Josh Stewart Bio, Wife, Interview, Height, Net Worth and Age

Josh Stewart Biography

Josh Stewart(Joshua Regnall Stewart)is an American actor, who is best known for his role as Holt McLaren in the FX TV series “Dirt and as Detective William LaMontagne, Jr., in Criminal Minds”. He was also cast as Brendan Finney in the final season of the NBC TV series Third Watch and as Barsad in Christopher Nolan’s “The Dark Knight Rises”.

Education

He first studied at West Virginia Wesleyan College, then transferred to West Virginia University, where he studied business. After graduating from WVU, he moved to New York to pursue acting.

Josh Stewart Age

He was born on 6th February 1977, in Diana, WV. He is 42 years old as of 2019.

Josh Stewart Parents

He is the son of Margie(a sixth-grade teacher at Webster Springs Elementary). and Charles Regnall Stewart(a former high school physical education teacher as well as a former pastor of the First Baptist Church in Webster Springs and Holly River Baptist Church, and is now pastor at the Redeeming Grace Baptist Church in Webster Springs).

Josh Stewart Wife | Josh Stewart Children

His wife is Deanna Brigidi, with whom they have two kids: Ryan Justine(Daughter) and River Jacob(Son).

Josh Stewart Height

He stands at a height of 5feet and 10 inches tall.

Josh Stewart Net Worth

The American native has an estimated net worth of$1.5 million as of 2019.

Josh Stewart Criminal Minds

He is performing as Detective William LaMontagne, Jr., SSA Jennifer “JJ” Jareau’s boyfriend and later, husband. in “Criminal Minds”.

Josh Stewart Punisher

In the following roundtable interview, Josh Stewart discusses what John Pilgrim(the season’s latest opponent), brings to the story, the character’s devotion to Christian Fundamentalism and violent past clashes with Frank Castle, and much more.

Question: So who is John Pilgrim?

Josh Stewart: John Pilgrim is a fairly quiet, still person. On the exterior a man who is a Christian fundamentalist who had sort of rage, a violent side of him. It’s buried deep. I think where this is all headed, that sort of side of him is going to resurface a bit.

Can you elaborate on the Christian fundamentalism? How does that define his character?

Josh Stewart: You can look at the stereotypes of what Christian fundamentalism is. Your imagination would probably run pretty wild, right? So I think there are some elements of that, maybe. There’s just…what’s true is true to him, and what is right is right to him, and what God says is what God says to him. I think if I get too much more into it then it’s going to start giving things away. But fundamentally, that’s it. It’s like the fundamentals of basketball. He pays attention to the fundamentals of it. He’s very by the book. With his past, I think that was the only way that he can…come out of that. Balance that side of him. It’s not something he can half-ass. It’s kind of like an addiction. You can’t kind of want to be sober and kind of not. So it’s all or nothing with him.

Can you say if this is delving more into the cult territory or just organized religion?

Josh Stewart: No, no, no. It’s nothing cult about it. It’s nothing like that. He’s just a guy who believes the word. He knows that he’s got to follow the word by the word or it would be too easy for him to go back to his old ways. If you’re gonna change you got to change. You can’t have one foot on the boat and one on the dock, you’ll end up in the river. It’s all or nothing.

How would you describe John’s relationship with Frank Castle?

Josh Stewart: His past ways being a violent man from way back, in the TV show called The Punisher, I think those two worlds are going to collide in some capacity. That’s about all I can tell you.

What you were saying about Pilgrim’s completist fundamentalism, how he has to go 100% for everything, it sounds like kind of a perfect compliment for Frank Castle, who has a mission to get things done and do it his way and not stop until he’s finished. Do you think there’s a common ground that they have?

Josh Stewart: I think in this world, we live in a grey. There’s no clear-cut this is one thing, this is another. Even though Pilgrim is a fundamentalist and he’s all that way, he comes from a completely different world. There’s that constant battle inside of everybody. It’s like the Thin Red Line, right? The greatest war is the war of the mind. It’s a constant fight. You can take that with so many characters in this world. What they’re doing today and the reasons they’re doing it completely contradict what they’re doing tomorrow. But it doesn’t mean there’s a wrong thing. It doesn’t mean that it’s bad or it’s good. It’s just what needs to be done in their mind, in their beliefs, in their way. To me, living in grey is a more interesting place to play. Especially for an actor in storytelling. If it’s just the good guy and you’re gonna’ put on an effing cape and do what you’re gonna’ do. Superman’s gotta’ do a certain thing, or whoever the hell’s gotta’ do a certain thing. But if it’s this grey area, then we can talk about it. We can discuss…

Given that John is a Christian Fundamentalist, does he have any particular kind of feelings about what vigilantes are doing within this world?

Josh Stewart, I don’t know that he has a specific feeling about “This is right, this is wrong” about what they’re doing. Again, he goes back to what the word says. He goes back to what he believes he’s being instructed by God to do. So whatever that is, that’s what he’s going to do.

Does he have any feelings about empowered individuals in particular given his relationship to his beliefs?

Josh Stewart: He believes there is only one empowered individual.

Are you training for a lot of fight scenes?

Josh Stewart: I [train] regularly. I used to box, I was a fighter in college.

Is that one of the reasons you wanted to be involved in this show?

Josh Stewart: I’ve known Jonny [Bernthal] for a long time. We’ve been dying to work together. It’s always lent itself to these types of shows and characters. I play a lot of these types of things. The more physical, or what have you. It’s just what your nature is I guess is where you end up. Some people back there behind a curtain somewhere decide where they’re gonna’ stick you. And that’s where they stick you.

When you mention Christian fundamentalist, are you a reborn Christian? Or always?

Josh Stewart: When we meet him, he’s already a reformed person. That wasn’t always the case. That’s the case in the world. Before you’re of God you’re of something else. You’re of the world. He was very much of the world. When we meet him he’s already become of God. He’s a God-fearing person when he comes into this world.

So does the character have rules because of his Christianity, like he can and can’t do certain things?

Josh Stewart: From a moral aspect, he does. But again, if you look at Christian fundamentalists, there were people sent to fight for God, Biblically speaking. I don’t think he sees himself too far from that. He’s a vessel for God, whatever he needs that to be. Whatever’s needed, that’s what he’s gonna’ do.

Was it easy [or difficult] to play something like that, a contradiction of someone doing what he truly believes is righteous, but violently?

Josh Stewart: Is it hard as an actor to do that or wrap my head around it? No, not really. No. Because if that’s what he believes he’s being instructed to do, then I’m doing it full-bore, 100%. Right in the middle of the street. If that’s what he’s being instructed, that’s what’s going to happen.

Is there going to be an episode that fully fleshes out your past?

Josh Stewart: You’re going to see. You’ll see where he comes from. You’re not going to be left guessing, you know what I mean? It’s not like, “Oh, where and how did this happen?” You’ll get the full spectrum of it.

Is he someone who is willing to be a warrior for God and that’s his only role, or do you think he’d ever want to seek out his own flock?

Josh Stewart: I don’t know that there’s any way he can answer that. I don’t think there’s a way that anyone can answer that. I come from that world, my father is a Baptist minister from West Virginia. So that was always something where what’s fitting for today might not be fitting for tomorrow. What you’re being asked to do today might not be what you’re asked to do tomorrow. I don’t know, at least the way I’ve approached this person, playing Pilgrim, there’s no sort of “This is what I’m supposed to do, 100%, and that’s the way it’s going to be.” Tomorrow, you could be asked to lead the choir.

So he’s someone that’s always waiting for a message?

Josh Stewart: I think, again, coming from that world, in prayer that’s always what you’re looking for. Whether that’s helping someone get some food that’s on the street or something greater that’s going to take years to find or answer, you just have to be open to it.

You mention your father was a minister, and obviously, Steve and the writers put a lot of what’s in these characters on the page, but did you bring that experience to this when you were wrapping your head around who Pilgrim is?

Josh Stewart: From an acting standpoint, or a storytelling standpoint, it’s hard not to bring your own way to it. The only thing that separates me from every other actor in town is me. That’s my perspective, that’s my instinct, so to speak. However, that is formed, however, I’m formed, in any role that’d be a part of it. So sure, my experience definitely informed that, and the conversations with Steve, the guy just came out of that. It wasn’t one of those things where I had to go searching or, in a lot of ways. Those ideals and those ways in which you’re pursuing a Godly passion, so to speak.

You mentioned operating in this grey area, so what do you think about the character makes the viewer sympathise with him?

Josh Stewart: I’ve played a lot of dudes that maybe aren’t the most wholesome. But before someone is whatever they are, they are a person. That comes from somewhere. Anytime you can explore where that comes from, we can all relate to, “Oh shit, I’m not getting paid this month and I got two kids.” Now, what are you going to do? Or this happens or that happens. Anybody that comes from anywhere, we all can be in a desperate place at the drop of a hat. I think, as an actor, once you start exploring that world—and there are ways to bring that out, whether that’s scripted or not, in the way that you look at a situation around you, the way that you handle a situation. You walk into a set and you see something and you pick it up, you can let people into the side of a character that’s not scripted like “this guy is going to walk in, he’s going to do this, he’s going to do that.” So playing in that world is playing in grey for me. Anytime, playing a good guy or a bad guy, you guys don’t care about the story if you don’t care about the character. I don’t give a shit what anybody tells you. You can make things explode and blow everything up if you don’t care about the people…I don’t give a shit about the Transformers, man. It’s just a fact. You don’t care about the people, you don’t care about anything. So that’s the way I go about it.

You mentioned that you’ve known Jon for a while, how has that level of comfort peppered your characters’ interactions on screen?

Josh Stewart: Anytime you have someone’s rhythm as a person, it’s so easy to find that rhythm as a performer, as an actor, over the years…look, that’s why you see so many people work together over and over and over again. People who are friends go and work together. They know their rhythms. I can be on top of them as they’re stopping their scripted dialogue just because I know the way they’re tailing off, the way of their inflections, all that sort of thing. Beyond that, acting is looking at someone’s eyeballs and listening to them. When you’ve looked in someone’s eyeballs and talked about real-life stuff, on any level, when you’re looking in their eyeballs and you’re talking about something scripted it’s not hard to transfer that real-life over.

Would you consider yourself a method actor like Jon?

Josh Stewart: Not really. There are times that you got to get in and stay in it. I’m not one of those dudes who walks home pissing off down the street. To me, that’s too much, man. It’s too much. My life is my life and for my own personal reasons, I don’t want to bastardize that by something that’s going up on a TV screen. Of course, to me, that’s what it is, for me personally. As an actor, it’s like whatever you have to do to get there to do it? By all means. Do what you need to do.

Aside from the religion defining the core of the character, is there a certain conversation that area hopes to present?

Josh Stewart: I think, from an acting standpoint…I was just having this conversation with a friend of mine who is just starting as an actor. He was getting so bent out of shape about what people had to say about the character in the story…the only thing I can control is between action and cut. That goes off to some editor, and they’re going to start sculpting it into something different completely. Maybe it’s the same, maybe it’s not. Then you’re going to see it, and you’re going to take something completely different from it. It may not be anything remotely close to what I was feeling thematically or whatever it was that was going on with me when I was doing it. It’s out of my control at that point. Once I’ve done it, I’ve turned it loose, then it’s up to everyone else to look at it and decide what they think it is. And you can’t be mad at it, or happy for it, it’s just “Well, there it is.”

Well, what did you take away from it?

Josh Stewart: I can’t tell you that. I don’t mean that in…it’s like, what’s happening inside when it’s coming together is what it is. The only thing I can try and do is service the author’s words inside the vision of the director. And I’ve got to turn it loose after that. Because if I then try and explain to you what I hope people are going to take from it or what they want, then I’m setting myself up to be disappointed if that’s not the case. I know people are gonna’ love it, I know people are gonna’ hate it, I know people are going to feel everything in control. It’s out of my control. The sooner you can let go of that and stop banging myself up about that, the easier it is. And if you do bang yourself up about that then go be a musician and write songs. Do something else. No matter what character…I’ve played killers before. I went, “This is the best dude ever he’s just misunderstood.” You’ve got to let that stuff go. It doesn’t matter what it is. I don’t mean that in a bad, flippant way. It’s like, what an audience is going to take from it, they’re going to take from it, and there’s nothing I can do about it. I keep that for me and it’s the only thing that’s left for me.

How terrifying is Jon in that costume and that vest?

Josh Stewart: Listen, Jon is like his pups, man. He’s just this sweetheart dude to me. Yeah, if I didn’t know Jonny he’s not a guy you’d want to tangle with in an alleyway, I can tell you that much. If I saw him running at me I’d probably be looking around for something to climb on. Yeah, completely. Jon is a jacked, intense dude.

How much creative freedom are you given to improvise?

Josh Stewart We stick to it, man. The way I was trained as an actor is like I’m here to serve the author’s work within the vision of the director. I was trained with a theater background if you’re doing Shakespeare you can’t change Shakespeare’s words. You can’t change Tennessee Williams’ words or Eugene O’Neil’s words. Whoever the hell. We’re given the opportunity and the ability to have conversations with Steve and whoever the writer is once we’re given the script. We read something and we’re not feeling it, we’re trying to understand it, we can find that common ground for sure. Once it’s on the page, that’s pretty much what it is. It’s something completely different, too, when you have this whole set of source material from the comics. It’s almost the same as if you’re doing a completely fact-driven peace. The world is already out there, you don’t really have the freedom to change it however you want. Kennedy got shot, man. He’s not alive. So, from that aspect, they’ve got this material that they want to preserve. So that’s what we try and do.

Did this role inspire you to check out the comics? How familiar were you with the source material?

Josh Stewart: I grew up in West Virginia. You ever saw A River Runs Through it? That’s the way I grew up. Fly-fishing, running the mountainside. I had heard of comics. I didn’t see one until I was in New York City in 2000. I’m not even shitting you. Any comic whatsoever. It was just never a world that I had any sort of knowledge about. My movie world was John Wayne and Clint Eastwood. That was it. Or A Streetcar Named Desire. Anything on Turner Classic Movies on a Sunday afternoon. So no, I had no idea about anything. I still don’t, still have no idea.

Josh Stewart Dark Knight Rises

Knight Rises Actor he Talks Horror Film The Collection

Josh Stewart Walking Dead

He appeared in the 2012 “The Walking Dead”: Cold Storage, as the main protagonist which are based on the popular television show The “Walking Dead”. In 2013, he finished filming his directorial presentation, The Hunted, in which he also stars.

Josh Stewart Barsad

Quotes

Batman: Maybee your knife… was too slow.

Barsad : [entering] The truck is under attack.

Talia al Ghul: Gordon. You gave him a way to block my signal. No matter.

[she viciously pulls the knife out of Batman, making him groan in pain]

Talia al Ghul: He’s bought Gotham eleven minutes.

Army Captain at Bridge: Now, why the hell would I try to help you keep your hostages?

Barsad: If one person crosses this bridge… Gotham gets blown to hell.

[Uzbekistani Army soldiers carrying Dr. Pavel greet a CIA agent and several Special Ops soldiers]

CIA Agent: Dr. Pavel, I’m CIA.

[shakes hands with Dr. Pavel]

Barsad: He wasn’t alone.

[motions to three hooded prisoners he has brought alone]

CIA Agent: Uh… you don’t get to bring friends.

Dr. Pavel: They are not my friends.

Barsad: Don’t worry, no charge for them.

CIA Agent: And why would I want them?

Barsad: They were trying to grab your prize. They work for the mercenary. The masked man…

CIA Agent: Bane?

Josh Stewart John Pilgrim

His’s casting in The Punisher season 2 was first announced, Netflix and Marvel declared that the Criminal Minds alum would be playing John Pilgrim, a man who (left behind a life of violence) but is ultimately forced “to use his old skills.” This sets him on a path that leads to Frank Castle “Jon Bernthal”, but when it comes to the nature of their confrontation, the press release had little to say.

Josh Stewart Interview

JOSH STEWART INTERVIEW
by LARRY DAVIS
NOVEMBER 14, 2018

Hey Josh, what have you been up to today?

Pretty much every day I get to the office and I’m gonna work on editing some projects and then plan on getting out early to go film around 4. Then the emails start coming in and the problems start happening and I never open Final Cut Pro, I never go out skating, and I’m stuck in the office until like 8:30 or 9. So today was another one of those.

So when’s the last time you had a steady job that didn’t involve skateboarding?

It’s weird, almost every job I’ve ever had has been skate related. I was the first skater to work at S’nice. that cafe in the West Village that literally every skater has worked at. Aaron Herrington, Puleo, Sabback, Tierney, Shawn Powers…any skater that was part of the scene 8 years ago worked there at some point, but I was the first. I mean I’ve done contract work that wasn’t skateboarding, just like anyone that can hold a video camera in New York.

Would you say it’s unlucky or lucky to have your entire career based in skateboarding?

Um, I wouldn’t use the word luck. I guess it depends on what your goal is. If it’s to make a lot of money, definitely not. But a lot of jobs that normal people do aren’t really worth a lot of money to me anyway. I think what’s cool about working non-skate related jobs is you get to meet people, and broaden your horizons a bit. Be forced to do something you weren’t comfortable with or meet people you would never talk to otherwise.

Brett Weinstein – melon
Would you ever move back to Florida?

Ha, I used to say never just cause I can’t stand the climate of Florida, and when I would go back and visit my family I would just hate it cause it was so slow and boring. But now, I go and for about a week I just love it. You do everything with a car, laundry is in your house, things that you don’t even think about when you live there but here that’s such a luxury having laundry where you live. It’s incredible.

Do you have a favorite up and coming skater in New York?

You know what, there’s this one kid that I really like the combination of his skating and his personality. Kyota Umeki. He’s just this 15-year-old little kid who lives in the city and it’s great watching his Instagram cause he is just having more fun than anybody. And he skates really well too! Look him up.

How about your favorite skater who doesn’t skate enough?

Ha, I guess Brian Clark or Keith Denley? Both notoriously good skaters who seemingly don’t skate enough. I mean, they just don’t care about filming, they’re probably skating a ton they just don’t care about getting clips. Which is awesome, but I always like to see those guys.

So how often do you get to skate nowadays?

It’s a pretty rare man. My back’s been pretty fucked, so basically it’s like once a week at best. But I try to preserve it or keep it a little fucked up as possible so I can go out and film with people. If I skate my back is done for a week, and it’s basically the same with filming. So if I skate it feels selfish cause then I’m not gonna be able to film anybody.

Nate Jones – bs tail
Damn, quite the dilemma. So when did you pick up a camera to start shooting photos?

I mean, I and my friends started filming probably when I was like 13, but I didn’t start shooting photos until I was 17 or 18. What I remember it being was living in a city like Tampa and there was just no outlet for the talent and the friends around. There was just so many sick skaters, and a lot of pros there, which was weird too, but there was just no way for these guys to get seen. So after filming, you start seeing clips getting used in 411’s or Transworld videos, or even doing my own, but magazines were really significant back then. I mean getting a photo printed in a magazine felt awesome, it was such an accomplishment for me and for the guys in our scene. Having a Tampa skater get a photo in 1998 in a magazine was a pretty big deal.

So a quarter page photo in a Transworld was more satisfying than having a single clip in a 411?

Yeah, I think so. Back then it was seen as more of an elite media. Things have changed a lot, but back then it was a finite thing, it felt like if you made it into a magazine you were more accepted by the industry.

And what do you think about the current climate of magazines today? What are they here for?

I know…it’s interesting. I guess you could relate it to what’s going on with board brands, where skaters almost feel like indie print magazines have more value or more relatability than the mainstream print magazines. It’s weird because I want to see Transworld make it, I like the guys behind it, and maybe it’s because I grew up in the ’90s, but I still feel a sense of accomplishment if one of my photos gets used. Where in the indie mags I think I appreciate them more and what they’re offering…

John Baragwanath – sw heel
So what you’re saying is that the “larger” magazines have a stigma where it’s just not as special or thoughtful as something independent?

Totally, it obviously feels more mass produced in the same way where a big board brand does. There’s a whole generation of skaters that don’t care about a certain mainstream brand, no matter who rides for it or how long it’s been around because there’s too big of a gap between them and the companies where things are mass produced by children or something. Then there are the indie mags which feel like a throwback to the DIY side of skateboarding, where it’s more personal and you can feel a closer connection to the people making it for purer reasons instead of just a business. I don’t want to criticize these big magazines or board brands. You want to see them stay so there is a balance because if you lose these more established entities than the smaller, indie stuff doesn’t feel as special. It’s like the rise of Street League and the Olympics. I don’t like that stuff but it existing makes our culture more valid to us, it gives us a reason to exist.

Very well said. Would you go to the Olympics in 2020? Like if someone offered you a ticket.Â

I don’t know, it’d be such a weird thing cause I’m not trying to be some activist protesting skateboarding being in the Olympics, but it just doesn’t jive with my view of skateboarding. Growing up in an era where you might as well have been a leper in my high school being a skater. So to see skateboarding accepted that way…I always compare it to hip-hop, where something becomes accepted by the mainstream and it almost becomes the opposite of what it stood for. So hip-hop in the ’90s and the stuff that resonated with me was positive and provided guidance, and now it’s flipped on its head and it’s huge! It’s more powerful than basically any other culture in a capitalist view.

I mean, I just saw on national TV a skateboarder pissing in his mouth while shitting. So apparently that’s where we’re at…

Exactly! I mean I could go off all day about this stuff, but in modern skating, there is a huge part of it that is fully jock culture. It has fully adopted the jock culture that the part of skating I identified with was the antithesis of. Cause to me I thought skaters didn’t drink, they didn’t party, they skated and they cast that whole side of things away, They didn’t go to the gym and get buff, and all these other aspects that I guess I consider jock culture. But it made me realize that everyone has their own interpretation on their subculture in skateboarding, but I still think overall that jock shit…it’s just so embarrassing and so no what skateboarding should be standing for, or what attracted me to skateboarding.

But I mean there’s nothing we can really do except like you said, cultivate the other culture that feel is important and forget the rest.

The way I look at it with TOA is I worry that a lot of people see it as some established thing and think it’s bigger than it is. I try and cultivate most of the stuff that I think is important, but does it have the same value? Like if something seems successful, people of my mentality tend to veer away from it. If we were a huge success and making a lot of money I wouldn’t be afraid to say it, but we’re not. I fear that people viewing us as something bigger than we really are could hurt our cause.

How long have you been doing Theories of Atlantis?

I built the blog in conjunction with Static 3, so the site itself has been around for 11 years or more. It always had a little website that basically just had my videos and like Joe Perrin’s videos or some Japanese videos that I thought were cool. The distribution thing started basically when Magenta started. I already had random products on the site, and since I was friends with those dudes, I started carrying a few things and then it just blossomed from there. Shops started asking me how to order the boards and it just slowly grew from there.

Let’s talk some Static shit. What’s the deal with spelling Wenning’s name wrong in Static 1?

It’s funny cause you to look back and think “how could you spell that wrong!” but at that point, nobody knew who Brian was! I think that footage was from that New Jersey filmer Jim Hodgson. But during the first two Static videos, there were dudes that would just call me. I don’t even know how they got my number but they would just hit me up and want to send me footy. So I would get access to all this footage, like Poppalardo and Wenning clips when people didn’t know them yet. And there’s a lot of weird names in the northeast, so I was just making up the spelling and hoping I got it right. Steve Durante was another one, I think Andrew Petillo sent me his footage and I was thinking “is this guy wack or something?” Cause he was so good and no one had ever seen him before. Like I was thinking should I not use this footage? Cause if he’s this good and no one’s putting him on he must have done something wrong.

People would just call you and then mail you a tape?

Yeah, I must have met Strobeck in Philly or something, cause he filmed all kinds of shit for the first video, like the Love Park section he filmed almost the entire thing. Then Andrew Petillo would call me all the time, just asking about how the weather is and shit! It was so random just cause I didn’t know him at all, but then I finally mer him and he was awesome. Everyone knows each other through the internet or Instagram, but back then it was just an underground network of people doing the same thing and there weren’t that many outlets for stuff. Thankfully, Andrew, I guess thought his footage would be treated well in a Static video or something I could name so many filmers that helped just up down the east coast.

How often do you film on your phone? Do you make phone edits?

Quite a bit now. Let’s say we go on a trip to Chicago or something. While everyone is warming up I’ll film clips on my phone and then save them, then break out the VX and film the real tricks, then I’ll shoot a photo, then go home and make a little edit for Instagram. But now I feel like everyone puts that initial phone footage right onto their story. And really I just can’t believe the shit people post on Instagram.

Jahmal Williams – 180 nosegrind
Alright, so trend forecast 2019?

You’re talking to the wrong person. But I guess judging by the way pants have been going, I think we’re at the very end of the ’90s fashion-wise right now, so next is going to be the beginning of the iPath era, where everyone is just wearing brown corduroys, a white tee, and some Kenny Reed hat.

Any advice to filmers nowadays?

I’m assuming you mean video makers, not just filmers. I had the same complaint about two videos that just recently came out. Everything was filmed long lens and there were no lines! I’ve done a couple of these classes before where I’ve talked to younger kids, and the thing I said to them is “do something different.” Like the Bronze videos, or the early Palace stuff was so unique. I feel like now, more than ever, in a sea of the same thing, if you do anything different it’ll help. If you’re a young filmer and trying to get paid the big bucks move to California and try to work for Primitive or some shit. But if you want to do something different and get noticed, make sure it’s unique to your scene and your culture, and crete some kind of different experience. Because that’s what’s going to make someone remember it.

Josh Stewart Movies