Jonathan Turner Smith is a multi-talented actor, writer, and producer whose work has left a lasting impact across film, theater, and publishing. With a career spanning award-winning independent cinema, widely performed stage plays, and acclaimed screenplays, Smith has demonstrated a deep commitment to storytelling in all its forms. His screenplay The Losers’ Club has won over 100 awards and continues to resonate with audiences through its stage adaptation, while his faith-based scripts Jeremy and Our Finest Hour have gained recognition for their inspirational narratives. As he ventures into the horror genre with The Werewolf Chronicles, Smith remains dedicated to crafting stories that challenge, entertain, and uplift audiences. In this interview, he shares insights into his creative journey, the themes that drive his work, and the aspirations that continue to shape his career.

Your career has taken you from Texas to major film festivals and the world of publishing. Looking back, was there a moment when you thought, “I’m really doing this—I’m a filmmaker and storyteller”?

I am not sure that I have ever thought of myself as a filmmaker or storyteller as I think to be considered either of those titles, one must make a living at them. Although I have produced an independent feature film and have written screenplays and plays, I am still seeking that proverbial “glass slipper,” that will catapult me into that rarified group of working writers, actors, and producers. I do have four published plays which is truly an honor and they have done moderately well with over 100 productions in the United States, Australia, and Canada. 

Broken Victory won multiple awards and left a mark on both audiences and critics. What do you think was the emotional or thematic core of the film that connected so deeply with people? 

Broken Victory was a labor of love and was one of the best creative experiences of my life. Although it did win several awards, in all honesty, it did not really find its voice. I truly believe that if we made the film today, via social media, the film would have done much better.  Also, Faith-based films are finally finding their way into the mainstream market and I have no doubt that Broken Victory would have been much more well received in today’s film climate than years ago. 

Your screenplay The Losers’ Club has won over 100 awards, and the stage version continues to be performed in schools across the country. Why do you think this story has endured and continues to resonate, especially with young actors and audiences?

The Loser’s Club, the first play I ever wrote,  was a part of my Master’s Program at Texas Tech University.  As a former high English/theatre teacher, I often witnessed bullying first hand. I would certainly step in to stop any name-calling or fighting, but I sometimes felt I did more harm than good. I started wondering what would happen if the bullied kids took matters into their own hands and turned the table on their tormentors.  I truly believe the play resonates with audiences because bullying continues to be a major problem, not only in junior high and high schools, but in overall society as well. When is enough enough? This is the question I wanted to answer. And from the responses I have received from theatre teachers, students, screenplay reviews, and film festivals, I have succeeded. I am confident that The Loser’s Club will make an outstanding feature film and hopefully empower people to stand up for one another and declare themselves, their schools, and their workplaces, “Bully-Free” Zones.

You’ve portrayed characters you wrote yourself, such as Nathan in Nathan and Sam Blake in The Losers’ Club. How does stepping into a character of your own creation change your relationship with the story?

I love acting. I love being on a set or a stage and whenever I write anything, I always write a part for myself. I mean if I don’t, who will? Right? I don’t consider myself a great actor, but I do get better after each role I essay, and it is always a privilege to be cast. Sam Blake is a high school English teacher in The Losers Club and needless to say, as a former high school English teacher myself, it is not much of a stretch for me.  Also in everything I write, I also write roles for my actor friends. Even with all the streaming channels, it is still not easy to land a part in any media. With only 2-3% of SAG Members making a living wage, I think it is my responsibility to create roles for actors that I know. 

I won a Los Angeles Drama-Logue Award for Outstanding Performance for a play I co-authored entitled Nathan. I played a mentally challenged, cerebral palsied man who is brought home once a year on his birthday. It was a terrific role and an honor to play such a multi-dimensional character.  I, along with Fred P. Watkins, and JP Christy adapted the play into a screenplay and had half of our budget with an A-List Cast. Unfortunately and not uncommon, we missed the deadline to raise the rest of the budget and the project fell apart.  As disappointing as that was, we are once again actively seeking financing to produce the film. And yes, we wrote a part for me! 

Your works have lived both on stage and screen. What excites you about each medium, and which do you find more challenging or creatively fulfilling?

Speaking technically, I think screenplays are more difficult to write than stage plays. I have an unorthodox approach to writing as I do not follow any conceptual rules of writing. I allow the characters I create to dictate the story as well. I will have an idea of what I want to write about – the theme and plot. However, how I get to these elements and the resolution are often not what I originally conceived.  The evolution of the characters often alters my initial intentions. I also never use outlines – I just write. 

Your faith-based screenplays, Jeremy and Our Finest Hour, have gained recognition. What draws you to telling stories with a spiritual dimension, and how do you balance faith with a narrative that remains universally engaging?

As a Born-again Christian, I am very interested in sharing my faith via films. I don’t think there is a better way to share my Faith than through excellently produced feature films. Faith-based films are finally coming into their own after years of many sub-standard produced films. In order to entice the mainstream crowd to Faith-based movies, they must be made with the same expertise and high quality as any major Hollywood film. This is my goal with both Jeremy and Our Finest Hour. 

Your upcoming project, The Werewolf Chronicles, marks a shift into the horror genre. What inspired you to explore this new territory, and what unique approach are you bringing to the werewolf mythos?

Conrad Pennington is a prolific horror writer whose current best sellers are the first two books in his “The Werewolf Chronicles,” featuring hero Joe Holland. Conrad has hinted that the third and last book in the series will reveal the true and only cure for lycanthropy. Of course, as he and everyone knows, werewolves are only part of a fictitious legend … Or so Conrad has always believed… Until the very much alive Joe Holland shows up at his residence seeking the cure and informs Conrad that he is being hunted by a band of real werewolves whose only purpose is to murder Conrad and make sure his third book is never written.

I think it is a very interesting premise and I am an avid werewolf fan (although I admit they scare me to death!) The Werewolf Chronicles portray Werewolves as completely and unapologetically evil. They are apex predators and the film will obviously characterize them as such. One of the unique approaches I am bringing to the Werewolf genre is that silver does not kill werewolves – it is a well-construed myth propagated by Werewolves themselves and has been accepted and passed down for centuries. Also, there is an actual cure for lycanthropy. So as you can see, this is not your standard Werewolf story. 

Knowing that your plays have been performed over 100 times in schools across the United States, have you ever received messages from students or teachers about how your stories have impacted them?

I am always so honored when a school or theatre decides to produce one of my plays. There are so many wonderful plays out there that to have one of mine produced is truly a gift. And yes, I have heard from high school theatre teachers as well as their students after producing “The Loser’s Club” and/or “The Election.” Both plays deal with bullying and teachers often state how the play has impacted students when confronted with the damage bullying can cause. My one-act play, Aftermath, details the after affects of a school shooting, and has also proven an effective tool in combating bullying as well as the importance of recognizing signs of depression and antisocial behavior in students. 

I love writing one-act plays and all my plays have a strong positive message. 

You’ve received recognition across different projects and genres. Out of all the awards and honors, is there one that holds a particularly special meaning for you? 

I won the Best Screenplay Award at the Branson International Film festival and I am very proud of this award, as my screenplay, Jeremy,  was added to Studio 2.22 Films slate of films. They are involved in raising financing for the film and it is the best kind of award to receive. My screenplays have  won quite a few awards but only a few awards include actual promotion of the screenplay. However, it is an honor and a privilege to have my work acknowledged no matter the prize. This is a very competitive business with writers producing thousands of screenplays every year. So to be awarded by a screenplay competition or film festival is always a humbling and very exciting experience. 

You’ve worked in drama, faith-based storytelling, and now horror. With such a diverse body of work, what kind of story do you still dream of telling?

I definitely want whatever I write to have a positive impact on the audience. It can be subtle or overt, but I want my plays and films to leave the audience in a better space than when they entered the theatre, even if it is as simple and universal as good vs. evil.