1 00:00:00,000 --> 00:00:26,640 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 2 00:00:30,000 --> 00:00:58,000 What's going on everybody AJ Capasso here, host of Talking With The Source. I'm here with my good friend today. 3 00:00:58,000 --> 00:01:10,000 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. 4 00:01:10,000 --> 00:01:30,000 AJ sorry, did you get that job? The one on Wayne's World you were going for? 5 00:01:30,000 --> 00:01:42,000 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. 6 00:01:42,000 --> 00:01:54,000 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. 7 00:01:54,000 --> 00:02:04,000 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. 8 00:02:04,000 --> 00:02:16,000 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? 9 00:02:16,000 --> 00:02:17,000 Hey how's it going? 10 00:02:17,000 --> 00:02:20,000 I'm wonderful. It's great to be on guys. 11 00:02:20,000 --> 00:02:24,000 And please tell me I did not mess that intro up for you. 12 00:02:24,000 --> 00:02:28,000 Only slightly but we'll get over it. 13 00:02:28,000 --> 00:02:30,000 That doesn't surprise me. 14 00:02:30,000 --> 00:02:35,000 No not at all. With me working something I tell you, you can't leave me in charge of anything. 15 00:02:35,000 --> 00:02:38,000 Oh god the cap's on now. We're in trouble. 16 00:02:38,000 --> 00:02:45,000 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. 17 00:02:45,000 --> 00:02:47,000 Little bit there. 18 00:02:47,000 --> 00:02:50,000 There you go. Thanks. 19 00:02:50,000 --> 00:02:52,000 Now I feel left out. I didn't bring a cap. Damn it. 20 00:02:52,000 --> 00:02:55,000 See? That's right. Next time. Next time. 21 00:02:55,000 --> 00:02:58,000 You should have prepped me with it. You should have prepped me. 22 00:02:58,000 --> 00:03:04,000 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? 23 00:03:04,000 --> 00:03:07,000 Yeah 100%. I definitely do. 24 00:03:07,000 --> 00:03:14,000 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? 25 00:03:14,000 --> 00:03:25,000 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. 26 00:03:25,000 --> 00:03:31,000 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. 27 00:03:31,000 --> 00:03:38,000 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. 28 00:03:38,000 --> 00:03:46,000 When I got older I got more into visual art. I took illustration. I went to college for graphic design. 29 00:03:46,000 --> 00:03:57,000 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. 30 00:03:57,000 --> 00:04:00,000 And here we are. 31 00:04:00,000 --> 00:04:06,000 That is awesome. That is absolutely awesome. If you don't want to ask me whereabouts did you go to school for learning film? 32 00:04:06,000 --> 00:04:16,000 Well I went to a little multimedia school which is now debunked. Or not debunked. Dessunct? Dessunct? Dessunct. 33 00:04:16,000 --> 00:04:27,000 It's not here anymore. But that was in Manhattan. And you know I've always been a New York based kind of guy. 34 00:04:27,000 --> 00:04:38,000 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. 35 00:04:38,000 --> 00:04:42,000 Yeah right. Unless we want to get slapped. We don't talk about him. 36 00:04:42,000 --> 00:04:47,000 Oh well I'll talk about his wife. But like let's see. It depends on where you want to go with it. 37 00:04:47,000 --> 00:04:52,000 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. 38 00:04:52,000 --> 00:04:58,000 There you go. Hello there. 39 00:04:58,000 --> 00:05:00,000 Sorry. Go ahead. What you were saying Jude? Apology. 40 00:05:00,000 --> 00:05:05,000 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. 41 00:05:05,000 --> 00:05:08,000 Yeah. There you go. Let him come after me. 42 00:05:08,000 --> 00:05:12,000 Poor Chris Rock though right? Yeah. What are you going to do? 43 00:05:12,000 --> 00:05:23,000 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? 44 00:05:23,000 --> 00:05:34,000 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. 45 00:05:34,000 --> 00:05:45,000 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. 46 00:05:45,000 --> 00:05:53,000 I did a short documentary with a good friend of mine who's passed away called Heavensend. 47 00:05:53,000 --> 00:06:08,000 And that was about the LGBTQ and lesbian community in Chelsea. And about some we followed some girls around from that. 48 00:06:08,000 --> 00:06:23,000 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. 49 00:06:23,000 --> 00:06:25,000 Sorry to hear it. 50 00:06:25,000 --> 00:06:27,000 No. Yeah. 51 00:06:27,000 --> 00:06:51,000 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. 52 00:06:51,000 --> 00:06:55,000 Which is really where I'm focused on getting to right now. 53 00:06:55,000 --> 00:07:03,000 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. 54 00:07:03,000 --> 00:07:04,000 Absolutely. 55 00:07:04,000 --> 00:07:07,000 But I was going to go ahead Robin I'll let you ask. Go ahead. 56 00:07:07,000 --> 00:07:16,000 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. 57 00:07:16,000 --> 00:07:17,000 Hey Josh. 58 00:07:17,000 --> 00:07:39,000 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. 59 00:07:39,000 --> 00:07:52,000 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. 60 00:07:52,000 --> 00:08:03,000 And that is that most of my life I've considered myself an agnostic atheist as well as a skeptic. 61 00:08:03,000 --> 00:08:19,000 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. 62 00:08:19,000 --> 00:08:34,000 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. 63 00:08:34,000 --> 00:08:53,000 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. 64 00:08:53,000 --> 00:09:08,000 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. 65 00:09:08,000 --> 00:09:14,000 And maybe a week later I would find it in an empty bedroom on a shelf somewhere. 66 00:09:14,000 --> 00:09:26,000 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. 67 00:09:26,000 --> 00:09:34,000 This house is on Long Island and we have a little bit. But no, no there was no sign of that. 68 00:09:34,000 --> 00:09:47,000 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. 69 00:09:47,000 --> 00:10:07,000 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 70 00:10:07,000 --> 00:10:19,000 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. 71 00:10:19,000 --> 00:10:24,000 You know it like shoved into the crawl space and I'm like well I'm not crawling back there getting it out. 72 00:10:24,000 --> 00:10:38,000 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. 73 00:10:38,000 --> 00:10:54,000 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. 74 00:10:54,000 --> 00:11:00,000 I'm getting a bad feeling. And I had a couple other friends. I'll leave that one alone. 75 00:11:00,000 --> 00:11:09,000 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. 76 00:11:09,000 --> 00:11:18,000 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. 77 00:11:18,000 --> 00:11:24,000 She just scurried back. She's like nope, nope. She's like no, there's something that feels weird. 78 00:11:24,000 --> 00:11:34,000 So you know like that living there definitely made me say well there might be more to the world than I can explain. 79 00:11:34,000 --> 00:11:44,000 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. 80 00:11:44,000 --> 00:11:50,000 You know it's so great that you have that outlook though. Like even having an agnostic outlook. I think that's so great. 81 00:11:50,000 --> 00:11:58,000 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. 82 00:11:58,000 --> 00:12:06,000 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. 83 00:12:06,000 --> 00:12:16,000 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. 84 00:12:16,000 --> 00:12:23,000 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. 85 00:12:23,000 --> 00:12:28,000 Because someone who is skeptical and agnostic is not going to even listen to that if you're trying to talk to them. 86 00:12:28,000 --> 00:12:33,000 Because you know unless it's something that they can relate to they're probably not going to pay that much attention. 87 00:12:33,000 --> 00:12:38,000 So I try to talk to skeptics and stuff and try to ask them do you believe in energy obviously. 88 00:12:38,000 --> 00:12:51,000 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. 89 00:12:51,000 --> 00:12:57,000 Like between kinetic energy that we produce and all this thermogenic energy that we produce. And that energy has to go somewhere. 90 00:12:57,000 --> 00:13:04,000 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. 91 00:13:04,000 --> 00:13:12,000 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. 92 00:13:12,000 --> 00:13:14,000 But what do you think about it? 93 00:13:14,000 --> 00:13:19,000 I think that's a good way to put it. I definitely read a lot. 94 00:13:19,000 --> 00:13:30,000 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. 95 00:13:30,000 --> 00:13:41,000 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. 96 00:13:41,000 --> 00:13:52,000 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. 97 00:13:52,000 --> 00:14:00,000 And he is also I can't recall right the second if he has a PhD in it. 98 00:14:00,000 --> 00:14:10,000 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. 99 00:14:10,000 --> 00:14:17,000 And his name is P.I.E. Boneweights or Philip Isaac Edmund Boneweights I believe. 100 00:14:17,000 --> 00:14:27,000 And he had written a book on yellow magic and which is essentially psychological magic. 101 00:14:27,000 --> 00:14:33,000 And I read that when I was fairly young you know maybe like 12. 102 00:14:33,000 --> 00:14:47,000 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. 103 00:14:47,000 --> 00:15:03,000 However he defines it a little bit more specifically in terms of it being something that cannot be necessarily explained through modern scientific understanding. 104 00:15:03,000 --> 00:15:08,000 But pretty much that it does have a basis in science. 105 00:15:08,000 --> 00:15:13,000 We just don't understand what that is or how to necessarily control it by other means. 106 00:15:13,000 --> 00:15:17,000 I was always kind of fascinated by that way of looking at it. 107 00:15:17,000 --> 00:15:20,000 Yeah absolutely. 108 00:15:20,000 --> 00:15:25,000 When you say sorry when you say we call it Crowley something. 109 00:15:25,000 --> 00:15:27,000 Alastair Crowley yeah. 110 00:15:27,000 --> 00:15:34,000 Yeah I was going to say Alastair Crowley because I'm actually going to be doing one of his houses that's over here. 111 00:15:34,000 --> 00:15:36,000 Oh nice nice. 112 00:15:36,000 --> 00:15:38,000 So a lot of mixed feelings about Crowley. 113 00:15:38,000 --> 00:15:42,000 Yeah well as I thought I was going to do I'm probably I'm sure. 114 00:15:42,000 --> 00:15:49,000 We have we have another co-host that hosts sometimes AJ Jani. 115 00:15:49,000 --> 00:15:55,000 And she's actually coming over here because she's actually researched and studied this guy. 116 00:15:55,000 --> 00:16:00,000 And when I said about doing his house it was like I've got to do that. 117 00:16:00,000 --> 00:16:07,000 And a lot of people go up there and do stuff but it's like it's so remote it's unbelievable. 118 00:16:07,000 --> 00:16:12,000 And the last time I was actually down there it's in Cornwall. Last time I was down there looking for it. 119 00:16:12,000 --> 00:16:18,000 I actually got myself lost in a lot of like woods and stuff. 120 00:16:18,000 --> 00:16:24,000 And this was like half eleven at night. I was on my own and I was I was looking for this house. 121 00:16:24,000 --> 00:16:31,000 And I got myself lost in these woods and it was like you were being watched from everywhere. 122 00:16:31,000 --> 00:16:41,000 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. 123 00:16:41,000 --> 00:16:48,000 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. 124 00:16:48,000 --> 00:16:55,000 I feel a lot of people have this like weird like they don't really quite understand what his whole thing was about. 125 00:16:55,000 --> 00:17:01,000 A lot of people that I talk to are like yeah he's into sacrificing you know this and sacrificing that. 126 00:17:01,000 --> 00:17:06,000 And I get some of the things he did you know that were questionable in that occult type area. 127 00:17:06,000 --> 00:17:11,000 But it's also you know he was so much about the anarchy type too you know. 128 00:17:11,000 --> 00:17:17,000 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. 129 00:17:17,000 --> 00:17:21,000 Like I said I have a lot of mixed feelings about him actually. 130 00:17:21,000 --> 00:17:31,000 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. 131 00:17:31,000 --> 00:17:35,000 And of course you know I definitely wouldn't live the way he lived you know. 132 00:17:35,000 --> 00:17:37,000 I just read Diary of a Drug Fiend. 133 00:17:37,000 --> 00:17:47,000 But you know he's definitely kind of misunderstood and he's very much responsible for a lot of that as well though. 134 00:17:47,000 --> 00:17:56,000 Because once his persona started to really click with the public he delved into it you know. 135 00:17:56,000 --> 00:18:08,000 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. 136 00:18:08,000 --> 00:18:12,000 I'll be the beast. I'll tattoo 666 on my forehead. Here you go. 137 00:18:12,000 --> 00:18:18,000 I'll shave it. I'll do this. I'll do that. I'll present. I will live that life. 138 00:18:18,000 --> 00:18:27,000 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. 139 00:18:27,000 --> 00:18:34,000 But you know he definitely did go to extremes. There's no question about that. 140 00:18:34,000 --> 00:18:37,000 But again just an interesting character. 141 00:18:37,000 --> 00:18:39,000 Oh totally 100 percent. 142 00:18:39,000 --> 00:18:42,000 Robin you have anything you want to ask or can I keep going? 143 00:18:42,000 --> 00:18:52,000 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. 144 00:18:52,000 --> 00:18:58,000 I was going to send Jude to let him see it. 145 00:18:58,000 --> 00:19:07,000 It's so remote and you actually when you read about the guy and you think to yourself well I understand why. 146 00:19:07,000 --> 00:19:13,000 That he had a house in such a remote place because you know it's like. 147 00:19:13,000 --> 00:19:14,000 Oh jeez. 148 00:19:14,000 --> 00:19:16,000 Oh I'm sorry. 149 00:19:16,000 --> 00:19:18,000 How are you? 150 00:19:18,000 --> 00:19:20,000 I'm sorry I think I sneezed. 151 00:19:20,000 --> 00:19:22,000 Yeah sorry. 152 00:19:22,000 --> 00:19:26,000 So AJ just ask away while I find this. 153 00:19:26,000 --> 00:19:31,000 Yeah no problem. One thing I wanted to get into as I already kind of did with the filmmaking type stuff. 154 00:19:31,000 --> 00:19:33,000 I asked you this in the back. 155 00:19:33,000 --> 00:19:41,000 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. 156 00:19:41,000 --> 00:19:52,000 Okay well yeah I would generally you know given any opportunity to shoot on a RED. 157 00:19:52,000 --> 00:20:03,000 You know that being said as I was mentioning to you behind the scenes there are plenty of DSLRs that are pretty good. 158 00:20:03,000 --> 00:20:09,000 A couple of weeks ago I worked on a film a short film that we shot with a DSLR. 159 00:20:09,000 --> 00:20:13,000 I can't recall exactly what model we used right this second. 160 00:20:13,000 --> 00:20:25,000 I'll let you know but more often than not I will usually have a brief discussion with whichever cinematographer I'm working with. 161 00:20:25,000 --> 00:20:34,000 And I usually want my cinematographers to be comfortable with the camera we're using more than I am concerned about myself. 162 00:20:34,000 --> 00:20:40,000 I tend to look for a certain level whether I'm a producer or a director on it. 163 00:20:40,000 --> 00:20:47,000 And I really I prefer directing than producing although I end up producing more than I direct. 164 00:20:47,000 --> 00:20:57,000 However whichever role I'm in it's really just a tool to me to get the best shots we can get. 165 00:20:57,000 --> 00:21:06,000 You know not necessarily something that I will get into the nitty gritty of as much. 166 00:21:06,000 --> 00:21:13,000 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. 167 00:21:13,000 --> 00:21:22,000 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. 168 00:21:22,000 --> 00:21:27,000 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. 169 00:21:27,000 --> 00:21:29,000 I just picture that in you my friend I don't know why. 170 00:21:29,000 --> 00:21:33,000 It depends on the set. It depends on the set. 171 00:21:33,000 --> 00:21:44,000 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. 172 00:21:44,000 --> 00:21:51,000 But for the most part you'll be like all right you know I know you know my my lighting crew can do this. 173 00:21:51,000 --> 00:21:53,000 My my camera crew can do that. 174 00:21:53,000 --> 00:21:59,000 My my grips are capable of moving all this stuff where it needs to be you know. 175 00:21:59,000 --> 00:22:08,000 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. 176 00:22:08,000 --> 00:22:24,000 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. 177 00:22:24,000 --> 00:22:31,000 Lunch is coming up and we got it we got to have the next crew reset the scene for this. 178 00:22:31,000 --> 00:22:38,000 So you know it really just depends on on keeping focus on whatever it is. 179 00:22:38,000 --> 00:22:39,000 No definitely. 180 00:22:39,000 --> 00:22:44,000 I've sent you both those those photographs of Alastair Crowley's house. 181 00:22:44,000 --> 00:22:48,000 All right yeah well I'll check them after I can't check it right at the moment but yeah. 182 00:22:48,000 --> 00:22:51,000 I've got my equipment off right now. 183 00:22:51,000 --> 00:22:54,000 But that's absolutely great. 184 00:22:54,000 --> 00:23:01,000 I am I want to ask you have you on with you being like you obviously edit your stuff correct. 185 00:23:01,000 --> 00:23:11,000 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. 186 00:23:11,000 --> 00:23:15,000 Yeah, just out of necessity, but. 187 00:23:15,000 --> 00:23:17,000 But when I edit. 188 00:23:17,000 --> 00:23:36,000 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. 189 00:23:36,000 --> 00:23:39,000 I think it. 190 00:23:39,000 --> 00:23:52,000 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. 191 00:23:52,000 --> 00:24:13,000 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. 192 00:24:13,000 --> 00:24:19,000 So there's a lot of that, that clearly happens. 193 00:24:19,000 --> 00:24:25,000 I guess yeah I definitely can't disassociate from that. 194 00:24:25,000 --> 00:24:34,000 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. 195 00:24:34,000 --> 00:24:42,000 But, you know, if I'm not finding that then that's when I'm more interested. 196 00:24:42,000 --> 00:24:46,000 You're muted AJ, which is sometimes better. 197 00:24:46,000 --> 00:25:03,000 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 198 00:25:03,000 --> 00:25:16,000 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? 199 00:25:16,000 --> 00:25:20,000 You're definitely damned if you do, damned if you don't to a certain extent. 200 00:25:20,000 --> 00:25:30,000 What I would recommend to someone would probably be something more to the effect of, 201 00:25:30,000 --> 00:25:38,000 I would always use multiple cameras, if I'm doing that kind of a shoot, I would still use multiple cameras. 202 00:25:38,000 --> 00:25:53,000 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. 203 00:25:53,000 --> 00:26:13,000 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. 204 00:26:13,000 --> 00:26:26,000 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. 205 00:26:26,000 --> 00:26:37,000 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. 206 00:26:37,000 --> 00:27:00,000 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, 207 00:27:00,000 --> 00:27:05,000 will not be able to pick it apart like that. 208 00:27:05,000 --> 00:27:10,000 Totally, completely understand. That's awesome. That's a great way of going about it. Go ahead, Robin. 209 00:27:10,000 --> 00:27:23,000 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. 210 00:27:23,000 --> 00:27:33,000 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. 211 00:27:33,000 --> 00:27:43,000 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. 212 00:27:43,000 --> 00:27:50,000 So I think it's that one. And hello to Mark Lee. We'll see him later on. 213 00:27:50,000 --> 00:27:51,000 Definitely. 214 00:27:51,000 --> 00:28:09,000 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. 215 00:28:09,000 --> 00:28:25,000 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. 216 00:28:25,000 --> 00:28:29,000 So that's why I was obviously leaving mine raw. 217 00:28:29,000 --> 00:28:30,000 OK. 218 00:28:30,000 --> 00:28:45,000 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. 219 00:28:45,000 --> 00:29:01,000 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. 220 00:29:01,000 --> 00:29:15,000 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. 221 00:29:15,000 --> 00:29:19,000 It's a brilliant film, but I can't watch the bloody thing. 222 00:29:19,000 --> 00:29:28,000 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. 223 00:29:28,000 --> 00:29:40,000 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. 224 00:29:40,000 --> 00:29:46,000 If there's somebody that you trust as a critic, that's different. 225 00:29:46,000 --> 00:29:58,000 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. 226 00:29:58,000 --> 00:30:06,000 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. 227 00:30:06,000 --> 00:30:15,000 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. 228 00:30:15,000 --> 00:30:35,000 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. 229 00:30:35,000 --> 00:30:40,000 But no, definitely not totally agree with that. 230 00:30:40,000 --> 00:30:46,000 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. 231 00:30:46,000 --> 00:30:52,000 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. 232 00:30:52,000 --> 00:30:58,000 Yeah. I had done a podcast as well a few months ago. 233 00:30:58,000 --> 00:31:24,000 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. 234 00:31:24,000 --> 00:31:35,000 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. 235 00:31:35,000 --> 00:31:51,000 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. 236 00:31:51,000 --> 00:32:01,000 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. 237 00:32:01,000 --> 00:32:08,000 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. 238 00:32:08,000 --> 00:32:11,000 Yeah, it is up to you in the end, isn't it? Really? Yeah. 239 00:32:11,000 --> 00:32:22,000 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. 240 00:32:22,000 --> 00:32:33,000 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. 241 00:32:33,000 --> 00:32:43,000 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. 242 00:32:43,000 --> 00:32:50,000 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. 243 00:32:50,000 --> 00:32:54,000 And, you know, there's a lot of bad edits out there for all kinds of videos. 244 00:32:54,000 --> 00:33:03,000 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. 245 00:33:03,000 --> 00:33:09,000 Sometimes you're too close, you know, to see what the issues may be. 246 00:33:09,000 --> 00:33:23,000 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 247 00:33:23,000 --> 00:33:29,000 a review show for the Amazon Prime's Rings of Power series. 248 00:33:29,000 --> 00:33:37,000 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. 249 00:33:37,000 --> 00:33:42,000 I think that watching Galadriel on the horse, I think she was getting something out of it she wasn't supposed to be. 250 00:33:42,000 --> 00:33:50,000 And I don't care what anyone says. I'm standing by that. 251 00:33:50,000 --> 00:33:53,000 AJ, you're muted again. I'm muted again. 252 00:33:53,000 --> 00:33:56,000 Yes, you are. 253 00:33:56,000 --> 00:34:01,000 It's Friday and he believes he wants him. You should be. He's just doing it. 254 00:34:01,000 --> 00:34:09,000 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. 255 00:34:09,000 --> 00:34:11,000 Yeah, you're very trying. 256 00:34:11,000 --> 00:34:18,000 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? 257 00:34:18,000 --> 00:34:28,000 Oh, my goodness. I mean, you know, I did some stage classes when I was young. 258 00:34:28,000 --> 00:34:35,000 I've done little bits off and on, cameos, things like that. 259 00:34:35,000 --> 00:34:52,000 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. 260 00:34:52,000 --> 00:34:57,000 And I don't consider myself a lead or anything like that. 261 00:34:57,000 --> 00:35:05,000 You know, I'm just happy to do little cameos and little bits and pieces and, you know, get out there. 262 00:35:05,000 --> 00:35:17,000 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. 263 00:35:17,000 --> 00:35:26,000 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. 264 00:35:26,000 --> 00:35:31,000 Oh, I thought you froze for a sec. Oh, that's funny, though, man. That's great. 265 00:35:31,000 --> 00:35:34,000 I tell you what, though, you have to you know, you have to get yourself out there like I think. 266 00:35:34,000 --> 00:35:42,000 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? 267 00:35:42,000 --> 00:35:47,000 Oh, one filmmaker I could work with. 268 00:35:47,000 --> 00:35:50,000 You had the Oscar question, AJ, didn't you? 269 00:35:50,000 --> 00:35:54,000 No, no, no, no, no, it's fine. I'm fine with that. 270 00:35:54,000 --> 00:36:01,000 I would probably right now want to work with Robert Eggers. 271 00:36:01,000 --> 00:36:03,000 Oh, nice. 272 00:36:03,000 --> 00:36:12,000 You know, I think even though I don't think his latest one, unless I'm wrong, has come out. 273 00:36:12,000 --> 00:36:26,000 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. 274 00:36:26,000 --> 00:36:36,000 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. 275 00:36:36,000 --> 00:36:44,000 Yeah, I just think he's he's absolutely amazing. And and I really want to see where his career goes right now. 276 00:36:44,000 --> 00:36:47,000 So, yeah, that'd be my choice. 277 00:36:47,000 --> 00:36:48,000 That is awesome. 278 00:36:48,000 --> 00:36:51,000 I've got to ask you, Jude. 279 00:36:51,000 --> 00:36:53,000 Hold on. Hold on. Robin, take over for a sec. 280 00:36:53,000 --> 00:36:57,000 I just have to I have to change things because my connection is getting all screwy. 281 00:36:57,000 --> 00:37:03,000 So just take over for a second for me. Sorry, Jude. 282 00:37:03,000 --> 00:37:07,000 He obviously needs to change his women's underwear he's wearing. 283 00:37:07,000 --> 00:37:12,000 But sometimes they get messy. I don't judge. 284 00:37:12,000 --> 00:37:15,000 I don't know what he's like. He's terrible for it. 285 00:37:15,000 --> 00:37:18,000 But I'm just speaking from personal experience. What can I tell you? 286 00:37:18,000 --> 00:37:21,000 Well, yeah, I don't want to see him then. 287 00:37:21,000 --> 00:37:27,000 But I just want to ask you what your opinions are on a certain person. 288 00:37:27,000 --> 00:37:34,000 There's a there's a certain person that I've wanted to get on this podcast and I think I think today 289 00:37:34,000 --> 00:37:37,000 I've actually found the right page for the person. 290 00:37:37,000 --> 00:37:42,000 So I've messaged the person to try and find out because I love the pic. 291 00:37:42,000 --> 00:37:46,000 I'm going to I'm going to give you a clue. I love to pick his brain. 292 00:37:46,000 --> 00:37:50,000 OK. But I'm waiting on a word back. 293 00:37:50,000 --> 00:37:55,000 And if I can get word back and I can get this guy on the podcast, I'd be over the moon. 294 00:37:55,000 --> 00:38:00,000 So Stephen King. Oh, I look. 295 00:38:00,000 --> 00:38:04,000 I mean, Stephen King is. Yeah. 296 00:38:04,000 --> 00:38:11,000 Just wait one further. If you're on the very, very off chance, Stephen King, that you're actually watching this podcast. 297 00:38:11,000 --> 00:38:15,000 Hit me up. I need to get you on here. Go ahead. 298 00:38:15,000 --> 00:38:20,000 No, I was going to say, I mean, look, you know, 299 00:38:20,000 --> 00:38:26,000 who would not have Stephen King on if they could? 300 00:38:26,000 --> 00:38:29,000 He is a living legend. 301 00:38:29,000 --> 00:38:38,000 He is definitely an author who is both influential and someone who I, you know, I've followed since I was a child. 302 00:38:38,000 --> 00:38:47,000 And I think his ability as a writer has increased with age exponentially. 303 00:38:47,000 --> 00:38:54,000 I think his later works are just so much more phenomenal than some of his earlier works, 304 00:38:54,000 --> 00:39:06,000 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. 305 00:39:06,000 --> 00:39:10,000 And and he's still kicking it out. So yeah. Yeah. 306 00:39:10,000 --> 00:39:20,000 I mean, you know, and by the way, his son, Joe Hill, also really terrific, you know, and finally coming into his own. 307 00:39:20,000 --> 00:39:23,000 You hear all about AJ? I did. 308 00:39:23,000 --> 00:39:27,000 You know what? You know, one of my favorite, my favorite directors are, man, not the switcher. 309 00:39:27,000 --> 00:39:31,000 We were just talking about Stephen King, but Scorsese. 310 00:39:31,000 --> 00:39:35,000 Well, Scorsese movies. I don't know what it is. 311 00:39:35,000 --> 00:39:40,000 I think it's him. And then who's the other one that I love to he did the Django. 312 00:39:40,000 --> 00:39:45,000 Is that Scorsese as well? Django? Yeah. 313 00:39:45,000 --> 00:39:47,000 No, no, that was Tarantino. 314 00:39:47,000 --> 00:39:50,000 There you go. Unless you're thinking of the original Django. 315 00:39:50,000 --> 00:39:52,000 I mean, Tarantino did Django Unchained. 316 00:39:52,000 --> 00:39:58,000 No, yeah, that's what I mean. I believe that if you had if you had a broadcast 317 00:39:58,000 --> 00:40:06,000 with Stephen King and Quentin Tarantino on the same podcast, I think I'd come off that mind blown. 318 00:40:06,000 --> 00:40:09,000 Oh, yeah. I mean, you know, don't get me wrong. 319 00:40:09,000 --> 00:40:12,000 I mean, that's in the nicest possible way. 320 00:40:12,000 --> 00:40:18,000 I really do. But there's, you know, they both put me to shame. 321 00:40:18,000 --> 00:40:21,000 You can say it. Go ahead. I'm fine. No, no, it's not that. 322 00:40:21,000 --> 00:40:26,000 I just I'm trying to think of how I can say this, but I offend anybody. 323 00:40:26,000 --> 00:40:29,000 But I remember I remember watching a movie one time. 324 00:40:29,000 --> 00:40:36,000 I remember when it was and they were talking about gadgets for for satellites that can destroy things. 325 00:40:36,000 --> 00:40:44,000 And I remember someone saying normal people don't make these because someone had said, oh, this guy's not normal. 326 00:40:44,000 --> 00:40:49,000 And someone's answer to that was normal people do not make things like this. 327 00:40:49,000 --> 00:40:52,000 And but that was in the nicest possible way. 328 00:40:52,000 --> 00:40:56,000 That's not calling someone like abnormal. You know what I mean? 329 00:40:56,000 --> 00:40:59,000 No. Well, you know what? It's like those two. 330 00:40:59,000 --> 00:41:05,000 Well, it's very fair to say that normal people do not make great art. 331 00:41:05,000 --> 00:41:09,000 Yeah. I will say that and I will stand by it. 332 00:41:09,000 --> 00:41:10,000 Yeah. You know what? 333 00:41:10,000 --> 00:41:15,000 The weird kids are the best kids because they're the most creative people. 334 00:41:15,000 --> 00:41:18,000 I mean, I was a weird kid in school, man, and I loved it. 335 00:41:18,000 --> 00:41:20,000 I loved it because I was always so creative. I'm a guitarist. 336 00:41:20,000 --> 00:41:22,000 What happened to you then? 337 00:41:22,000 --> 00:41:25,000 Well, I'm still weird. 338 00:41:25,000 --> 00:41:28,000 Yeah, but where's the weird? 339 00:41:28,000 --> 00:41:31,000 You just mentioned about him changing his underwear. 340 00:41:31,000 --> 00:41:34,000 Yeah. You know, you have to tell that on air. I can't believe it. 341 00:41:34,000 --> 00:41:36,000 Anyway, real quick. Wait, hold on real quick. 342 00:41:36,000 --> 00:41:41,000 Joshua and anyone else watching, if you would like to ask Jude a question, please put it in the comments. 343 00:41:41,000 --> 00:41:44,000 We'll put it up on the screen and we'll get it answered for you. 344 00:41:44,000 --> 00:41:45,000 But go ahead, Robin. 345 00:41:45,000 --> 00:41:47,000 AMA. 346 00:41:47,000 --> 00:41:50,000 AMA, yeah. 347 00:41:50,000 --> 00:41:53,000 Go ahead, AJ. I can't even look at you seriously now. 348 00:41:53,000 --> 00:41:55,000 I told you about Warren's Bones. 349 00:41:55,000 --> 00:41:58,000 Here's one promise that I will definitely make to you, Jude. 350 00:41:58,000 --> 00:42:05,000 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. 351 00:42:05,000 --> 00:42:06,000 I will be on, sir. 352 00:42:06,000 --> 00:42:08,000 We will always have you as part of it, my friend. 353 00:42:08,000 --> 00:42:11,000 I'm Tran with Stephen King, by the way. I'm Tran. 354 00:42:11,000 --> 00:42:16,000 This guy, man, lands guests that I couldn't even fathom. I don't know how he does it. 355 00:42:16,000 --> 00:42:19,000 When I email them, I swear to God, Jude, they don't even answer my emails. 356 00:42:19,000 --> 00:42:23,000 It must be his accent and him coming from the UK. They must love that shit. 357 00:42:23,000 --> 00:42:24,000 Cause they hate it. 358 00:42:24,000 --> 00:42:28,000 I tell you. It's so sad, man. 359 00:42:28,000 --> 00:42:34,000 But Jude, one thing I wanted to ask you was, what is your OK. 360 00:42:34,000 --> 00:42:41,000 So this is kind of hard to say, but what is your favorite shot? 361 00:42:41,000 --> 00:42:46,000 I just kind of hard to say that because there's so many shots that you do in a movie or in a film. 362 00:42:46,000 --> 00:42:53,000 But say for f-stop wise for close up or do you like the background being shown a lot? 363 00:42:53,000 --> 00:42:58,000 What's your favorite shot if you had one? 364 00:42:58,000 --> 00:43:06,000 So I think the question that you're trying to get to is like a sort of a signature shot. 365 00:43:06,000 --> 00:43:08,000 Thank you. I couldn't think of a name. 366 00:43:08,000 --> 00:43:19,000 Like for example, you know, Tarantino, one of his signature shots is that trunk shot, you know, with the camera looking at the trunk. 367 00:43:19,000 --> 00:43:22,000 I mean that or, you know, someone's feet. 368 00:43:22,000 --> 00:43:29,000 But so let me think what kind of a shot do I really like? 369 00:43:29,000 --> 00:43:36,000 You know what? Whenever I get a chance and they're hard to work in. 370 00:43:36,000 --> 00:43:40,000 But I'm a big fan of something called the Zolle shot. 371 00:43:40,000 --> 00:43:42,000 OK, I heard it. I don't know what it is. 372 00:43:42,000 --> 00:43:44,000 I'll explain what it is. 373 00:43:44,000 --> 00:43:54,000 One of the very famous uses for it is Spielberg uses it in Jaws when Brody is at the beach. 374 00:43:54,000 --> 00:43:59,000 And it's when the camera is physically pushing in. 375 00:43:59,000 --> 00:44:09,000 But the focus remains on the person in the foreground or it'll remain on the background, one or the other. 376 00:44:09,000 --> 00:44:25,000 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. 377 00:44:25,000 --> 00:44:43,000 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. 378 00:44:43,000 --> 00:44:45,000 I know exactly what you're talking about. 379 00:44:45,000 --> 00:44:55,000 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. 380 00:44:55,000 --> 00:45:00,000 And when it's done wrong, it's cheesy and campy and makes it look like a B film. 381 00:45:00,000 --> 00:45:10,000 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. 382 00:45:10,000 --> 00:45:13,000 That is awesome. That is awesome. 383 00:45:13,000 --> 00:45:16,000 What's your opinion, Jude, on on movies? 384 00:45:16,000 --> 00:45:19,000 Now, I'm going to I'm going to I'm going to give you an example here. 385 00:45:19,000 --> 00:45:22,000 This one is one of my favorite movies. 386 00:45:22,000 --> 00:45:26,000 But the first time I watched it, I didn't understand it one bit. 387 00:45:26,000 --> 00:45:29,000 But when I watched it the second time, it fell into place. 388 00:45:29,000 --> 00:45:32,000 I'm talking about Pulp Fiction. 389 00:45:32,000 --> 00:45:37,000 So starting a movie at the end, a movie I saw nine times in the theater. 390 00:45:37,000 --> 00:45:39,000 So go ahead. Yeah. 391 00:45:39,000 --> 00:45:48,000 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. 392 00:45:48,000 --> 00:45:51,000 But the second time you watch it, you're like, wow. 393 00:45:51,000 --> 00:45:56,000 I mean, that's that's really just a style of non sequential storytelling. 394 00:45:56,000 --> 00:46:03,000 And although I can't think offhand, I know it's been used in literature. 395 00:46:03,000 --> 00:46:05,000 It's been used in plays. 396 00:46:05,000 --> 00:46:11,000 It's been used throughout history to tell stories is just more prevalent in film now. 397 00:46:11,000 --> 00:46:15,000 But I do like non sequential storytelling. 398 00:46:15,000 --> 00:46:21,000 I haven't done a whole lot of it myself, but I can be quite fond of it. 399 00:46:21,000 --> 00:46:28,000 Yeah. It's very, it's very again, it's very clever if it's used properly, like you say. 400 00:46:28,000 --> 00:46:39,000 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. 401 00:46:39,000 --> 00:46:46,000 You know, I disagree. I think I could totally read that movie and make it work like that. 402 00:46:46,000 --> 00:46:47,000 You reckon? Yeah. 403 00:46:47,000 --> 00:46:48,000 Challenge accepted. 404 00:46:48,000 --> 00:46:51,000 I'm not saying I have time to do that. 405 00:46:51,000 --> 00:46:56,000 I think that it's it's possible to do that. 406 00:46:56,000 --> 00:47:01,000 I think I'm trying to think of something where that would not work. 407 00:47:01,000 --> 00:47:06,000 And I think it I think it works in most things. 408 00:47:06,000 --> 00:47:14,000 I think in comedy, that can be tough because comedy relies and not impossible still. 409 00:47:14,000 --> 00:47:34,000 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. 410 00:47:34,000 --> 00:47:45,000 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. 411 00:47:45,000 --> 00:47:53,000 But I think with most other genres, it could like I think you could probably reedit one of my favorite films of all time. 412 00:47:53,000 --> 00:47:58,000 Like Who's Afraid of Virginia Woolf, which is a melodrama. 413 00:47:58,000 --> 00:48:06,000 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. 414 00:48:06,000 --> 00:48:16,000 You know, you know, you know, Citizen Kane is close to non sequential. 415 00:48:16,000 --> 00:48:20,000 It is sequential, but but it's close the way it jumps around in time. 416 00:48:20,000 --> 00:48:30,000 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. 417 00:48:30,000 --> 00:48:40,000 So, you know, that would qualify as non sequential, you know, even if it's just one scene out of sequence, it is that. 418 00:48:40,000 --> 00:48:44,000 It's just a matter of how far you're pushing the envelope, really. 419 00:48:44,000 --> 00:48:50,000 What about movies that are action literally the whole way through? Are they not going to be harder? 420 00:48:50,000 --> 00:48:57,000 Like I'll give you an example. For instance, we take a movie that's all about the one bit of action speed. 421 00:48:57,000 --> 00:49:07,000 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. 422 00:49:07,000 --> 00:49:11,000 It's always about the guy on the bus, for instance. You know what I mean? 423 00:49:11,000 --> 00:49:26,000 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, 424 00:49:26,000 --> 00:49:31,000 which is a little different than actually jumping around back and forth. 425 00:49:31,000 --> 00:49:43,000 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. 426 00:49:43,000 --> 00:49:53,000 However, if you pulled certain pieces out of it and told it in a different order, I think it again potentially could work. 427 00:49:53,000 --> 00:50:00,000 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. 428 00:50:00,000 --> 00:50:05,000 But I think it has the potential to do it. Yeah. 429 00:50:05,000 --> 00:50:10,000 You know, yeah. No, that is absolutely great. I am. 430 00:50:10,000 --> 00:50:17,000 I'm sorry. I was going to say one of movie that I absolutely love. 431 00:50:17,000 --> 00:50:31,000 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. 432 00:50:31,000 --> 00:50:49,000 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. 433 00:50:49,000 --> 00:50:53,000 Oh, wow. And it's a tough watch. 434 00:50:53,000 --> 00:51:03,000 It's considered a tough watch in part because the the soundtrack is actually designed to kind of make you sick. 435 00:51:03,000 --> 00:51:15,000 OK, it uses guests. So so it makes it, you know, certain scenes particularly uncomfortable for the viewer. 436 00:51:15,000 --> 00:51:23,000 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. 437 00:51:23,000 --> 00:51:31,000 I recommend it as part of just film history. And even though it's not that old, it's landed a place. 438 00:51:31,000 --> 00:51:36,000 And when we're talking non sequential, once again, that's not necessarily non sequential. 439 00:51:36,000 --> 00:51:42,000 It's reverse sequence. But but definitely well, interesting film and worth checking out. 440 00:51:42,000 --> 00:51:47,000 Awesome. Well, thank you for that. I definitely check that out because I haven't actually seen it. 441 00:51:47,000 --> 00:51:53,000 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. 442 00:51:53,000 --> 00:52:02,000 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? 443 00:52:02,000 --> 00:52:13,000 Well, I don't know how soon I I did just shoot a small role for a for indie horror film. 444 00:52:13,000 --> 00:52:22,000 But once again, that's you know, that's just a little bit in terms of my own actual work. 445 00:52:22,000 --> 00:52:39,000 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. 446 00:52:39,000 --> 00:52:57,000 And what I'm working on right now is a series of scripts which are basically designed to be a cinematic universe, essentially. 447 00:52:57,000 --> 00:53:02,000 And the concept of them is they are all horror films. 448 00:53:02,000 --> 00:53:17,000 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. 449 00:53:17,000 --> 00:53:39,000 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. 450 00:53:39,000 --> 00:54:00,000 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. 451 00:54:00,000 --> 00:54:15,000 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. 452 00:54:15,000 --> 00:54:20,000 And it's it's like a full book. 453 00:54:20,000 --> 00:54:38,000 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. 454 00:54:38,000 --> 00:54:51,000 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. 455 00:54:51,000 --> 00:55:08,000 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. 456 00:55:08,000 --> 00:55:24,000 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. 457 00:55:24,000 --> 00:55:26,000 Cool. Excellent. 458 00:55:26,000 --> 00:55:40,000 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. 459 00:55:40,000 --> 00:55:57,000 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? 460 00:55:57,000 --> 00:56:01,000 Thanks. Thanks. Thanks. Did you like that one? 461 00:56:01,000 --> 00:56:17,000 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 462 00:56:17,000 --> 00:56:35,000 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. 463 00:56:35,000 --> 00:56:40,000 But just want to say thank you, Joshua for sticking around and anyone else. 464 00:56:40,000 --> 00:56:49,000 And, you know, you've watched another episode of talking with the source so just want to say thank you guys for sticking around. 465 00:56:49,000 --> 00:56:50,000 See you later. 466 00:56:50,000 --> 00:56:53,000 Hold on one second, if I can, you know, there we go. 467 00:56:53,000 --> 00:57:16,000 Goodbye.