The Best Christmas Pageant Ever with Andy Erwin

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Andy Irwin, it's great to have you back here.

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And we're talking about the best Christmas pageant ever,

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which was one of my favorite stories growing up.

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And I know it was the director, Dallas Jenkins, one of his favorite stories as well.

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And that is quite a journey that he went on to get the rights for that film.

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But let's just talk about this film and how you guys got involved with this as well.

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And you really have some sort of a powerhouse team that put this together.

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So it's great to have you back to talk about this.

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John, great to be with you, man.

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I always love having conversations about stories with you.

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And I think this one with best Christmas pageant ever was a dream.

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I think it was kind of a little bit of that Avengers assemble kind of moment

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where it's like Dallas is just one of the heroes of our space.

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And we all started at the same time.

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And so when he came to us with this passion project of this book

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that he's been reading to his kids for 20 years, that's been a beloved classic for 50,

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and he just finally got the rights.

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And he's like, hey, I have to get this made.

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And he kind of presented his vision.

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The idea of joining forces on this one was thrilling for us.

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And so he's a master storyteller, and I love collaborating with him on it.

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So I want to hear you tell kind of how Dallas got the the rights to this,

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because that is a powerful story.

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And he was praying for the pageant on a regular basis, too.

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So but before we get into that, tell me about your experience

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with this this beloved story personally.

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You know, it's one that, you know, I've I've, you know, have a history

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with just, you know, remembering, you know, my mom read it to us at some point.

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And I just remember, you know, that sitting on the bookshelf

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and remember, like just being intrigued by it.

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And then there was always the classic made for TV movie back in 1983,

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which I was, I think at the time, like five years old.

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And so, you know, a lot of a lot of people have had that journey,

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but I never saw the story the way that Dallas did in his end.

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And it was one that, you know, his wife got, you know, a copy of the book.

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I think she was at Pottery Barn and passed it on the checkout line and on a whim

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kind of impulse purchase by she bought it.

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She brought it home and like, let's read this for Christmas.

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And they joked that Dallas couldn't get to the end of the story

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without breaking down and crying.

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And he just absolutely loved it.

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And so he was like, I have to make this story.

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And so he tried to figure out who had the rights.

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And he was a no name filmmaker back then

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and was trying to and nobody give him the time of day.

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And so the student had the rights.

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He just kept chasing after it and praying over it every day.

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It was in his prayer journal. He pray over it.

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And finally, about 15 years in, you know, he

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he just kind of was disheartened.

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He was like, I'm going to just take it off my prayer list.

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And he goes to exit out.

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And when he did, you know, God was like, no,

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it's not done yet.

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And he said he broke down crying, called his wife.

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And she's like, are you calling me because, you know, you

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got to put it on your heart to pray for Padgett today.

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And he said, yeah, she's like, me too.

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And he just like, it's not over.

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He went back to the rights holders and they had come back around and he said,

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at this point, he was doing Chosen.

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And the mother of one of the rights holders said,

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my mom called me and said, there is this filmmaker

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that does this show on the Bible called The Chosen.

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And you have to have him do Christmas pageant.

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And he's like, so it's available if you want it.

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And so Dallas got the rights, brought it to us and said,

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this is something I have to make and pitched us his vision for it.

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And his vision was just very nostalgic.

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It was like kind of a classic Christmas, like the Christmas story

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or in the vein of like, it's a wonderful life.

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Just that nostalgic view of what Christmas was in our childhood.

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And something that's timeless and he executed it

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and made something that is extremely special.

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So we love it.

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I love the timelessness and the nostalgia of that.

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And you're right, it does kind of have this a Christmas story feel.

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Obviously, the language is is a little bit cleaner

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and some of the themes are are obviously more Christ centric here.

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But in this film, you have the Herdsman family

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that they are the the terror of the town and even to adults.

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And it's they're really on the outskirts of town

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and you don't see the parents at all.

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But here are these kids now.

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I know as a I've worked with youth as like a like leading missions trips.

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Right. And you know, that's difficult enough.

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But if you're trying to get kids to act nuance for the facial expressions

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and everything for this for a film, which that's so important.

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You guys did such a great job casting this group of kids,

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especially the girl that played Imogene,

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who's like the leader of the Herdsman's.

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My goodness, I was looking through her IMDB.

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I'm like, she has to be on something much bigger than this.

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Yeah. Like this is this could be a breakout thing for her.

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Totally. I mean, it's a she's a revelation in this one.

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Like this little girl Beatrice, Dallas founder, she just wanted a fresh face.

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He wanted somebody that this absolutely disappeared in the role.

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And so this beautiful little 12 year old redheaded girl image that plays Imogene.

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So Beatrice was the one.

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And so, you know, it was a magic moment.

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The idea of the story is that there's this town of Emanuel

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that has been stuck in time for 75 years doing the same pageant play every year.

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For 75 years, that changed so much.

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So much so that they treat the Christmas pageant as sacred.

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And they've forgotten that it's the story that inspired the pageant,

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that the story of Christmas is what's sacred.

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But they've lost the meaning of Christmas until the Herdsman,

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like you said, the bad kids in town,

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they kind of get dropped in it like a landmine.

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And they think everybody's going to think that they're going to ruin it.

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But these kids from the wrong side of the tracks

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that are almost like refugees are the ones that understood

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the true meaning of the story, they kind of understood it for the first time.

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The audience did too.

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And so there's this beautiful climactic moment at the end of the film.

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And this little girl Beatrice is going to perform this moment.

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And the moment when I saw it for the first time,

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brought me as a crusty old filmmaker to tears, like I was crying.

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And because her performance was so innocent and so heartfelt and unexpected.

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And so Dallas pulled her to the side.

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And right before they filmed it, he said,

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I've been dreaming of this moment for 20 years.

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When I first started dreaming of this moment, you weren't even born.

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And I'm so glad for the timing of this film, because the moment is yours.

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You're the one that was meant to tell the story.

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And she just broke down crying. He cried.

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It was a moment. And Beatrice just absolutely sticks the landing.

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It just is a nuanced, such a great performance and the heart of the story.

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And it'll make you cry young or old.

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It's something to the whole family.

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Yeah. And I love even just the way that the story is retold.

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Of course, you know, the they stay very true to the story, at least from my memory.

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I mean, it's gosh, it's probably 30 some years since I've read the book.

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But very, very true to that story.

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All the things that were important, I remember, especially bringing the ham.

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Like that was one of those moments where you have the different people

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having this realization of like, you know, that's like

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that's better than gold frankincense and myrrh for them.

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And like it really chokes you up.

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And I've said too much already, because everybody needs to go watch this film

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in theaters. That's super important.

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You will choke up. You will cry about this whenever this moment happens.

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But, you know, Andy, I I listened to your podcast, the storytellers podcast.

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And you and Dallas had an amazing conversation about the making of this film

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and other other stories that you've had along the way as well.

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You made mention of this concept of when you were filming,

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when you were part of like the ESPN films and how you were looking at other

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other camera guys and how they were with inches of your shot

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and how you and Dallas have kind of this same understanding of filmmaking

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and how you can kind of work sympathically with that.

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I did I make up a word? I'm not sure.

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But tell me about that.

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Tell me about that. That that that connection that you guys have

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as filmmakers working together as opposed to do it my way or do it this way

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or whatever. Tell me about that.

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You know, the story you're talking about back in the we talk about on the podcast

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and I appreciate you listening and watching it.

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We have a lot of fun with it. But I asked I told him back in the day

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when I worked for ESPN, I was a cameraman and we were I was on the best

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college football crew out there was this Saturday Night Prime crew.

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And everybody on that crew was an all star.

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You didn't get on that crew if you let you in also.

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And so I wrote I read the random the far side handheld that gets the slow mo

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shots at the ball in the air and that type of stuff.

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And the guy that was the near side handheld, we had the same camera

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on different sidelines and we were both trained by the same person.

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And I knew that I never had to check where he was.

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But whenever I would line up to get my shot and I'd shoot from my knees

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about a certain distance from the line of scrimmage, I would be shooting

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from my knees. I could look across the field and know that he was lined up

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two inches from where I was because we just instinctively knew our job.

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And sometimes the ball went his way and sometimes the ball went my way.

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But we got to celebrate that we whoever got the shot, we were making a great show.

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And it was just a privilege to get to go to work every day with the best.

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So for me, with Dallas, it's you know, it's exciting.

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I you know, he told the story that when I was an American underdog with my brother,

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he showed up on set one day and I was directing a scene with Dennis Quaid

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was the press conference scene and he's playing coach Vermeer.

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And and you know, in between takes, I'm kind of, you know, directing Dennis

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and talking to him about the scene.

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And he said, I watched Andy and I was like, that's exactly how I do my job.

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And so and then for this one, you know, to be on set,

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I tried to tread lightly as a producer when I step on another filmmaker set.

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Like, I'm not here to control it. It's it's his set.

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And when I showed up, he pulls me up the monitor and he's like, hey,

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watch this and kind of check me and see how I'm doing.

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And like, I'd love to throw out some ideas of what you think.

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I'm like, I'm like, great. So I'm watching him.

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And I watched him direct, you know, you know, Imogen or Beatrice.

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And I watched him just the things that he did, the technique of how he directed

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or I'm like, that's exactly it.

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That's it within two inches of where I would have lined up.

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That's exactly how I would have done it.

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And so there's a mutual admiration when you get to it.

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I found that when when people that are good at their job work with each other,

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instead of there being a heightening leader, there's a lessening like I'm there

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because Dallas does great work. He doesn't need me.

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But I get to kind of go there and kind of best idea wins and we collaborate.

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And then ultimately, it's his story to tell.

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And so I really love that as a storyteller of collaborating

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with other really good ones to do stories that matter.

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And I think our audience deserves the best.

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And Dallas is one of the best.

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And so this one, his fingerprints are all over it of a special Christmas classic.

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And we're lined up to have a really special weekend that I think of the

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stars aligned this weekend.

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I think we could be very competitive at the top.

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So we'll see. Then theaters Friday is me also.

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Yeah, it's going to be great.

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And that's Friday, November 8th, and it's going to be in theaters.

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We're believing that it's going to go through Christmas because I love that.

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That's one of the things that we need to do.

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We need to support films like this whenever they are in theaters.

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Get out there because then the theaters and all the big Hollywood execs see

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people want to see this film specifically, and they're going to keep it in the theater

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so that more people can find it, which is really, really great.

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And so it's it's all about timing.

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You got to get there on timing.

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And really, it took Dallas Jenkins like 20 years to make this film.

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And this has been in his heart this whole time.

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But God had to do things to prepare him for this to be made

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for the year 2024.

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Andy, whenever you guys came together,

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what was your thoughts about like working together and what is the overall goal?

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Obviously, you want to tell a great story.

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You want people to have a great moment, maybe together as their families.

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But what did you guys feel God's touch on this?

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What did you feel God was saying about this project?

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You know, it's exciting with the timing of it all this because

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Dallas talked about on the podcast as well, like when we made the announcement

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about Kingdom Story Company, the idea was to provide a destination

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for filmmakers to do what they do and and to kind of service our audience

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and to be able to provide quality entertainment.

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They could take the whole family to that shows the power of redemption

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and results in this rush of hope.

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And, you know, that was the dream.

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But that original pitch didn't involve Dallas, and he was outside the door

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with this tiny little booth promoting his Bible show, The Chosen,

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that nobody had really heard about, you know, outside of his court.

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And and, you know, it seemed like the moment was ours.

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Little did we know that the guy that was right outside that door

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was going to just kind of change Christian entertainment forever.

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And, you know, and so to see the show and the life that it's had

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and how it's expanded and just the moment that he's had the timing

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for the timing to be able to to kind of come full circle

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and for us to be able to do this together.

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I think definitely what we want is to create a piece of entertainment

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that is worth the price of admission for the whole family.

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And this movie has heart, it has humor, it's genuinely laugh out loud, funny.

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And the quality has gotten better and better.

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And Lionsgate, our distributor has continued to double and triple down

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on our audience.

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But then ultimately, the goal is the world desperately needs hope

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and they need to be reminded about the reason of the season.

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And Jesus needs to be back on the forefront of Christmas.

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And this movie does that.

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And so it's the whole point of the movie is unto you, the child is born.

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And the herdmen are the one to reintroduce this whole town of Emmanuel

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to the real reason being it being a gift.

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And people need that right now.

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Amen. People do need that right now.

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So get to the theaters November 8th and and beyond.

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As long as it's in theaters, go see it.

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Bring your family, bring your friends.

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Take take a loved one that you don't normally go see a movie with

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and take them to see this.

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You're going to really appreciate this and succeed with people that you love.

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It's going to be one of those wonderful Christmas films

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that you want to see year after year after year.

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Andy Erwin, thank you so much for taking the time to share with us

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about this powerful film.

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That is going to be a classic for sure.

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God bless you. And we look forward to the next time we get to talk about

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how the kingdom's stories are moving forward.

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Thanks, John. Really appreciate you, buddy.