10, 9, 8, 7, 6, 5, 4, 3, 2, 1
What's going on everybody AJ Capasso here, host of Talking With The Source. I'm here with my good friend today.
Robin from Half-Firm Paranormal or in AJ's case it's Robin from Half-Firm Paranormal on Talking With The Source. And you can also find AJ on Craigslist.
AJ sorry, did you get that job? The one on Wayne's World you were going for?
No I didn't get the Wayne's World job. I'm sorry. Anyway we want to give a huge thank you to Brian, Leverty, Lex, everybody on the admin team over at Global Ghost Hunt.
We had a great first event in May. We have an event coming up also in October for this year. So hurry up, register your team. Slots are open. So go to www.globalghosthunt.com.
But other than that right now I want to introduce a great friend of ours. His name is Jude Fox. He is a producer, actor, and editor.
And he's known for Interpersonal 2014, The Ungovernable Force 2015, and The Final Stage 2016. Let's bring him on right now. Jude how are you my friend?
Hey how's it going?
I'm wonderful. It's great to be on guys.
And please tell me I did not mess that intro up for you.
Only slightly but we'll get over it.
That doesn't surprise me.
No not at all. With me working something I tell you, you can't leave me in charge of anything.
Oh god the cap's on now. We're in trouble.
The cap has to go on. They say I look like Kevin Smith when my hair's out back down. So I get all my customers to say that.
Little bit there.
There you go. Thanks.
Now I feel left out. I didn't bring a cap. Damn it.
See? That's right. Next time. Next time.
You should have prepped me with it. You should have prepped me.
AJ needs one of them ones that has the veil that comes down here as well to stop you from actually seeing them. You know what I mean?
Yeah 100%. I definitely do.
But Jude I want to ask you. So what made you get into filmmaking in general? How did you get into it and all this stuff?
My goodness. Alright well going all the way back I guess. You know when I was a little kid I used to watch stuff. I used to see things like Godzilla movies.
And I was probably around four years old when I decided to make my own with a Super 8 camera and a bunch of toys.
And my god it must have been awful. But that was my first foray into it nonetheless. And I've kind of had a love ever since.
When I got older I got more into visual art. I took illustration. I went to college for graphic design.
And after all that I decided I really wanted to pursue filmmaking which was something that I had always been interested in and went back to school for that.
And here we are.
That is awesome. That is absolutely awesome. If you don't want to ask me whereabouts did you go to school for learning film?
Well I went to a little multimedia school which is now debunked. Or not debunked. Dessunct? Dessunct? Dessunct.
It's not here anymore. But that was in Manhattan. And you know I've always been a New York based kind of guy.
At least most of my life. I was born here. Raised. Spent most of my days. Kind of like Will Smith in Philly but we don't talk about him.
Yeah right. Unless we want to get slapped. We don't talk about him.
Oh well I'll talk about his wife. But like let's see. It depends on where you want to go with it.
Well I can because I'm over the water. He's got to come the whole way over here to get me. So I'll talk to him.
There you go. Hello there.
Sorry. Go ahead. What you were saying Jude? Apology.
Oh no. I said I'm a little bit bigger of a guy I think than Chris Rock. So you know I'm not really scared.
Yeah. There you go. Let him come after me.
Poor Chris Rock though right? Yeah. What are you going to do?
But what I wanted to ask you was what is one of what was one of your most significant film that you did make say in the beginning?
Oh all right. Well you know it's kind of difficult because most of my films that I've been involved with are still pretty underground. Pretty independent.
There's quite a few direct to video, direct to DVD kind of things. I worked on a documentary I would say when you're talking my most significant.
I did a short documentary with a good friend of mine who's passed away called Heavensend.
And that was about the LGBTQ and lesbian community in Chelsea. And about some we followed some girls around from that.
And that did pretty well at some of the festivals. And that still holds a big place in my heart both for The Message and for my filmmaker friend Gucci Man who is no longer with us.
Sorry to hear it.
No. Yeah.
But you know and I've pretty much I've done quite a few different genres at this point. You know and I think my main thing right now is looking to go from that smaller level of more production to really both producing as well as writing and directing a feature of my own.
Which is really where I'm focused on getting to right now.
Awesome. I can't wait to check it out. That's going to be something great down the road to check out for sure. So everybody watching for sure check it out.
Absolutely.
But I was going to go ahead Robin I'll let you ask. Go ahead.
I was just going to start off by saying hello to Joshua Dixon that's watching and hello to Stacey Reed from Beyond The Walls Paranormal.
Hey Josh.
Just want to ask you Jude really how you manage to get into the paranormal. And obviously you're not like in the paranormal like we are but you've got a certain interest you would say in the paranormal and how does that go along with your filmmaking and stuff like that.
So I think my interest in the paranormal is definitely interesting and will be interesting probably for you guys to understand because I'm definitely coming at things probably from a slightly different perspective.
And that is that most of my life I've considered myself an agnostic atheist as well as a skeptic.
I'm you know very hard to convince of things. That being said I'm always fascinated by what might be out there and looking for things. Once again that would be the agnosticism within me.
You know that is a lack of knowledge. And I've definitely experienced a few things which even with a relatively scientific thinking brain and a logical sensibility that I can't explain.
I had lived in a house for maybe about a year, which I experienced a lot of things that the best explanations I could come up with could not answer to my liking.
Just things such as you know I would put a coffee cup down and it was a large house. I lived alone. So I would put a coffee cup down in the kitchen and you know walk to the bathroom and come back and just not be able to find it.
And maybe a week later I would find it in an empty bedroom on a shelf somewhere.
Or I had things just fall off of shelves while I was standing there a few times. And you know I would check and I'm like well maybe there's seismic activity. You know you never know.
This house is on Long Island and we have a little bit. But no, no there was no sign of that.
You know I would hear scratching that I couldn't explain. You know noises, which again there may be explanations. I'm not saying there's not. I'm not saying there is. I just don't know what it is.
And it's kind of kept me open minded. And then the strangest part of living in that location was a small crawl space in the back of the basement under an extended part of the house where
when I moved in it was just flat. In fact whoever was there before had put like garbage pretty much. You know like an old Christmas tree and things like that.
You know it like shoved into the crawl space and I'm like well I'm not crawling back there getting it out.
And over the course of a few months maybe and over the year the floor had begun to dip down there to the point where there was a hole which I couldn't see down anymore.
And I would always get a weird feeling over there and never actually explored it. You know I kind of lifted myself up a couple times to look in and I'm like no, no, no.
I'm getting a bad feeling. And I had a couple other friends. I'll leave that one alone.
Yeah I had a couple other friends, a good friend of mine who's like my little sister. She came over once and she's like oh I'm not scared of anything. I'll go look.
You know I'm like alright so I picked her up by one hand, one arm and started holding her up into it and she got about halfway and she pushed back.
She just scurried back. She's like nope, nope. She's like no, there's something that feels weird.
So you know like that living there definitely made me say well there might be more to the world than I can explain.
It doesn't mean I know what the explanation is or the reason or the answer but I'm open minded to it. And I'm always curious about finding more.
You know it's so great that you have that outlook though. Like even having an agnostic outlook. I think that's so great.
For me I grew up Christian and you know I ended up having a near death experience. I was a drug addict and I overdosed 12 times.
Last time I overdosed I left my body, had some things happen. Thank the Lord I'm still here and everything is great and I got past that luckily.
But thank you. But you know it's great to have that kind of skepticism the way that you do because I try to tell people who are skeptical.
I don't try to word it to them in a religious way or in what we would call fairy tale way with angels, demons.
Because someone who is skeptical and agnostic is not going to even listen to that if you're trying to talk to them.
Because you know unless it's something that they can relate to they're probably not going to pay that much attention.
So I try to talk to skeptics and stuff and try to ask them do you believe in energy obviously.
You know scientific energy like electromagnetic energy all this type of stuff that we know. And I believe that there's more and I believe that you know our bodies we are all energy down to the purest molecular form.
Like between kinetic energy that we produce and all this thermogenic energy that we produce. And that energy has to go somewhere.
So I try to put it in that type of perspective instead of putting it in like a religious perspective to see if it may help them.
But in reality you have to have your own experience to actually believe you know otherwise you're never really truly believe in my opinion.
But what do you think about it?
I think that's a good way to put it. I definitely read a lot.
I read a lot of both both theological as well as occult type books because again it's something I've just always been fascinated with.
Seeing all the different sides and perspectives and the history and an author who I happen to be very fond of is a a magician.
And when I use the term magician I mean not an illusionist but somebody who believes themselves to be you know in fact a hero of the magical arts.
And he is also I can't recall right the second if he has a PhD in it.
And you know I don't want to misquote exactly what his credential is but I know he has a degree from an inter-accredited school.
And his name is P.I.E. Boneweights or Philip Isaac Edmund Boneweights I believe.
And he had written a book on yellow magic and which is essentially psychological magic.
And I read that when I was fairly young you know maybe like 12.
And part of how he describes his concept of magic is very much in the Crowley sensibility of that any willful act is a magical act.
However he defines it a little bit more specifically in terms of it being something that cannot be necessarily explained through modern scientific understanding.
But pretty much that it does have a basis in science.
We just don't understand what that is or how to necessarily control it by other means.
I was always kind of fascinated by that way of looking at it.
Yeah absolutely.
When you say sorry when you say we call it Crowley something.
Alastair Crowley yeah.
Yeah I was going to say Alastair Crowley because I'm actually going to be doing one of his houses that's over here.
Oh nice nice.
So a lot of mixed feelings about Crowley.
Yeah well as I thought I was going to do I'm probably I'm sure.
We have we have another co-host that hosts sometimes AJ Jani.
And she's actually coming over here because she's actually researched and studied this guy.
And when I said about doing his house it was like I've got to do that.
And a lot of people go up there and do stuff but it's like it's so remote it's unbelievable.
And the last time I was actually down there it's in Cornwall. Last time I was down there looking for it.
I actually got myself lost in a lot of like woods and stuff.
And this was like half eleven at night. I was on my own and I was I was looking for this house.
And I got myself lost in these woods and it was like you were being watched from everywhere.
And as much as I was enjoying it in a sick way I was enjoying it I thought well if there's if there's shit like this about it's not the place you want to be alone.
You know what's crazy though Jude is that I feel like a lot of people especially people who don't read about Alastair Crowley or look into any of this stuff.
I feel a lot of people have this like weird like they don't really quite understand what his whole thing was about.
A lot of people that I talk to are like yeah he's into sacrificing you know this and sacrificing that.
And I get some of the things he did you know that were questionable in that occult type area.
But it's also you know he was so much about the anarchy type too you know.
So it was like a lot of people don't really look at that part they look at the more you know the hill side of it you know.
Like I said I have a lot of mixed feelings about him actually.
There are things that I respect and like very much and there are things that I'm like that's no no that's pushing it way too far you know.
And of course you know I definitely wouldn't live the way he lived you know.
I just read Diary of a Drug Fiend.
But you know he's definitely kind of misunderstood and he's very much responsible for a lot of that as well though.
Because once his persona started to really click with the public he delved into it you know.
He was one of the first influencer types from that era you know to use a modern term where he just you know he said oh you're going to call me the beast.
I'll be the beast. I'll tattoo 666 on my forehead. Here you go.
I'll shave it. I'll do this. I'll do that. I'll present. I will live that life.
And you know it's hard to say how much of him was genuine and how much was you know kind of Andy Kaufman-esque.
But you know he definitely did go to extremes. There's no question about that.
But again just an interesting character.
Oh totally 100 percent.
Robin you have anything you want to ask or can I keep going?
No what I'm doing is I'm actually looking. I had a thing on here where I had four pictures that were taken of the house.
I was going to send Jude to let him see it.
It's so remote and you actually when you read about the guy and you think to yourself well I understand why.
That he had a house in such a remote place because you know it's like.
Oh jeez.
Oh I'm sorry.
How are you?
I'm sorry I think I sneezed.
Yeah sorry.
So AJ just ask away while I find this.
Yeah no problem. One thing I wanted to get into as I already kind of did with the filmmaking type stuff.
I asked you this in the back.
What is one of your favorite cameras to use? Now I know you told me one the main one but go into DSLR as well after you tell us what the one you told me about.
Okay well yeah I would generally you know given any opportunity to shoot on a RED.
You know that being said as I was mentioning to you behind the scenes there are plenty of DSLRs that are pretty good.
A couple of weeks ago I worked on a film a short film that we shot with a DSLR.
I can't recall exactly what model we used right this second.
I'll let you know but more often than not I will usually have a brief discussion with whichever cinematographer I'm working with.
And I usually want my cinematographers to be comfortable with the camera we're using more than I am concerned about myself.
I tend to look for a certain level whether I'm a producer or a director on it.
And I really I prefer directing than producing although I end up producing more than I direct.
However whichever role I'm in it's really just a tool to me to get the best shots we can get.
You know not necessarily something that I will get into the nitty gritty of as much.
But you know I will go over it and make sure to review it and have an understanding of whatever it is we're using at the time.
Now I could picture you on set and I could picture you like running around doing all the jobs because I could just picture you being like me like a perfectionist.
Like no this person isn't going to do it the way that I want it done and I have to do it this way you know.
I just picture that in you my friend I don't know why.
It depends on the set. It depends on the set.
If on a good set to be honest if everybody is doing their job and knows their job there's always a little bit of that.
But for the most part you'll be like all right you know I know you know my my lighting crew can do this.
My my camera crew can do that.
My my grips are capable of moving all this stuff where it needs to be you know.
I just have to do whatever it is my role is on that whether I'm whether I'm producing whether I'm directing whether I'm doing a combination of it.
You know whether I've done like AC on certain things you know or AD on certain things you know like if I'm an AD I'm just I'm there I'm looking at the schedule I'm keeping everything on track you know I'm telling the director Hey you know we got to move it along you know.
Lunch is coming up and we got it we got to have the next crew reset the scene for this.
So you know it really just depends on on keeping focus on whatever it is.
No definitely.
I've sent you both those those photographs of Alastair Crowley's house.
All right yeah well I'll check them after I can't check it right at the moment but yeah.
I've got my equipment off right now.
But that's absolutely great.
I am I want to ask you have you on with you being like you obviously edit your stuff correct.
It depends on what it is again you know I once again I probably fall into editing more than I really want to like to.
Yeah, just out of necessity, but.
But when I edit.
No yeah, the thing was is I could see as being a skeptic in the paranormal with the paranormal being a filmmaker knowing what you can do nowadays with film or any with the camera you know and with editing you know does that play a big role in you feeling as a skeptic to.
I think it.
As a filmmaker if I'm watching a lot of a lot of things like a number of shows, particularly ones that are on the sci fi channel and a few others that I've checked out.
A lot of times, if you know what to look for you will see tricks that are being used to keep things more interesting. And you go, oh wait you know this shot that they're cutting to was clearly done at a different time than this other shot and they're making it look like it's part of the same scene.
So there's a lot of that, that clearly happens.
I guess yeah I definitely can't disassociate from that.
So I do look for it. And when I find it. That's when I go, all right, I might tune out of this, this particular show.
But, you know, if I'm not finding that then that's when I'm more interested.
You're muted AJ, which is sometimes better.
What I was going to say though was is for Robin for example when he goes out and he shoots, he shoots one consecutive shot to keep it raw so that the audience will obviously do that but what I've noticed too is, it gets kind of boring almost because you're not having no shots so
but then you're stuck between that thing like we were just talking about, like you're doing jump cuts or something, is that messing, you know, are you tricking people? So it's such a hard feel to try and show the proof, you know?
You're definitely damned if you do, damned if you don't to a certain extent.
What I would recommend to someone would probably be something more to the effect of,
I would always use multiple cameras, if I'm doing that kind of a shoot, I would still use multiple cameras.
However, if something interesting is happening, something that maybe means something, I would make sure in the edit that we keep a long take for that and we never cut away from it.
And then if you get an event of some variety on multiple angles, I would then go back and show the entire thing from multiple angles afterwards, but I would make sure to present my audience with a full long take of that.
And when I say a long take, that could be, you know, 10 seconds before the event and 10 seconds after it, you know, so you might have a 25 second, you know, or 20 second roughly bit, you know, because something could be quick.
So it's not going to be, you know, five minutes or three minutes or two minutes even, you know, might be 20 seconds, which is a long take when you're watching something.
It's a long shot rather, but I would definitely show it in that way so that somebody like me watching or, you know, somebody else that is skeptical in any sense, whether they're a skeptic or just, you know, looking closely, that is still a form of skepticism,
will not be able to pick it apart like that.
Totally, completely understand. That's awesome. That's a great way of going about it. Go ahead, Robin.
No, I was just going to say quickly, Charles Rudd asked, was that the house that Black Sabbath bought? As far as I know it wasn't. Alistair Crowley had two houses in the UK.
He had one in the north of Scotland, which I think is the one Black Sabbath bought. The one in the south of England in Cornwall is quite a small farmhouse.
As far as I know, there was the last people who lived in it was an old couple, but it's falling apart now. The one in Scotland, I think, is still pretty intact.
So I think it's that one. And hello to Mark Lee. We'll see him later on.
Definitely.
I was going to say to Jude that AJ used to call me a bitch. Well, he still does, but he used to call me a bitch for not editing my material. But what I found was I used to leave all my stuff raw from start to finish.
And I attempted one time to edit one of my videos and some of my subscribers actually messaged me and went, no, we like yours raw. We like yours left from start to finish and left raw from the get go.
So that's why I was obviously leaving mine raw.
OK.
I don't know what you're going to start with, but like you say, you're damned if you do, damned if you don't, because you get people who say, well, I don't like it like that. And then other ones who think that you're just faking stuff if you're cutting bits out and things.
So the way I would look at it is that, first of all, a couple of opinions mean very little. Yeah, you know, you will always get dissenting opinions, no matter what it is.
It doesn't matter how great a shoot is, a YouTube video, a TV show or a film, you know, take something like Titanic. I can't stand fucking Titanic.
It's a brilliant film, but I can't watch the bloody thing.
So, you know, like there's always going to be dissenting opinions. You know, I'm not saying it's bad, but I can't watch it.
So, you know, so don't pay too much attention to a few opinions. You know, if there is a mass consensus, that's different.
If there's somebody that you trust as a critic, that's different.
Like when I write a screenplay, I'll send it to a few people for feedback before I rewrite it because I'll always rewrite it a few times before I actually show it to most people.
And like I have a few trusted people and even them, you know, they'll give me notes and I'll go, OK, I see this. I agree with it.
Or, you know what, I see what they're saying, but I don't agree with that. And I'm going to leave it how I'm going to leave it because it's mine.
Yeah. And so you really have to have a vision of what it is you want going in and then take those opinions for what they're worth and figure out for yourself what makes sense to take to heart and what makes sense to just, you know, push aside and be like, look, I respect it.
But no, definitely not totally agree with that.
And you're absolutely right. And, you know, it's hard to not look at the comments at the same time, you know, when you put a video out on YouTube.
But you're absolutely right. You know, it's your material and if you're happy with it, that's the biggest main part, you know.
Yeah. I had done a podcast as well a few months ago.
And, you know, we got some mixed opinions. But, you know, we kind of went with what I just said in terms of taking some to heart, you know, and when we got mass feedback saying, you know, you know, you're making too many sexual jokes here about the dwarfs of Moria.
But, like, you know, I was like, OK, maybe I'll pull that back a little bit. But, you know, for the most part, like, you know, it's just a matter of finding that balance.
Yeah. No, definitely. I think that's I think that's absolutely awesome to, you know, have that outlook because it's like I said, it's very hard to have that outlook when you put something out there and all of a sudden you get this like, you know, a couple of people that have this bad negative outlook on your stuff.
And you're like, you know, you beat yourself up kind of a little bit, you know, so it's great that you have the confidence, you know, in yourself and you're just like, you know what, screw everybody else. I have my couple people that I care about as critics.
Other than that, I'm happy with my work and that's all that matters. And I think that that's so important and absolutely awesome.
Yeah, it is up to you in the end, isn't it? Really? Yeah.
Because it's your, you know, you're going to you're going to take you're going to do it whatever way you want to do it. You're going to take people's opinions on board. But like you say that they're not the ones that are doing it.
You know, if you don't believe that I should be editing my videos, then you go make videos and do that yourself. Or if you believe that I should be editing videos and you go make videos and you edit them.
You know, I mean, and leave it that way. When it comes to the edit, the edit is really just about whether you're comfortable doing an edit.
Not everyone is. Most people really aren't. A lot of people do it, but they are deep down not comfortable doing it, even though they say they are.
And, you know, there's a lot of bad edits out there for all kinds of videos.
So if you if you think someone else is better to edit your videos, by all means, I say, you know, take a step back. Sometimes that helps.
Sometimes you're too close, you know, to see what the issues may be.
You know, you can't see the forest for the trees, so to speak. So, yeah, I'm definitely all about that. You know, I was going to say, by the way, so if it wasn't clear, the podcast that I was on was
a review show for the Amazon Prime's Rings of Power series.
Oh, OK. The Lord of the Rings. Yeah. And, you know, I, to be honest, to this day, don't care how much negative feedback I got.
I think that watching Galadriel on the horse, I think she was getting something out of it she wasn't supposed to be.
And I don't care what anyone says. I'm standing by that.
AJ, you're muted again. I'm muted again.
Yes, you are.
It's Friday and he believes he wants him. You should be. He's just doing it.
It's like being handcuffed in maniac here, Jude. You know what I mean? It's like, I don't know. Honestly, I try. I try.
Yeah, you're very trying.
What I want to ask you, though, Jude, I noticed obviously you've also acted as well. Tell me how long have you done that?
Oh, my goodness. I mean, you know, I did some stage classes when I was young.
I've done little bits off and on, cameos, things like that.
And in terms of actual like film or stuff that you'd find on my IMDB, probably since the early 2000s, you know, I've really been trying to, you know, be in what I can be.
And I don't consider myself a lead or anything like that.
You know, I'm just happy to do little cameos and little bits and pieces and, you know, get out there.
But again, if someone offers me something, I'm not one to turn down too much, you know. I'm very greedy about it. I'll be like, oh, OK.
You want me to do what? OK. You know, there's nude scene. Oh, I don't know about that. Well, let me think about it.
Oh, I thought you froze for a sec. Oh, that's funny, though, man. That's great.
I tell you what, though, you have to you know, you have to get yourself out there like I think.
And I think it's important to do that. And, you know, tell me, though, if there's one filmmaker that you can work with, who would it be?
Oh, one filmmaker I could work with.
You had the Oscar question, AJ, didn't you?
No, no, no, no, no, it's fine. I'm fine with that.
I would probably right now want to work with Robert Eggers.
Oh, nice.
You know, I think even though I don't think his latest one, unless I'm wrong, has come out.
But, you know, the the limited filmography he's got with The Witch and then The Lighthouse, which is just mind blowingly amazing, you know, with just a hint of Lovecraft in it.
And and then The Northman blew me away. And, you know, I think he really should have gotten a little more Oscar love for that one.
Yeah, I just think he's he's absolutely amazing. And and I really want to see where his career goes right now.
So, yeah, that'd be my choice.
That is awesome.
I've got to ask you, Jude.
Hold on. Hold on. Robin, take over for a sec.
I just have to I have to change things because my connection is getting all screwy.
So just take over for a second for me. Sorry, Jude.
He obviously needs to change his women's underwear he's wearing.
But sometimes they get messy. I don't judge.
I don't know what he's like. He's terrible for it.
But I'm just speaking from personal experience. What can I tell you?
Well, yeah, I don't want to see him then.
But I just want to ask you what your opinions are on a certain person.
There's a there's a certain person that I've wanted to get on this podcast and I think I think today
I've actually found the right page for the person.
So I've messaged the person to try and find out because I love the pic.
I'm going to I'm going to give you a clue. I love to pick his brain.
OK. But I'm waiting on a word back.
And if I can get word back and I can get this guy on the podcast, I'd be over the moon.
So Stephen King. Oh, I look.
I mean, Stephen King is. Yeah.
Just wait one further. If you're on the very, very off chance, Stephen King, that you're actually watching this podcast.
Hit me up. I need to get you on here. Go ahead.
No, I was going to say, I mean, look, you know,
who would not have Stephen King on if they could?
He is a living legend.
He is definitely an author who is both influential and someone who I, you know, I've followed since I was a child.
And I think his ability as a writer has increased with age exponentially.
I think his later works are just so much more phenomenal than some of his earlier works,
not to put anything down about some of his earlier stuff, but just his his writing style and ability has just grown year after year.
And and he's still kicking it out. So yeah. Yeah.
I mean, you know, and by the way, his son, Joe Hill, also really terrific, you know, and finally coming into his own.
You hear all about AJ? I did.
You know what? You know, one of my favorite, my favorite directors are, man, not the switcher.
We were just talking about Stephen King, but Scorsese.
Well, Scorsese movies. I don't know what it is.
I think it's him. And then who's the other one that I love to he did the Django.
Is that Scorsese as well? Django? Yeah.
No, no, that was Tarantino.
There you go. Unless you're thinking of the original Django.
I mean, Tarantino did Django Unchained.
No, yeah, that's what I mean. I believe that if you had if you had a broadcast
with Stephen King and Quentin Tarantino on the same podcast, I think I'd come off that mind blown.
Oh, yeah. I mean, you know, don't get me wrong.
I mean, that's in the nicest possible way.
I really do. But there's, you know, they both put me to shame.
You can say it. Go ahead. I'm fine. No, no, it's not that.
I just I'm trying to think of how I can say this, but I offend anybody.
But I remember I remember watching a movie one time.
I remember when it was and they were talking about gadgets for for satellites that can destroy things.
And I remember someone saying normal people don't make these because someone had said, oh, this guy's not normal.
And someone's answer to that was normal people do not make things like this.
And but that was in the nicest possible way.
That's not calling someone like abnormal. You know what I mean?
No. Well, you know what? It's like those two.
Well, it's very fair to say that normal people do not make great art.
Yeah. I will say that and I will stand by it.
Yeah. You know what?
The weird kids are the best kids because they're the most creative people.
I mean, I was a weird kid in school, man, and I loved it.
I loved it because I was always so creative. I'm a guitarist.
What happened to you then?
Well, I'm still weird.
Yeah, but where's the weird?
You just mentioned about him changing his underwear.
Yeah. You know, you have to tell that on air. I can't believe it.
Anyway, real quick. Wait, hold on real quick.
Joshua and anyone else watching, if you would like to ask Jude a question, please put it in the comments.
We'll put it up on the screen and we'll get it answered for you.
But go ahead, Robin.
AMA.
AMA, yeah.
Go ahead, AJ. I can't even look at you seriously now.
I told you about Warren's Bones.
Here's one promise that I will definitely make to you, Jude.
If that ever happens where we have someone like Stephen King come on or some major person, you will be on as our guest host 100 percent.
I will be on, sir.
We will always have you as part of it, my friend.
I'm Tran with Stephen King, by the way. I'm Tran.
This guy, man, lands guests that I couldn't even fathom. I don't know how he does it.
When I email them, I swear to God, Jude, they don't even answer my emails.
It must be his accent and him coming from the UK. They must love that shit.
Cause they hate it.
I tell you. It's so sad, man.
But Jude, one thing I wanted to ask you was, what is your OK.
So this is kind of hard to say, but what is your favorite shot?
I just kind of hard to say that because there's so many shots that you do in a movie or in a film.
But say for f-stop wise for close up or do you like the background being shown a lot?
What's your favorite shot if you had one?
So I think the question that you're trying to get to is like a sort of a signature shot.
Thank you. I couldn't think of a name.
Like for example, you know, Tarantino, one of his signature shots is that trunk shot, you know, with the camera looking at the trunk.
I mean that or, you know, someone's feet.
But so let me think what kind of a shot do I really like?
You know what? Whenever I get a chance and they're hard to work in.
But I'm a big fan of something called the Zolle shot.
OK, I heard it. I don't know what it is.
I'll explain what it is.
One of the very famous uses for it is Spielberg uses it in Jaws when Brody is at the beach.
And it's when the camera is physically pushing in.
But the focus remains on the person in the foreground or it'll remain on the background, one or the other.
And what that will do when when it's done correctly is it will cause the the background to either appear to zoom in or zoom out.
But the the subject will stay the same size or vice versa, where the subject will get smaller, but the background will get, you know, the background will remain the same size and the subject will get bigger.
I know exactly what you're talking about.
It's when it's done right and used sparingly, it's one of my favorite shots. And I just think it's it's absolutely beautiful.
And when it's done wrong, it's cheesy and campy and makes it look like a B film.
So it can go either way. But that's that's probably if I have to pick a type of shot that that would be the one I would choose.
That is awesome. That is awesome.
What's your opinion, Jude, on on movies?
Now, I'm going to I'm going to I'm going to give you an example here.
This one is one of my favorite movies.
But the first time I watched it, I didn't understand it one bit.
But when I watched it the second time, it fell into place.
I'm talking about Pulp Fiction.
So starting a movie at the end, a movie I saw nine times in the theater.
So go ahead. Yeah.
But when it starts at the end and ends at the start and jumps about like that all through and doesn't make sense at all the first time you watch it.
But the second time you watch it, you're like, wow.
I mean, that's that's really just a style of non sequential storytelling.
And although I can't think offhand, I know it's been used in literature.
It's been used in plays.
It's been used throughout history to tell stories is just more prevalent in film now.
But I do like non sequential storytelling.
I haven't done a whole lot of it myself, but I can be quite fond of it.
Yeah. It's very, it's very again, it's very clever if it's used properly, like you say.
Like you take, for instance, the first Die Hard film, you couldn't start that movie with him coming out the building at the end and then and then jump really.
You know, I disagree. I think I could totally read that movie and make it work like that.
You reckon? Yeah.
Challenge accepted.
I'm not saying I have time to do that.
I think that it's it's possible to do that.
I think I'm trying to think of something where that would not work.
And I think it I think it works in most things.
I think in comedy, that can be tough because comedy relies and not impossible still.
But comedy relies on specific set up and payoff, as does drama and other things. But to land a joke, you would need to basically rearrange the way the joke is set up in order for it to land properly like that.
So you couldn't, although you could do it in the scripting phase, I don't think you could necessarily do like reedit a film non sequentially and make it work with a lot of comedies.
But I think with most other genres, it could like I think you could probably reedit one of my favorite films of all time.
Like Who's Afraid of Virginia Woolf, which is a melodrama.
And but you could reedit that and you could make that work non sequentially. It would be tough, but I feel you could do it.
You know, you know, you know, Citizen Kane is close to non sequential.
It is sequential, but but it's close the way it jumps around in time.
So again, you could definitely edit that and it's actually not completely sequential because, you know, it essentially opens at the end if I'm not mistaken.
So, you know, that would qualify as non sequential, you know, even if it's just one scene out of sequence, it is that.
It's just a matter of how far you're pushing the envelope, really.
What about movies that are action literally the whole way through? Are they not going to be harder?
Like I'll give you an example. For instance, we take a movie that's all about the one bit of action speed.
So is a movie like that not going to be harder to do that with because it's not really about like, you know, there's not really bits and pieces where there's nothing.
It's always about the guy on the bus, for instance. You know what I mean?
So movies like not going to be harder to. OK, well, part of doing non sequential and doing it well is knowing whether it means that you're just, for example, reversing the storytelling order,
which is a little different than actually jumping around back and forth.
When you reverse something like I think a movie like Speed would not work if you just reversed its sequence, if you just inverted the sequence.
However, if you pulled certain pieces out of it and told it in a different order, I think it again potentially could work.
I'm not saying it definitely would. And I think it would definitely depend on who's editing, how that works and what have you.
But I think it has the potential to do it. Yeah.
You know, yeah. No, that is absolutely great. I am.
I'm sorry. I was going to say one of movie that I absolutely love.
If you haven't seen it or if your listeners haven't seen it is not an easy movie to watch. But the movie Irreversible is definitely one to check out.
It's I can't think of his name, Gasper something or other. But it it stars Monica Bellucci and it's it's basically a revenge film that is told be end to beginning.
Oh, wow. And it's a tough watch.
It's considered a tough watch in part because the the soundtrack is actually designed to kind of make you sick.
OK, it uses guests. So so it makes it, you know, certain scenes particularly uncomfortable for the viewer.
But that's part of the experience. Yeah. And and again, it's definitely worth checking out, even if you end up not being a big fan.
I recommend it as part of just film history. And even though it's not that old, it's landed a place.
And when we're talking non sequential, once again, that's not necessarily non sequential.
It's reverse sequence. But but definitely well, interesting film and worth checking out.
Awesome. Well, thank you for that. I definitely check that out because I haven't actually seen it.
One thing I want to ask you before we go is I want to ask me and I just had the question in my head.
Oh, yeah. Is there anything that you can speak about that you're working on or that we can look forward to seeing of yours coming out soon?
Well, I don't know how soon I I did just shoot a small role for a for indie horror film.
But once again, that's you know, that's just a little bit in terms of my own actual work.
I I think it plays into the whole podcast and the paranormal thing and something you had asked me early on about how maybe my experiences and the paranormal and my interest in it influence some of my work.
And what I'm working on right now is a series of scripts which are basically designed to be a cinematic universe, essentially.
And the concept of them is they are all horror films.
However, they jump genres or jump sub genres from film to film and yet are interconnected with characters reemerging and popping up and things like that.
And the overarching mythology to that is is very much Lovecraftian. So there's a heavy slant on cosmic horror and entities possibly looking to enter our universe and do wonderful things to it.
No, no, of course, they want to destroy it. But, you know, so so I'm working on that as well as I've got a a book that goes along with it, which I am finishing up a draft on right now.
The second or third draft right now. And and the book is essentially the Bible of the universe. It is all of the mythology of it from beginning of history, you know, to end times prophecies.
And it's it's like a full book.
I can't wait to nice, you know, 300 350 pages to get through of dense reading. I'm sure people are going to love that. But but, you know, the you know, there's again a big influence on magic and, you know, paranormal.
The other side that story I told you about my own experiences in the house. I've got a script based on that, which ties into this.
And and yeah, that's really the project. It's kind of a big project. You know, I'm working with a producer to try to get financing for it. And we will see how that goes. But that's a that's been my big thing right now.
Cool. I totally look forward to that. I want to say thank you for coming on. I want to have you if you don't wouldn't mind coming on again. I'd love to have you on again, especially after that comes out to get that promoted for you, because it's going to be awesome. I've had a great time. I'll be happy to be on any time, man.
Cool. Excellent.
So, but thank you so much again. Like I said, just hang around in the back if you want to talk. I don't know if you have to run or anything, but we'll talk to you in a few. Awesome. Well, thank you, I appreciate your time. Take care.
All right. Wow, man. I'm so happy that you came on. I tell you, man, such a great guy and I love how he jokes with us because a lot of guests when we joke, they get kind of like nervous, I think, but dude was like, Yep, I'm all about it. So who's joking?
Thanks. Thanks. Thanks. Did you like that one?
I want to say, Joshua, thank you so much for sticking around. And, you know, so happy you're following your dreams. Thank you so much for that. I try to tell everyone to follow their dreams and also you know I'm so happy that Judas followed his dreams and became an independent
film artist or filmmaker I mean and you know all the stuff that he's doing is absolutely amazing so please check him out on all social media platforms to stay informed but his work he will be back on though we will make sure of it. And to promote what he just talked about when it comes out and he's finished.
But just want to say thank you, Joshua for sticking around and anyone else.
And, you know, you've watched another episode of talking with the source so just want to say thank you guys for sticking around.
See you later.
Hold on one second, if I can, you know, there we go.
Goodbye.