“The Last Supper”: An Interview with Producers Chris Tomlin and Michael Scott
“All are welcome at the table.” The Last Supper will be released in theaters on March 14th. The film depicts the last days of Jesus’ ministry through the eyes of his disciples. We chatted with producer Michael Scott (CEO of Pure Flix and Pinnacle Peak Pictures) and Grammy Award-winning musician Chris Tomlin (an executive producer of the film) about their heart for the movie and how today’s audiences can relate to the story in a fresh way. We also got a sneak peak of Tomlin’s new song, “No Greater Love,” which will accompany the film.
(Note: This interview has been edited for length and clarity. Watch the full conversation above.)
Daniel Blackaby: Chris, what was it about this film that inspired you to get involved?
Chris Tomlin: This is my first time partnering in a film. When I saw this film, I was floored. It’s beautiful. It’s powerful. It’s so well done. It was like God’s word coming to life.
The filmmakers said, “Do you have any songs that could work with this?” I had written “No Greater Love” a couple months ago, and I hadn’t played it for anybody. And it was right on. So, I was like, all right. God is in this.
Michael Scott: When I heard the song, I was like, “Chris, did you sneak the script or something?” The words were exactly like the movie. That just goes to show you that God’s got a plan. Our hope is that this movie will ultimately bring everybody closer to the Lord.
Daniel Blackaby: Chris, I’ve seen you quoted as saying, “Worship is more about seeing than singing.” Can you explain what you mean by that statement and how it relates to a film like The Last Supper?
Chris Tomlin: That’s what I’ve always tried to do with my music. It’s really about seeing. I want my songs to help people see God’s goodness, his mercy, his grace, his power, his holiness. If people can see it, then they can’t help but sing. With a film, you actually do see it with your own eyes, not just your heart, and what a powerful moment that is. That’s my prayer.
Daniel Blackaby: A film, by necessity, requires creative license to fill in the narrative gaps. How crucial was it that this film remained as faithful as possible to the biblical text?
Michael Scott: It was crucial. I’ve done some biblical films in the past, and you have to fill in some gaps. You have to get from point A to point B sometimes. But we wanted to make sure that this film was theologically accurate, that it followed the beats that are in Scripture and mirrored what the characters were going through. We brought in theologians and pastors to look at the film. We even did some reshoots to make sure what we put on screen was an accurate reflection of the Word of God. I think that’s so important, because the Word is powerful. It doesn’t need to be changed.
Chris Tomlin: I was very proud of the film in that way. Musically, it’s been important to me. What I’m trying to do with my worship music is help people connect with God. No one needs my opinion, because God’s Word has already said it. When I write songs, I’m just trying to write his Word back in a way people can sing.
Daniel Blackaby: There have been many Jesus films over the years, but each seems to have a different emphasis or perspective. What are some unique insights viewers can take away from this film?
Michael Scott: One of the most powerful things is the paths of two characters: Peter and Judas. How did Judas, who had been walking with Jesus and seeing the miracles for three years, suddenly betray him? Peter was faithful and wanted to protect Jesus. But an hour later, he’s denying him. How did they go from one extreme to the other? You get to experience moments in the film that really bring that to life. You can understand the thought process that might have been happening. I think that’s really unique.
Daniel Blackaby: As you approached this film, why was Judas such an interesting character to explore, and what can audiences learn from his tragic journey?
Michael Scott: One of the things you start to see is that a few decisions can lead you down the wrong path. I think we’re all susceptible. We’re all on that thin line, and we’ve got to make those right decisions.
Daniel Blackaby: Chris, you composed a new song for the film called “No Greater Love.” What was your heart behind that track?
Chris Tomlin: The heart of the song is John 15: “There’s no greater love than this, that a man laid down his life for his friends.” The lyrics start off with Jesus laying down his glory and coming to earth. I love this line: “When I feel so unworthy, I remember the way you call me. I remember the way you call me friend, and I think of your mercy and the scars on your hands.” That lyric is really strong to me, because when I watch this movie, I think about Jesus calling the disciples friends.
I’m just moved by this film. I’m moved by the title Last Supper. Most films are on the cross or the resurrection, but there’s also this table. And the crux of this film is the table, and Jesus at the table looking at his friends. It’s this relationship with Jesus. He invited us to the table. That’s the power of the Last Supper.
Michael Scott: On the poster of the movie is the tagline, “All are welcome at the table.” I think that’s exactly what Chris is echoing. God opened the door, and he’s knocking, and he’s ready to receive you.
Daniel Blackaby: What do you hope audiences take away from this film?
Michael Scott: I think there’s two things. For Christians, I think they’re going to learn some things about the Last Supper. And then they’re going to be able to communicate the gospel more effectively.
If there’s unbelievers who do not know the Lord, what an invitation to see what Christ does for you. He’s willing to lay down his life for our sins. If we accept him, we have eternal life with him. I hope they see and understand the message of Christ and that there’s no greater love than what he did for us here.
Chris Tomlin: For me, it’s that all are welcome at the table. I know that there’s going to be people who watch this who will never walk into a church. Maybe it grabs them for the first time that this story is more than just black-and-white words on the page. This is real. There’s something powerful in that.
