@SXSW2021 · 1:30
SXSW Film Crew of Kid Candidate - World Premiere Feature Documentary
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And then once you're all on, I'm going to start with some specific questions. So welcome to the crew of Kid Candidate. Congratulations for your big premiere tomorrow. And I look forward to digging into this. Wellcast
Jasmine Stodel 🌈
@jstodel · 0:17
This is Jasmine Stotle. I'm the director and producer of the movie, and I'm very excited to be here again with you, Deborah. Everyone's heard enough from me. So I'm going to throw it over to one of the crew. And you can say who you are. Go
Homero Salinas
@Homer · 0:30
Hi, everyone. This is Homer Salinas, the cinematographer of Kid Candidate. I'm excited to be a part of this conversation and talk about the making of this film and following Hayden through this amazing journey. And I'm just so curious and so excited for everyone to watch it tomorrow. And I'm just really excited to hear what people think about it. Thank you, Deborah, for letting us have this platform to talk about this film. It's
Swell Team
@Swell · 0:15
Deborah Pardes
@DBPardes · 0:58
And then since it was the initial influence, how much did it thread into the entire project, or did it kind of taper off and become something else? I think your work was stunning, and I noticed so many different decisions throughout the film. But I'm just wondering, how much was that original YouTube video a part of your palette
Alex Fairbanks
@fbanks88 · 0:21
Hello, everyone. My name is Alex Fairbanks. I was the camera assistant on the Project Kid Candidate, and also was the camera app for Hayden's First File campaign video. And I am beyond elated that we finally get to share this work with the world
Deborah Pardes
@DBPardes · 0:07
Hey, Alex, welcome to this conversation. Let's hold off and see what Homer says about how you influenced his camera work
Homero Salinas
@Homer · 1:42
So in that respect, the Rawness that is in the video that he posted is that Rawness is definitely kept in mind when capturing whatever actions happen before us. I think when it comes to shooting the actual interviews of the documentary, the approach is to have a much cleaner, more honest depiction of whichever character was in front of the camera in correlation to their environment. To try to tell a little bit more about who they are just with the environment that they're in
Deborah Pardes
@DBPardes · 1:23
How did you actually plan those shots? And how did you position the setting character of Amarillo in comparison to the narrative that you had to accomplish within a certain amount of time
Homero Salinas
@Homer · 2:05
And Amarillo is a very diverse place. But the makeup of the elected officials are not very diverse at all. So that manifests itself into how a city prioritizes its projects and where the city invests their time and resources and capturing the differences and capturing the disparity between some neighborhoods and others. It was important for helping the audience understand the challenges that people are facing in the city. And in terms of planning these shots, they kind of happened organically
Deborah Pardes
@DBPardes · 1:06
Keep us posted about your feelings and what's going on with you as you're making your way out into the world because this has been sort of in the darkness of editing rooms and of a few press releases. But now it's being exposed. And I just would love to hear how you're doing
Bryan Yokomi
@Yoko · 0:32
Hi, everybody. Sorry I'm late to the party here, but this is one of the Editors. My name is Bryan Yo. Comey. And it's an honor to be here. Thank you, Deborah, for inviting me and would love to discuss the her journey of editing an unscripted documentary and watch Life unfold and be able to capture that part of a great crew honored to be here. And, yeah, today is the big premiere. Check it out
Shelley Levy
@Shelleytheartis · 0:16
Hi, everybody. I'm listening to this. And I'm so excited. I think I can watch it on Netflix. I need to see this town. It sounds fascinating. I wish you all loads of luck with it. And I hope it's a super successful SAS. Thank you
Alex Fairbanks
@fbanks88 · 2:20
And much to my chagrin, when you Google Amarillo, the first thing that pops up is the Big Texan restaurant, which is this kind of hollow caricature that's just tone deaf to what the actual reality of this city is and what life is around here. And there's just so much more to the city than just the first few Google images that you find. And growing up here, I started to notice this weird kind of segregated issue of these four different corners of the city
Deborah Pardes
@DBPardes · 1:57
I was talking to Kip Kroger over at Ted Lasso about tone, which is a really tough thing to strike as consistently as both of these projects have. But I want to talk about editing and tone. A lot of decisions were made in that room for sure when you edited this, and it was probably such a joy because you had people like Homer and Alex capturing such incredible moments and footage
Jasmine Stodel 🌈
@jstodel · 1:04
Deborah, that's a great question. Unfortunately for both Homer and Brian, and eventually Will, who finished the film with me. I shot a lot of footage because our shooting schedule was so tight, I didn't want to miss a thing. And I came back with so much footage that poor Bryan had a job ahead of him
Bryan Yokomi
@Yoko · 2:33
So having will come in at the back end and kind of see it with fresh eyes, not having to go through all those other scenes that didn't make the movie. He had a kind of clear picture. So him and I together kind of carved out in this statue of a movie, if you will. But when it comes to telling the story, you have to be focused
Deborah Pardes
@DBPardes · 2:08
I wanted to ask all of you to speak to how the public can support you right now because south by Southwest is over. Your film was seen, it was loved, but the hard work is now in front of you in terms of getting the right distribution and getting the right placement for it so that people can see it
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