Written by Jax Warner. Photograph by Jax Warner.
In an industry increasingly driven by celebrity soundbites and promotional campaigns, film journalist and podcaster Kevin McCarthy is more interested in what happens behind the camera. On the third day of the SCAD Savannah Film festival, McCarthy and his agent Syndie Rowland joined moderator and SCAD professor Michael Chaney at Gutstein Gallery for “From Red Carpets to Reels: Entertainment Journalism in the Digital Age,” discussing how to preserve journalistic integrity while navigating the business of modern entertainment coverage.
McCarthy, who spent years working in broadcast radio and television before transitioning to independent digital work, built his career around understanding how films are made. Inspired by the behind-the-scenes features on DVDs he watched growing up, he approaches interviews with directors, cinematographers, and actors by asking about the decisions behind their work.
“I want to highlight all the artists,” McCarthy said, emphasizing the contributions of the many people involved in bringing a film to the screen.
That philosophy sometimes clashed with traditional television expectations. McCarthy recalled wanting to discuss cinematography and camera placement while his station preferred celebrity-focused sound bites for morning programming. Sharing interviews online eventually revealed an audience eager to learn about the filmmaking process, from camera formats to the creative decisions that shape a scene.
“I realized there was a hunger for wanting to know how films are made and how they’re put together,” McCarthy said.
Rowland recognized McCarthy’s potential after discovering his videos on TikTok. As a talent representative specializing in digital and podcast talent, she looks for people who use their online presence to build careers beyond the platforms themselves. McCarthy’s journalistic experience and distinctive interviewing style made him a natural fit.
Their partnership also illustrates the financial challenges of independent journalism. Rowland negotiates brand and studio partnerships, helping McCarthy earn a living without surrendering editorial control.
McCarthy explained that sponsored projects should explore filmmaking rather than require him to praise a movie. He cited a partnership with Universal that allowed him to interview John M. Chu in the editing bay for “Wicked: For Good,” focusing on the creative process behind the film.
Rowland emphasized that McCarthy would never be required to deliver a positive review in exchange for payment. Instead, partnerships allow him to discuss a film’s creative process while retaining control over his questions and perspective. The arrangement gives studios access to his experience and audience without compromising the substance of journalism.
That distinction became especially relevant during the audience Q&A session when a student asked McCarthy how he balances creating engaging content with the pressure to find a viral moment.
“I don’t sit down with anybody and ever think, ‘There’s my headline. There’s my viral quote,’” McCarthy said.
He recalled a conversation with Elliot Page in which Page spoke candidly about not receiving acting roles. The exchange eventually attracted significant attention, but McCarthy explained that the moment emerged naturally rather than being engineered for views.
The discussion also turned toward theatrical cinema and renewed interest in 35mm, 70mm, and IMAX screenings. McCarthy spoke about meeting young female projectionists preserving the craft of presenting films on celluloid, highlighting the artistry audiences rarely get to see.
For McCarthy, helping viewers understand these techniques can deepen their appreciation of cinema and encourage them to seek out theatrical screenings. The conversation extended to independent filmmaking, with McCarthy expressing concern that corporate consolidation could limit creative freedom while remaining optimistic about filmmakers developing distinctive voices outside major studio systems.
Ultimately, the panel explored what entertainment journalism can offer beyond celebrity access and promotional campaigns: a closer look at the creative decisions that make films memorable. By connecting audiences with the people behind the screen, journalists can turn a passing clip into deeper appreciation of the filmmaking process.
