who the talent might be. But I will say, I’ve always preferred working with fresh-faced actors over established ones—I just find the performances are often more raw and authentic. That said, it’ll probably end up being a mix: some solid character actors who bring experience and depth, alongside new talent who have the potential to become breakout stars.

So what's the schedule for R.O.G.E.R. and Me, and any idea when and where it might be released?

Great question! As I answer this, I’m actually slated to meet with my line producer tomorrow, so we’ll be diving into the nuts and bolts soon. That said, it’s hard to pin down an exact timeline right now. Ideally, we’d go into production in early 2026 — but honestly, it’s anyone’s guess. It might even happen sooner.

Any future projects beyond R.O.G.E.R. and Me?

Yes! I’ve got a real desire to make about five feature films before eventually shifting my focus back toward producing projects for other worthy filmmakers under the Strike Five umbrella. Alongside that, I want to keep growing the Strike Five clothing and lifestyle brand. One of the projects I’d love to make after R.O.G.E.R and Me is a skateboard bandit film called Griptape. I’m genuinely excited about it—I think it has all the makings of a smash hit.

So how would you describe yourself as a director?

I’d say I’m a pretty collaborative director. I like giving actors and crew the space to bring their own creativity to the table — that’s usually where the best surprises come from. I’m definitely detail-oriented when it comes to the look and feel of a film; I care a lot about composition and making each frame count. But at the same time, I’m not a stickler for having actors follow the script word-for-word. Above all, I try not to take myself too seriously. I want the set to be a place where people feel comfortable experimenting — and even failing — because that’s often where something unexpected and truly special happens.

Filmmakers who inspire you?

I’ve had the chance to work with Francis Ford Coppola, Terry Zwigoff, and Boots Riley, so I’d absolutely name all of them as inspirations for different reasons. But honestly, I’m inspired by most filmmakers. If you really think about it, being a filmmaker is an extremely difficult path—and many never make it. So to anyone who gets up each day and keeps pushing to carve out a place in this field, you’re an inspiration to me. Not many people know this, but that’s actually why I named my production company Strike Five Films. The name itself is a declaration: It flips the old baseball adage of “three strikes and you’re out” on its head. Because in life—and especially in filmmaking—you can’t give up so quickly. You have to be willing to swing, to strike out, again and again, if you’re ever going to advance your goals and succeed. Strike Five was something I gave to myself, because I couldn’t find other companies willing to bet on me, my ideas, or my vision. So I created the company that would.

Your favourite movies?

I tend to gravitate toward older films. There was a certain care that went into each frame in past generations, a deliberate craftsmanship you don’t always see today. Plus, so many of those films were shot on actual film stock, which gives each project a look and texture all its own. Some of my favorites are Federico Fellini’s 8½, Apocalypse Now, The Godfather I & II, Goodfellas, The Good, The Bad and The Ugly, On The Waterfront, White Heat, Scarface, Platoon, Real Genius, The Shawshank Redemption, Raiders of the Lost Ark and Citizen Kane—though honestly, I could list many, many more.

... and of course, films you really deplore?

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Your/your movies' website, social media, whatever else?

Portfolio: http://www.strikefivefilms.com

YouTube: https://www.youtube.com/channel/UCuA1f5lDGEW08uCZZAfivjw

LinkedIn: https://www.linkedin.com/in/jaysonjohnson1/

Linktree: https://linktr.ee/strikefivefilms

Instagram: @_StrikeFive

Twitter: @jjtweet

Thanks for the interview!

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