Interview with Award-winning Philadelphia Filmmaker Matthew Scott Johnston

October 05, 2026

Interview with Award-winning Philadelphia Filmmaker Matthew Scott Johnston

by Mick Michaels

Cosmick View: Hello, Matthew! Welcome to The Cosmick View! Thanks for taking some time out of your day to speak with us. It’s greatly appreciated.

CV: What do you think are the three essential components any film requires to be an engaging experience for any audience?

Matthew Scott Johnston: I tend to focus mostly on documentary work, so I’ll answer this from a doc perspective: plot, cinematography, and point of view. Plot is obvious, I think; what is the piece about and where is the story going? Cinematography is all about how you’re visually presenting the piece. It could be a frantic, fast paced narrative or a quiet, intimate story and the filming techniques and visual language should reflect that. And point of view is all about how you’re approaching the story; what does it say about life, and the human connections we make? These elements, and a director’s individual approach to them, is what makes a film a compelling watch.

CV: Do you feel modern filmmaking has begun to rely too much on digital and AI capabilities, which has led to the human feel to the medium being lost?

MSJ: This is a challenging question, because in many ways, AI tools have actually helped streamline a lot of the more complicated processes in filmmaking. Things that used to be time-consuming and complex, like image upscaling, digital background replacement, and mask tracking are now simplified with a few button clicks, and I think that’s a good thing.

To me, that’s like using a table saw instead of a hand saw. You still need someone to make the cut or control the tool. But when you start talking about AI-generated images, that’s like a table saw that actually builds a table without anyone needing to control it. It removes the humanity from the medium. I don’t mind people using time-saving processes; that’s just invention and ingenuity. But I don’t think we should take the actual act of creation out of the hands of the artist. Just give them tools that work more efficiently.

CV: Is AI as dangerous and corruptive to the film making process and to artist as many critics believe?

MSJ: I think it can be, yes. From the very beginning of cameras, people have been trying to fake images. At its core, that’s what a movie is. Actors are pretending to be someone else. The directors are tricking you into believing that sets, costumes and spaceship explosions are real, at least for an hour or two. So, there’s a long history of trickery in the filmmaking business.

But now, with the ease of generating AI images, it’s getting harder and hard to know what’s real. And I don’t even think we know how far this can go yet, which is a scary prospect when the entire medium is built on making things that are fake but appear genuine.

CV: It’s called the film industry, but is there an art form to it, and how does an aspiring filmmaker differentiate between the two? Is there a balance?

MSJ: Film is a unique industry because it’s very much an art that is made by committee. It takes a lot of people to make a film, from producers and directors down to production assistants and runners, never mind all the talent like actors. Some of the best advice I’ve ever received came from a producer regarding collaboration: “Work hard and be easy to work with.” I always try to come to set with my own ideas and inspirations, but once you get there, it’s all about creating a piece together, with the other talented artists who are contributing.

CV: How have you found your balance?

MSJ: When I was first starting out, I felt like I really needed to prove myself, and that my artistic view was valuable. But that’s often bad for the collaborative aspect of film, because you tend to hold tight to your ideas and refuse to listen to other viewpoints or input. As I’ve matured as a director, I’ve learned that a good artist listens to everything, and your talent comes from doing what’s best for the project, not for your own creative agenda. These days, I try to leave my ego at the door and put the project first. After all, if that’s successful, so am I, and so is everyone else involved!

CV: Tell us about some of the projects you are currently working on?

MSJ: While I love working on the creative side, a lot of my “paying the bills” work comes from commercial and promotional gigs. Social media is a huge market right now, so I’ve done a lot of social media work for companies. I also help to produce podcasts, which is a pretty big industry right now.

In my downtime, I do woodworking with a focus on building furniture from unique slabs and reclaimed wood. I also produce and host my own supernatural history podcast called Slaying Monsters where we talk about the history of UFOs, cryptids, ghosts, and other high strangeness, with a focus on the cultural dynamics that make up these mysteries.

CV: Have you had a favorite project you worked on that had a lasting effect on you? What made that project so memorable? Have there been certain things from that particular experience you’ve looked to replicate on other projects?

MSJ: A few years ago, I got the opportunity to edit the pilot for a home reno show about a charity that renovated homes for disabled individuals. It’s called Family to the Rescue, and it aired this year on PBS13 in New York. The contractors were so emotionally invested and it made the entire experience a touching look at charity, caregiving, and hope. It’s still one of my favorite pieces, and I’m always trying to find that mixture of emotionally driven action that they brought to the experience.

CV: Do people still go to the movies? Is there something the moviegoer only gets by going to a theater that they wouldn’t get by just staying at home and streaming their favorite films?

MSJ: I personally love going to the movies, but I’m very aware that the environment is changing. I think theatrical screenings are becoming more like art gallery events, where people are going less to see a movie and more to have an artistic experience. And I think that means we’re going to see some major changes in movie theaters in the next couple years. My hope is that allows indie theaters to thrive and create more curated functions, like showing older movies, film festivals, or bringing in speakers to talk more about the craft of the art. I love supporting our local indie screens. If you haven’t gone to the Hiway in Jenkintown, you’re missing out on a hidden gem.

CV: With so many changes in the industry and in everyday life, where do you see the future of filmmaking going? Will it someday be one hundred percent streaming?

MSJ: I don’t think streaming will every fully replace the movie theater experience but I think you’re going to see more and more prestige projects go directly to streaming rather than the big screen. I think you’ll see a rise in miniseries too. Some actors and directors don’t want to be tied to a multi-season show, but want to tell a story longer than just two hours, and limited series are the perfect niche for that. Things like Adolescence, Chernobyl, The Penguin, and Mike Flanagan’s horror miniseries are really the future of streaming, in my opinion.

CV: What can movie fans expect to see next coming from you in the near future?

MSJ: The biggest project on my plate right now is WHEN WE ROCKED, a documentary about the Philadelphia hair metal scene in the late 80s. It’s been a huge endeavor that brought together some of the coolest artists from the era, and has been an amazing experience.

CV: Thanks again, Matthew, for taking the time to share with our readers. We wish you all the best and continued success.

MSJ: Thank you! It was a pleasure. I’m always happy to get into the nitty gritty of the business!

Check out Matthew at:

Official: www.mscottjohnston.com

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My name is Mick Michaels...I'm an artist, music fan, songwriter, producer, author, show host, big dreamer & guitarist for the traditional Heavy Metal band Corners of Sanctuary. Writing has always been a creative outlet for me; what I couldn't say in speech, I was able to do with the written word. Writing has given me a voice & a way for me to create on a multitude of platforms including music and song, articles, independent screenplays, books & now, artist interviews. The Cosmick View is an opportunity to raise the bar & showcase artists in a positive and inspirational light. For me, it's another out-of-this-world adventure.