Jonathan Roumie

I'm like, I think I nailed it. A couple of days later, I get a call back to come back in, but this time to read for Jesus. And I thought to myself, ah, man, I didn't get the first role. And then I looked again at the script. I'm like, Jesus got like five lines in the whole thing.

But I had happened to have played Jesus six months prior for another completely independent project up in Washington State at a studio for this Catholic company called St. Luke Productions about this saint in the early 20th century named St. Faustina. who was considered a mystic. She had these visions. She wrote an entire diary that was sort of dictated to her by Christ himself in these visions.

But I had happened to have played Jesus six months prior for another completely independent project up in Washington State at a studio for this Catholic company called St. Luke Productions about this saint in the early 20th century named St. Faustina. who was considered a mystic. She had these visions. She wrote an entire diary that was sort of dictated to her by Christ himself in these visions.

But I had happened to have played Jesus six months prior for another completely independent project up in Washington State at a studio for this Catholic company called St. Luke Productions about this saint in the early 20th century named St. Faustina. who was considered a mystic. She had these visions. She wrote an entire diary that was sort of dictated to her by Christ himself in these visions.

And so I played Jesus in the vision aspect of that story for this traveling one-woman show where it was an actress playing the saint, a screen behind her, a couple of rudimentary set pieces. And then all of the other characters in the show, in the play, including these visions of Jesus, was projected on a screen that she would choreographically time out her scenes with for 90 minutes.

And so I played Jesus in the vision aspect of that story for this traveling one-woman show where it was an actress playing the saint, a screen behind her, a couple of rudimentary set pieces. And then all of the other characters in the show, in the play, including these visions of Jesus, was projected on a screen that she would choreographically time out her scenes with for 90 minutes.

And so I played Jesus in the vision aspect of that story for this traveling one-woman show where it was an actress playing the saint, a screen behind her, a couple of rudimentary set pieces. And then all of the other characters in the show, in the play, including these visions of Jesus, was projected on a screen that she would choreographically time out her scenes with for 90 minutes.

So fast forward six months later, I get to audition for the two thieves. I didn't get the penitent thief. I go and I audition for Jesus because I'm like, you know what? I enjoyed playing Jesus six months ago. Like this would be cool if I got, if I got anything, it'd be cool because I wasn't working steadily or consistently.

So fast forward six months later, I get to audition for the two thieves. I didn't get the penitent thief. I go and I audition for Jesus because I'm like, you know what? I enjoyed playing Jesus six months ago. Like this would be cool if I got, if I got anything, it'd be cool because I wasn't working steadily or consistently.

So fast forward six months later, I get to audition for the two thieves. I didn't get the penitent thief. I go and I audition for Jesus because I'm like, you know what? I enjoyed playing Jesus six months ago. Like this would be cool if I got, if I got anything, it'd be cool because I wasn't working steadily or consistently.

And the way Dallas tells the story about 10 seconds into the audition, he's like, that's Jesus. That's my Jesus for this show. And so we did that film and it was screened. He brought me back to view it like a month later at the Good Friday service with his church, about seven services. It was like 15,000 people saw this thing in a matter of a day and a half. And it was remarkably well received.

And the way Dallas tells the story about 10 seconds into the audition, he's like, that's Jesus. That's my Jesus for this show. And so we did that film and it was screened. He brought me back to view it like a month later at the Good Friday service with his church, about seven services. It was like 15,000 people saw this thing in a matter of a day and a half. And it was remarkably well received.

And the way Dallas tells the story about 10 seconds into the audition, he's like, that's Jesus. That's my Jesus for this show. And so we did that film and it was screened. He brought me back to view it like a month later at the Good Friday service with his church, about seven services. It was like 15,000 people saw this thing in a matter of a day and a half. And it was remarkably well received.

It was so beautiful. And it was essentially the foundational bones of the concept of the chosen, which is this sort of Ignatian spirituality, this Ignatian insight into the gospels, which is basically you put yourself in the gospels, you ask yourself a series of questions and that's how you meditate. on the gospels through this form of spirituality.

It was so beautiful. And it was essentially the foundational bones of the concept of the chosen, which is this sort of Ignatian spirituality, this Ignatian insight into the gospels, which is basically you put yourself in the gospels, you ask yourself a series of questions and that's how you meditate. on the gospels through this form of spirituality.

It was so beautiful. And it was essentially the foundational bones of the concept of the chosen, which is this sort of Ignatian spirituality, this Ignatian insight into the gospels, which is basically you put yourself in the gospels, you ask yourself a series of questions and that's how you meditate. on the gospels through this form of spirituality.

And so this process of filmmaking was kind of like a living example of that on celluloid or digital celluloid. And so we did it again the following year for a different kind of scene. And then we skipped a year. And then 2017, the spring of 2017, I did one more film with him for his church.

And so this process of filmmaking was kind of like a living example of that on celluloid or digital celluloid. And so we did it again the following year for a different kind of scene. And then we skipped a year. And then 2017, the spring of 2017, I did one more film with him for his church.

And so this process of filmmaking was kind of like a living example of that on celluloid or digital celluloid. And so we did it again the following year for a different kind of scene. And then we skipped a year. And then 2017, the spring of 2017, I did one more film with him for his church.

And then it was in probably the summer of 2018 where he called me and said, hey, want to put the sails back on? I think we're going to do this. Four episodes of a crowdfunded TV show, probably not going to go anywhere, but it'd be some consistent work. And I jumped at the chance. I thought, okay, I had now played Jesus for him a few times. I was getting really comfortable with the role.