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On September 5, 2025, as families across the nation flock to theaters for the release of Light of the World, a new animated feature from the Salvation Poem Project and the creative minds behind Disney classics like The Lion King, Mulan, and The Emperor’s New Groove, director John Schafer sits at the crossroads of a lifelong dream and a deeply personal mission. In an exclusive interview with AMFM Magazine, Schafer opens up about the challenges, triumphs, and spiritual undercurrents that shaped this visually stunning and soul-stirring film, which aims to do more than entertain—it seeks to plant seeds of faith and wonder in audiences of all ages.
A Labor of Love and Faith
“It’s kind of one of those crazy, exciting, crazy stressful days for the launch of the movie,” Schafer tells me, his voice brimming with the kind of nervous energy that comes with releasing a project that’s both a professional milestone and a personal testament. Light of the World, with its $20 million budget and a team of over 400 artists, animators, and storytellers, is no small feat for an independent production. Yet, what sets this film apart isn’t just its pedigree—Schafer and co-director Tom Bancroft, both Disney veterans, bring decades of expertise to the table—but its heart.
The film, produced by the non-profit Salvation Poem Project, tells the story of Jesus through the eyes of the young apostle John, offering a fresh, accessible perspective on a narrative that has shaped civilizations. “We wanted to keep it simple,” Schafer explains, “to tell the life of Jesus in the most engaging and endearing way, through the eyes of the youngest disciple.” The result is a film that balances reverence with relatability, designed to spark conversations between parents and children about faith, love, and purpose.
What makes Light of the World particularly remarkable is the diversity of its creative team. Schafer notes that while the majority of the crew were not people of faith, they were drawn to the project by its passion and artistic ambition. “They saw the art style, they saw the passion of why we wanted to tell this story,” he says. This shared commitment led to moments of unexpected connection during production. Schafer recalls leading prayers during Zoom calls with 60 crew members, moments that opened dialogues about faith. “Whether for them it was an intervention of God or just ideas coming together, it started from a prayer,” he says, his voice softening. “It changed their perception of what Christians are like.”
A Director’s Dance: Balancing Vision and Collaboration
Directing an animated feature is a Herculean task, requiring a delicate balance of creative vision, logistical precision, and emotional resilience. For the first year and three months, Schafer helmed Light of the World solo, overseeing character design, layout, and story development. “It hit me like, ‘Oh, now I know why Disney or Pixar features have two directors,’” he laughs. Enter Tom Bancroft, a longtime friend and collaborator with an 18-year history alongside Schafer. Bancroft, whose credits include Mulan and The Lion King, joined the project, bringing his expertise in animation and storytelling.
The duo’s collaboration was seamless yet pragmatic. “In the very beginning, we worked through everything together,” Schafer says. But as production ramped up, they divided responsibilities to play to their strengths. Schafer, with his love for music and visual effects, worked closely with the composer and VFX team, while Bancroft and his brother Tony, the co-head of story and animation director, focused on key poses and character animation. “We had to be really smart with that $20 million budget,” Schafer admits. “Tom rolled off before final post, but I trusted him, and he trusted me to carry it through.”
This trust, forged through years of friendship and shared creative vision, allowed Light of the World to maintain its artistic integrity while navigating the constraints of an independent production. The result is a film that feels both intimate and epic, with lush visuals and a score that Schafer describes as orchestral and evocative.
A Personal “Hail Mary” Moment
For Schafer, Light of the World is more than a professional achievement—it’s a testament to his faith, tested in the crucible of personal crisis. During production, Schafer faced a harrowing ordeal when his three-year-old son suffered a non-responsive seizure, turning blue and stopping breathing. “We didn’t know CPR,” Schafer recalls, his voice heavy with the memory. “We called 911, and they trained us over the phone. The paramedics got him through.”
What followed was a grueling journey of medical tests at the Mayo Clinic, all while Schafer juggled Zoom calls with the film’s team in Ireland and beyond. “I was in the lobby, doing these calls, and I’d talk with God,” he says. “I felt like I was called for this film, but the top experts in the country didn’t know what was going on with our boy.” The diagnosis—a rare seizure disorder that could recur without warning—left Schafer at a crossroads. His co-director and crew offered to take the reins, urging him to step away if needed. But Schafer’s faith held firm. “If I’m supposed to make a movie to tell people they can trust Jesus, then for me not to do that would be hypocritical,” he says.
Remarkably, his son, now over five, has not had another episode. For Schafer, this was his “Hail Mary” moment—not a desperate throw, but a quiet surrender to trust. “I didn’t have to throw the Hail Mary,” he says. “I just knew who threw this for.”
Planting Seeds Through Storytelling
Light of the World is, at its core, an invitation. Schafer hopes it will resonate with audiences, believers and non-believers alike, by depicting the friendship between Jesus and John with authenticity and warmth. “I hope they fall in love with Jesus the way they saw this character,” he says, drawing from his own experience as a child watching A Charlie Brown Christmas in 1973. That special introduced him to the concepts of God and Savior, sparking questions that would shape his spiritual journey. Decades later, Schafer was able to share those answers with his own parents, who came to faith through his influence.
This personal history informs Schafer’s mission with Light of the World. “Tom and I’s job was to tell a story about the life of Jesus in the most simplistic, engaging way,” he says. By focusing on John’s perspective, the film keeps the narrative accessible, inviting children and families to ask questions and explore faith together. “I hope kids start asking their parents about it,” Schafer says. “I hope it’s a seed planted.”
Advice for Aspiring Storytellers
As Light of the World hits theaters on Schafer’s birthday—a poetic coincidence for a man who made his first stop-motion animation at seven with his father’s Super 8 camera—he reflects on the 50-year journey that brought him here. For aspiring filmmakers, his advice is both practical and profound: “Start telling short stories. Use your iPhone, do comic strips, keep it small and simple. If it’s a desire in your heart, I believe that’s planted by God.”
Schafer’s own path was not without detours. A previous marriage and the demands of the industry tested his ability to balance work, family, and faith. “I’ve learned to keep my relationship with God first, then my wife and son,” he says. “This industry can swallow you up, even in ministry.” Accountability from close friends and a commitment to his priorities have kept him grounded.
The Salvation Poem Project’s Vision
At the heart of Light of the World is the Salvation Poem Project, a ministry founded on a simple six-line song designed to share the gospel in a way as memorable as a nursery rhyme. “It’s like ‘Mary Had a Little Lamb,’” Schafer explains. The project, led by Matt and Cher McPherson, has grown from a song featured in the Superbook series to a producer of high-quality content, including Light of the World and an upcoming 2027 game, Clayfire.
The ministry’s mission is bold: create mainstream, theatrical releases that generate revenue to fund translations and free distribution to ministries worldwide. “After the theatrical run in 2025 and 2026, we’ll give this away to all ministries for free,” Schafer says. “No paywall, no language barrier, no cultural barrier. We want everyone to see Light of the World.”
A Story That Endures
As families settle into theater seats this weekend, Light of the World offers something rare: a film that entertains while inviting reflection. For John Schafer, it’s the culmin
ation of a lifelong dream and a testament to the power of faith, collaboration, and storytelling. “We’re grateful anyone wants to talk about our movie,” he says with a laugh. But for those who watch, the impact may linger far beyond the credits—a seed planted, a question asked, a heart stirred.
Light of the World is now playing in theaters nationwide. Go see it, and let the conversation begin.
