WEBVTT 1 00:00:05.120 --> 00:00:08.000 Oh g is, folks, it sho'll die. 2 00:00:08.640 --> 00:00:10.560 People say good money to see this movie. 3 00:00:10.919 --> 00:00:13.519 When they go out to a theater, they want clothed sodas, 4 00:00:13.880 --> 00:00:17.320 hot popcorn, and no monsters in the protection booths. 5 00:00:17.359 --> 00:00:19.160 Everyone pretend podcasting isn't boring. 6 00:00:20.239 --> 00:00:42.119 Got it off. 7 00:00:42.159 --> 00:00:44.200 My dad always kind of filled me in on certain 8 00:00:44.240 --> 00:00:45.960 things that happened to us in our past, but. 9 00:00:48.240 --> 00:00:50.000 I never realized how bad it was. 10 00:00:54.640 --> 00:00:56.920 It's just kind of a realization moment that not everybody 11 00:00:57.000 --> 00:01:01.079 is taught that because it's not their history, and it 12 00:01:01.200 --> 00:01:08.840 is their history. Native Americans were sent to boarding schools 13 00:01:09.400 --> 00:01:18.079 to die. If you didn't die physically, you would come 14 00:01:18.120 --> 00:01:29.319 out of the school broken. My great grandfather, Frank Quinn, 15 00:01:30.480 --> 00:01:33.200 he ran away from this boarding school three times. 16 00:01:34.599 --> 00:01:35.640 He was eight years old. 17 00:01:35.879 --> 00:01:37.920 And it's like, how. 18 00:01:42.719 --> 00:01:46.079 How could an eight year old cross over mountains fifty 19 00:01:46.120 --> 00:01:50.760 miles a couple of days. It's that it's just unthinkable. 20 00:02:00.480 --> 00:02:04.280 Some of us start this race in life way farther 21 00:02:04.359 --> 00:02:08.919 ahead than other people when they're born, but at the 22 00:02:09.000 --> 00:02:11.120 end of the day, it's up to us to really 23 00:02:11.439 --> 00:02:12.840 make that kind of comeback. 24 00:02:17.439 --> 00:02:19.000 Who was a fun little kid. 25 00:02:19.439 --> 00:02:22.919 He liked to run, and there was a kid's half 26 00:02:23.000 --> 00:02:27.680 mile he sprinted it. It was just fast. 27 00:02:29.639 --> 00:02:29.759 Now. 28 00:02:29.800 --> 00:02:31.919 They always told me you are going to take you places. 29 00:02:33.080 --> 00:02:34.960 I just wish it could have happened sooner because I 30 00:02:35.000 --> 00:02:42.680 knew I had the skill, but we just didn't have resources. 31 00:02:47.319 --> 00:02:51.680 College recruiters don't think about looking on the reds for 32 00:02:51.719 --> 00:02:52.599 their next runner. 33 00:02:54.000 --> 00:02:57.199 It's not just trying to get to college. It's just 34 00:02:57.240 --> 00:03:02.439 not that simple. It's a lot deeper than there. I'm 35 00:03:02.479 --> 00:03:07.520 trying to run away to better things. It's easy to 36 00:03:07.599 --> 00:03:10.280 internalize trauma and let it define who you are. 37 00:03:11.120 --> 00:03:13.199 Don't let yourself feel sorry for yourself. 38 00:03:13.319 --> 00:03:21.520 Ever, the truth never never has start. The truth can 39 00:03:21.520 --> 00:03:24.639 empower you. 40 00:03:24.680 --> 00:03:24.759 Know. 41 00:03:24.840 --> 00:03:27.360 This is not a protest, it's a remembrance. 42 00:03:27.680 --> 00:03:30.080 It's something that we're acknowledging in the past. 43 00:03:29.840 --> 00:03:34.360 That it is finally coming to light. I haven't accomplished 44 00:03:34.360 --> 00:03:40.960 what I want to accomplish, but I'm getting theretovin Stephens. 45 00:03:44.639 --> 00:03:46.240 I'm better than well. 46 00:03:49.800 --> 00:03:53.639 Everything I got. 47 00:03:54.759 --> 00:03:56.120 And remember why I'm. 48 00:03:55.960 --> 00:04:01.400 Here because of all the different Native Americans who gave 49 00:04:01.439 --> 00:04:04.719 their lives down the line just to be whittled down 50 00:04:05.080 --> 00:04:06.520 through different bloodlines to me. 51 00:04:28.920 --> 00:04:31.160 Hey, folks, welcome to a special episode of the Projection 52 00:04:31.199 --> 00:04:33.720 Booth I'm your host, Mike White. On this episode, I 53 00:04:33.759 --> 00:04:37.519 am talking with Paige Bethman and Stephanie Corey. Paige is 54 00:04:37.560 --> 00:04:41.399 the director and Stephanie is the editor of the twenty 55 00:04:41.480 --> 00:04:45.879 twenty five film called Remaining Native. Thank you so much 56 00:04:45.879 --> 00:04:49.040 for listening, and I hope you enjoyed the interview. Paige, 57 00:04:49.040 --> 00:04:50.439 I think I'll start with you. Can you tell me 58 00:04:50.480 --> 00:04:53.240 a little bit about how you got involved in filmmaking. 59 00:04:54.079 --> 00:04:58.759 My grandmother was a christianal Mohawks storyteller, and growing up 60 00:04:58.839 --> 00:05:01.879 I would hear her tell a lot of stories about 61 00:05:01.920 --> 00:05:03.279 where maple Syrup. 62 00:05:03.079 --> 00:05:05.560 Was made and who Skywoman was, and. 63 00:05:05.519 --> 00:05:08.480 She just had such a gift of being able to 64 00:05:08.519 --> 00:05:11.720 share stories from the heart and with so much detail 65 00:05:11.800 --> 00:05:14.720 and excitement, and so I was really drawn to storytelling, 66 00:05:15.360 --> 00:05:19.680 and throughout being a teenager, I would just always gravitate 67 00:05:19.759 --> 00:05:22.759 towards videos, whether that was to get out of making 68 00:05:22.800 --> 00:05:27.920 a essay at school and offer a video project instead, 69 00:05:28.079 --> 00:05:31.519 or just putting my stuff animals around my house and pretending. 70 00:05:31.120 --> 00:05:32.040 To be Stee Merwin. 71 00:05:32.519 --> 00:05:35.240 I just always loved storytelling, and I ended up going 72 00:05:35.279 --> 00:05:38.680 to college where I met Steph at Ithaca College and 73 00:05:39.480 --> 00:05:42.600 studied TV and film there and moved to New York 74 00:05:42.639 --> 00:05:45.480 City and pursued The Big Dream and the Big Apple. 75 00:05:46.439 --> 00:05:48.800 But yeah, I think I really got into more nonfiction 76 00:05:48.920 --> 00:05:51.759 storytelling through Vox. I worked on the Current Affairs show. 77 00:05:52.240 --> 00:05:54.519 I was doing a lot of work in short form 78 00:05:54.560 --> 00:05:58.759 and long form documentary, and then when this project came 79 00:05:58.800 --> 00:06:01.759 about is when I first started doing independent filmmaking. 80 00:06:02.720 --> 00:06:04.240 How often have you guys worked together. 81 00:06:05.000 --> 00:06:06.519 We've had a kind of quite a bit. 82 00:06:06.720 --> 00:06:09.759 I think a couple like two or three times throughout 83 00:06:09.879 --> 00:06:10.600 after college. 84 00:06:10.639 --> 00:06:12.399 I think Seff. 85 00:06:12.160 --> 00:06:15.160 Worked for Vox for a while on two different shows 86 00:06:15.199 --> 00:06:18.360 and then some other side projects. So we worked together 87 00:06:18.560 --> 00:06:20.879 with each other over the years. 88 00:06:22.399 --> 00:06:25.839 And Stephanie, what brought you to editing? What attracted you 89 00:06:25.879 --> 00:06:26.279 about that? 90 00:06:27.319 --> 00:06:32.199 I always liked. I think I fell into like film accidentally. 91 00:06:32.399 --> 00:06:34.480 Like in high. 92 00:06:34.319 --> 00:06:38.439 School, I had an advanced art class that I signed 93 00:06:38.519 --> 00:06:40.279 up for and it got canceled because there was only 94 00:06:40.279 --> 00:06:43.399 two students signed up and me and some other person, 95 00:06:44.079 --> 00:06:47.480 and the only thing that filled my schedule was video 96 00:06:47.519 --> 00:06:48.240 production that. 97 00:06:48.160 --> 00:06:49.600 Wouldn't mess anything else up. 98 00:06:49.680 --> 00:06:52.600 So I got placed in there and then I just 99 00:06:52.759 --> 00:06:55.240 started falling in love with editing in that process, and 100 00:06:55.240 --> 00:06:58.560 it would edit like highlight reels for sports teams. And 101 00:06:58.040 --> 00:07:00.399 then and then that's the first time it really occurags 102 00:07:00.439 --> 00:07:05.040 me that people do this, and I went to look 103 00:07:05.079 --> 00:07:08.120 for editing programs specifically, but I couldn't find any. 104 00:07:08.319 --> 00:07:11.040 In college. There was like no degree for editing. 105 00:07:11.560 --> 00:07:14.519 But at Ithaca they had a degree for documentary film, 106 00:07:14.639 --> 00:07:18.319 and I was like, that works because I basically figured. 107 00:07:18.319 --> 00:07:19.759 I was like, I can't make a fiction film if 108 00:07:19.759 --> 00:07:21.959 my life depended on it. But real life was always 109 00:07:22.000 --> 00:07:25.759 like so interesting, and I always have this natural curiosity 110 00:07:25.800 --> 00:07:27.879 that I was like, I can make films or work 111 00:07:27.879 --> 00:07:29.079 on films about any. 112 00:07:28.879 --> 00:07:32.639 Subject matter and continue to learn. And then when I. 113 00:07:32.600 --> 00:07:35.319 Was at Ithaca, I always gravitated to the editing process 114 00:07:35.399 --> 00:07:38.360 because even when I was filming, especially part of our program, 115 00:07:38.519 --> 00:07:41.399 you have to do every stage of the process so 116 00:07:41.439 --> 00:07:43.839 that way you understand what it is to make a. 117 00:07:43.920 --> 00:07:47.480 Doc, especially because the crews are typically so small. 118 00:07:48.040 --> 00:07:50.439 But every time I would always gravitate for the editing 119 00:07:50.480 --> 00:07:52.160 process and I would think about, like, how is this 120 00:07:52.199 --> 00:07:54.839 going to be put together in the end. And one 121 00:07:54.839 --> 00:07:57.399 of my professors, Tom Nicholson, was like, that's a mindset 122 00:07:57.399 --> 00:07:58.000 of an editor. 123 00:07:58.720 --> 00:08:01.319 What's that relationship like and how do you two work together. 124 00:08:02.199 --> 00:08:05.199 When I first wanted to make this film, I immediately 125 00:08:05.240 --> 00:08:07.120 thought of Steph. She was one of the first people 126 00:08:07.120 --> 00:08:10.439 I told, just as a friend but also someone who 127 00:08:10.439 --> 00:08:12.720 I've worked with in the past and who I admired 128 00:08:12.800 --> 00:08:17.279 per work and to be able to then to two 129 00:08:17.319 --> 00:08:19.959 and a half years later be looking for an editor. 130 00:08:20.000 --> 00:08:22.680 In the process of it, I felt like trust was 131 00:08:22.720 --> 00:08:25.680 like a major component. So someone who understood, you know, 132 00:08:25.680 --> 00:08:27.959 what I was going for with the story, someone who 133 00:08:28.000 --> 00:08:30.639 cared about the story, who saw the potential and the story. 134 00:08:30.759 --> 00:08:35.320 And I think ninety percent of making the film is 135 00:08:35.399 --> 00:08:38.159 based on conversations, and I think we took a lot 136 00:08:38.159 --> 00:08:42.399 of time to have a lot of conversations to figure 137 00:08:42.399 --> 00:08:45.639 out different ways to approach the story, whether that's through 138 00:08:45.799 --> 00:08:49.919 crazy whiteboard online Miro. You were a Miro with like 139 00:08:49.960 --> 00:08:53.360 different shapes since I I was trying to articulate an 140 00:08:53.440 --> 00:08:57.720 emotional arc, character arc, all these different things. But really 141 00:08:57.960 --> 00:09:00.440 it goes down to the footage, and Steph took a 142 00:09:00.480 --> 00:09:04.600 lot of time watching the footage and marking the footage 143 00:09:04.639 --> 00:09:07.279 and being able to tell me this is what's here, 144 00:09:07.639 --> 00:09:11.919 and trusting in that process. And I think, yeah, there's 145 00:09:11.960 --> 00:09:15.960 a level of just like curiosity that Seth brings too 146 00:09:16.080 --> 00:09:18.399 of I have this idea, but what if it was 147 00:09:18.440 --> 00:09:21.480 approached this way, or let's try this out, or let 148 00:09:21.480 --> 00:09:23.559 me show you two or three versions of the same 149 00:09:23.639 --> 00:09:27.080 scene in different different approaches, and just being able to 150 00:09:27.159 --> 00:09:31.279 have an experimental mindset to be able to break the 151 00:09:31.320 --> 00:09:34.519 scenes that ended up making it in the film. So yeah, 152 00:09:34.600 --> 00:09:37.360 it's a long process, but I definitely think being able 153 00:09:37.399 --> 00:09:41.080 to have like open conversations and taking space too was 154 00:09:41.559 --> 00:09:45.399 definitely what was able to foster such a good human environment. 155 00:09:45.519 --> 00:09:47.320 But Seth, please weigh in. 156 00:09:48.879 --> 00:09:51.919 I think it's really important to understand that the director, 157 00:09:52.120 --> 00:09:54.519 like they're there from the exception, and they've been working 158 00:09:54.559 --> 00:09:56.919 on it for so long that there's such a dedication. 159 00:09:57.440 --> 00:09:59.240 Typically in the product that I worked on, they've been 160 00:09:59.279 --> 00:10:01.440 working on it for so along, and there's obviously some 161 00:10:01.519 --> 00:10:03.440 passion that they feel so strongly about it. 162 00:10:03.440 --> 00:10:05.320 And I think as an editor when. 163 00:10:05.200 --> 00:10:09.720 You come in, it's really you get excited by their 164 00:10:09.759 --> 00:10:12.879 passion for the story, for the project, and especially by 165 00:10:12.919 --> 00:10:15.759 their approach and what they want to pursue, and that becomes, 166 00:10:15.919 --> 00:10:19.000 like Page said, the guiding kind of conversations that go 167 00:10:19.080 --> 00:10:21.480 into it. And then as an editor it's also understanding 168 00:10:21.519 --> 00:10:24.039 that you're going in there, you're seeing the media and 169 00:10:24.080 --> 00:10:27.159 you're working with them to problem solve. Some of the 170 00:10:27.159 --> 00:10:29.600 approaches are how we can go about it, and I 171 00:10:29.679 --> 00:10:32.559 think that there are also some steps too, like outside 172 00:10:32.559 --> 00:10:38.440 of the edit, watching references or coming in reading other materials, 173 00:10:38.440 --> 00:10:39.639 reading other books. 174 00:10:39.360 --> 00:10:41.960 Doing the research too outside of the film. That was 175 00:10:41.960 --> 00:10:43.120 a part of the process. 176 00:10:43.320 --> 00:10:46.240 And I think something that was really great with working 177 00:10:46.279 --> 00:10:51.519 with Page is just the openness of being able to 178 00:10:51.600 --> 00:10:54.679 be so vulnerable and sharing along with the process, like 179 00:10:54.879 --> 00:10:58.120 this history is especially for this film, the history is heavy, 180 00:10:58.759 --> 00:11:02.639 and Page has our only ties to the story, and 181 00:11:03.200 --> 00:11:05.840 she has her own experience visit her own family history 182 00:11:05.840 --> 00:11:09.240 that brings it in and her vulnerability is both inspiring 183 00:11:09.320 --> 00:11:12.639 but also so powerful to be able to have that 184 00:11:13.200 --> 00:11:16.639 as an editor, to have those conversations with One thing 185 00:11:16.679 --> 00:11:19.679 with working with Page that was really exciting is being 186 00:11:19.720 --> 00:11:22.279 able to like have those conversations, but the way she 187 00:11:22.399 --> 00:11:25.639 added to it too, and that collaboration of how they 188 00:11:25.679 --> 00:11:29.120 like evolved over time, which is really nice to see 189 00:11:29.279 --> 00:11:32.000 and also be a part of seeing the thought process 190 00:11:32.039 --> 00:11:32.399 come in. 191 00:11:33.559 --> 00:11:37.039 Age mentioned the mirror boards that you guys were working on. 192 00:11:37.480 --> 00:11:39.720 I'm curious when it comes to the end of itself, 193 00:11:39.840 --> 00:11:41.759 what are you logging this footage and what are you 194 00:11:41.840 --> 00:11:42.919 actually cutting on now? 195 00:11:44.480 --> 00:11:47.559 Cutting on premiere and logging the footage kind of looks 196 00:11:47.600 --> 00:11:50.360 like a marker system. So basically like we use markers 197 00:11:50.399 --> 00:11:54.679 in terms of specific soundbites or even like specific shots 198 00:11:54.720 --> 00:11:57.440 or moments, or sometimes we'd even have markers that were like, 199 00:11:57.480 --> 00:11:59.679 this is a really cool, like wacky kind of like 200 00:12:00.080 --> 00:12:04.600 lens flare or kind of crazy camera footag'd shake, but 201 00:12:04.639 --> 00:12:06.960 it might be useful at some other point. So it's 202 00:12:07.000 --> 00:12:09.159 like finding those little gems, and that's what. 203 00:12:09.120 --> 00:12:10.320 Our marker sys do look like. 204 00:12:10.799 --> 00:12:14.200 And then also taking notes after the fact of sitting 205 00:12:14.200 --> 00:12:16.039 with the scene, sitting with the material and being like, 206 00:12:16.120 --> 00:12:19.480 what is the scene communicating and how is it relating 207 00:12:19.519 --> 00:12:21.840 to the larger story? And so we'd have plenty of 208 00:12:21.919 --> 00:12:24.000 those conversations. So even when we had our note cards, 209 00:12:24.000 --> 00:12:26.320 we're like, what's the best way we can represent, Like, 210 00:12:26.360 --> 00:12:28.039 we know we have these sort of themes that are 211 00:12:28.039 --> 00:12:30.360 coming through, and what are the best representations that we 212 00:12:30.440 --> 00:12:34.320 have of those themes? And those note cards we would 213 00:12:34.360 --> 00:12:36.960 move around on mirrors. Sometimes when we were a person, 214 00:12:37.039 --> 00:12:39.519 we would move post it notes because it'd just be faster, 215 00:12:41.360 --> 00:12:44.120 and then we'd have a layer two of just scripts 216 00:12:44.159 --> 00:12:46.200 that we would i would say script, but it was 217 00:12:46.279 --> 00:12:49.320 just like a transcript of the cut that would really 218 00:12:49.399 --> 00:12:51.519 help us get a sense of everything that was there 219 00:12:51.799 --> 00:12:54.679 and be able to see those beats kind of like 220 00:12:54.759 --> 00:12:58.480 read it through, because they're dealing with a story that 221 00:12:58.559 --> 00:13:02.240 it multi layer and and it's the whole process was 222 00:13:02.240 --> 00:13:05.240 figuring out how to interweave the storylines of past and 223 00:13:05.320 --> 00:13:09.519 present and future. For what KU's ambitions were as a runner, 224 00:13:09.840 --> 00:13:10.960 we had to make. 225 00:13:10.840 --> 00:13:12.120 Our edit reflect that. 226 00:13:12.399 --> 00:13:15.600 So our organization of the edit was breaking down all 227 00:13:15.600 --> 00:13:18.519 the footage that has to deal with Ku as a teenager, 228 00:13:18.639 --> 00:13:21.519 his present day life, going to school, hanging out with 229 00:13:21.559 --> 00:13:25.080 this family, the time spent on the Reds, and then 230 00:13:25.240 --> 00:13:28.840 the other storylines of his running journey, so all the 231 00:13:28.879 --> 00:13:32.080 footage of him running for cross country and track, and 232 00:13:32.120 --> 00:13:35.759 then the Stewart side of the project, which is all 233 00:13:35.759 --> 00:13:38.519 the boarding school archival, and then the remembrance runs. So 234 00:13:38.559 --> 00:13:40.720 there was a lot of different project breakdowns and they 235 00:13:40.720 --> 00:13:42.840 were all afined different colors. 236 00:13:42.840 --> 00:13:43.720 And then when we're. 237 00:13:43.519 --> 00:13:45.720 Looking at the mirror board and looking at it, we're 238 00:13:45.759 --> 00:13:48.360 seeing like when those things are coming up, where are 239 00:13:48.360 --> 00:13:51.600 they actually intersecting, and how we're able to keep the 240 00:13:51.639 --> 00:13:54.639 pace of the film going without being in one section 241 00:13:54.759 --> 00:13:55.360 for too long. 242 00:13:56.320 --> 00:13:58.639 When it comes to the subjects of your films, how 243 00:13:58.679 --> 00:14:00.000 do they usually come to you. 244 00:14:00.600 --> 00:14:04.320 This is my first feature film, and I think the 245 00:14:04.399 --> 00:14:08.000 other work that I've done, I think it just reflects 246 00:14:08.039 --> 00:14:11.960 my personal experiences. Was able to direct an episode for 247 00:14:12.399 --> 00:14:16.519 PBS called Native America, which followed Indigenous women in different 248 00:14:16.519 --> 00:14:22.679 sections of government, fashion, environmental preservation, and even comedy and music, 249 00:14:22.720 --> 00:14:27.200 and my experience being someone who's Indigenous being a filmmaker 250 00:14:27.639 --> 00:14:29.200 is just reflected in how. 251 00:14:29.039 --> 00:14:29.879 I approach it. 252 00:14:30.080 --> 00:14:34.159 I think this story in particular came about because of 253 00:14:34.279 --> 00:14:37.200 the news that broke in twenty twenty one about the 254 00:14:37.320 --> 00:14:41.519 Kamloops boarding school where remains of Indigenous children were found 255 00:14:41.679 --> 00:14:45.320 on mark Graves, And for me, it was those stories 256 00:14:45.360 --> 00:14:47.759 that I heard growing up of my great grandmother going 257 00:14:47.799 --> 00:14:51.480 to a boarding school, the reactions of community members sharing 258 00:14:51.519 --> 00:14:54.000 more of these stories, and then people sharing that they 259 00:14:54.039 --> 00:14:56.159 had no idea about this history, and I think that's 260 00:14:56.240 --> 00:14:59.240 what frustrated me the most, was the absence of people 261 00:14:59.440 --> 00:15:01.960 understanding and knowing that this happened. And then to see 262 00:15:02.000 --> 00:15:04.759 a story come out about a teenager who was run 263 00:15:04.799 --> 00:15:08.039 fifty miles across the desert to honor his great grandfather 264 00:15:08.320 --> 00:15:12.480 being seventeen. I thought, Wow, what an amazing way into 265 00:15:12.519 --> 00:15:16.879 this history with a modern young person, a story that 266 00:15:16.919 --> 00:15:20.200 can really be like an anger to be able to 267 00:15:20.200 --> 00:15:23.279 share this history without necessarily turning it into an explainer 268 00:15:23.399 --> 00:15:28.039 or like a handholding experience of walking through our digitous 269 00:15:28.480 --> 00:15:31.080 and not even indigenous history, because it's all history, right, 270 00:15:31.240 --> 00:15:33.200 not starting from sixteen forty two. 271 00:15:34.480 --> 00:15:36.840 What was his reaction when you approached him and hey, 272 00:15:36.840 --> 00:15:38.559 do you want to be the subject of the stock 273 00:15:39.480 --> 00:15:39.840 He's just. 274 00:15:39.799 --> 00:15:43.320 A funny person. I think his parents have been so supportive. 275 00:15:43.320 --> 00:15:46.639 They're so loving anything that he does. They clap for 276 00:15:46.879 --> 00:15:50.360 him or everything's amazing that he does. So I think 277 00:15:50.440 --> 00:15:54.039 when we were going to I approached his mom first 278 00:15:54.039 --> 00:15:55.639 to ask if I could come out to do the 279 00:15:55.720 --> 00:15:58.639 remembrance run and film it, and then getting to know Ku, 280 00:15:58.840 --> 00:16:00.919 It's almost like he's been prepared for this moment his 281 00:16:00.960 --> 00:16:03.720 whole life. I think there was a lot of trust building. 282 00:16:03.879 --> 00:16:06.159 I moved from New York City to Reno. I've been 283 00:16:06.200 --> 00:16:09.039 here for three and a half years now working on 284 00:16:09.080 --> 00:16:11.840 this film and being a part of the community, whether 285 00:16:11.879 --> 00:16:14.080 that's finishing with his family and a lot of time 286 00:16:14.159 --> 00:16:17.200 spent without the camera when we were making the film, 287 00:16:17.320 --> 00:16:20.600 but really developing a relationship with him as a teenager. 288 00:16:20.759 --> 00:16:23.240 He's not going to tell me what he's doing. He's 289 00:16:23.240 --> 00:16:25.159 going to show up at my house and eat the 290 00:16:25.200 --> 00:16:27.360 food out of my fridge and take a nap and 291 00:16:27.399 --> 00:16:29.840 move on with his day. And so I think by 292 00:16:30.159 --> 00:16:33.960 being able to build that relationship really reflected in what 293 00:16:34.039 --> 00:16:36.919 we were able to shoot because we were family at 294 00:16:36.919 --> 00:16:39.960 that point. And I just wanted to add one other 295 00:16:40.000 --> 00:16:43.080 thing as well, which was that came out to do 296 00:16:43.159 --> 00:16:47.639 the Remembrance Run Steph and our composer Quino Banale, they 297 00:16:47.679 --> 00:16:51.519 both came and participated in twenty twenty three, ran and 298 00:16:51.639 --> 00:16:56.440 walked you know, miles and was able to meet Ku 299 00:16:56.519 --> 00:17:01.279 and his family, was able to really understand and get 300 00:17:01.320 --> 00:17:03.679 to know the landscape here, And I think that brought 301 00:17:03.840 --> 00:17:06.759 a really cool perspective into the edit by being able 302 00:17:06.839 --> 00:17:09.519 to be there and to bring back the ethos of 303 00:17:09.599 --> 00:17:10.799 the run having. 304 00:17:10.559 --> 00:17:13.279 Experienced it so and that was really exciting. 305 00:17:14.119 --> 00:17:16.599 Yeah, let's see Michael khn try to run a marathon, right, 306 00:17:17.400 --> 00:17:20.240 what kind of challenges was it to have a subject 307 00:17:20.319 --> 00:17:23.599 who is running. I think of so many documentaries as 308 00:17:23.680 --> 00:17:27.480 quote unquote talking heads. He's out running through so much 309 00:17:27.480 --> 00:17:30.359 of this footage. How is that? To shoot all of that? 310 00:17:31.240 --> 00:17:35.119 Shooting it was really challenging and even editing it. I'm 311 00:17:35.119 --> 00:17:38.440 sure Step can share about editing the footage because you 312 00:17:38.480 --> 00:17:42.440 have a cinematographer chasing after a subject. His breathing, his 313 00:17:42.480 --> 00:17:46.799 footsteps go along with trying to capture Ku as a runner. 314 00:17:46.839 --> 00:17:50.960 But I think our cinematographer, Chai, he was a runner, 315 00:17:51.160 --> 00:17:53.200 and it takes a runner to film a runner. And 316 00:17:53.240 --> 00:17:56.599 I think by being able to have him be up close, 317 00:17:56.839 --> 00:17:59.680 to not be afraid to use like the shaky camera 318 00:17:59.759 --> 00:18:03.799 shop to feel the actual like viscual motion of running 319 00:18:04.480 --> 00:18:07.839 was really important because when you watch Ku run from 320 00:18:07.880 --> 00:18:11.359 a distance, he just looks so effortless, and so it 321 00:18:11.359 --> 00:18:12.319 looks like he's not even. 322 00:18:12.240 --> 00:18:13.079 Working very hard. 323 00:18:13.119 --> 00:18:16.079 So to communicate that like he's training and working really 324 00:18:16.079 --> 00:18:18.759 really hard towards his dream, it was really hard to 325 00:18:18.839 --> 00:18:21.839 figure out how to shoot that and shoot how much 326 00:18:21.880 --> 00:18:24.640 effort it does take, And so we shot a couple 327 00:18:24.680 --> 00:18:28.440 of different ways. We shot on electric skateboard, shy our 328 00:18:28.519 --> 00:18:32.400 cinematographer around the track was on an electric skateboard, being 329 00:18:32.440 --> 00:18:35.119 able to control it and get really close up and 330 00:18:35.160 --> 00:18:38.920 shoot shadows and shoot coo like his feet and to 331 00:18:38.960 --> 00:18:41.880 be able to be in the motion. We also shot 332 00:18:42.160 --> 00:18:45.160 on tripods on one hundred to four hundred lens like 333 00:18:45.200 --> 00:18:46.759 in the middle of the track to be able to 334 00:18:46.759 --> 00:18:49.480 track him going around and around, so when he saw 335 00:18:49.519 --> 00:18:52.359 in the montage in the film, we're able to match 336 00:18:52.440 --> 00:18:54.880 cut like a lot of different angles of the track 337 00:18:55.039 --> 00:18:57.559 to get that experience of that repetition that has to 338 00:18:57.599 --> 00:18:59.759 go into it. And then a lot of it was 339 00:18:59.799 --> 00:19:02.400 just like chasing him in the desert hoping that we 340 00:19:02.720 --> 00:19:06.240 get the shot. We use obviously the drone to track him, 341 00:19:06.319 --> 00:19:08.799 but yeah, it was challenging, and I think the sound 342 00:19:08.839 --> 00:19:11.799 design was most important. So I think working with Kup, 343 00:19:12.319 --> 00:19:15.279 we had him on I brought him on my peloton 344 00:19:15.519 --> 00:19:18.960 at home to record like isolated breath at different paces 345 00:19:19.000 --> 00:19:22.079 so that way we can get his breath by itself 346 00:19:22.119 --> 00:19:24.759 in a container, so that way we can be able 347 00:19:24.799 --> 00:19:26.680 to use it to make it more of a muscle 348 00:19:26.720 --> 00:19:29.920 memory effect throughout the film. And then working with our 349 00:19:29.960 --> 00:19:33.519 sound designer Tom Paul, who really went in and follied 350 00:19:33.599 --> 00:19:37.119 a lot of the footsteps and the brush and really 351 00:19:37.160 --> 00:19:39.480 making the whole experience be super immersive. 352 00:19:40.279 --> 00:19:44.000 We actually we had three runs to pull from materials. 353 00:19:44.759 --> 00:19:47.319 There was the first run that page went too, and 354 00:19:47.359 --> 00:19:49.640 then the second run which is the bulk of the 355 00:19:49.720 --> 00:19:52.519 end of the film that you'll see. And then in 356 00:19:52.599 --> 00:19:55.440 terms of his race is it was such a gift 357 00:19:55.480 --> 00:19:59.039 to have all those races because it really added to 358 00:19:59.279 --> 00:20:02.240 just like that suit of training, that journey for Coup 359 00:20:02.799 --> 00:20:04.759 and I think it's the same thing with the remembrantruments. 360 00:20:04.799 --> 00:20:07.240 To be able to articulate the journey, you need that 361 00:20:07.400 --> 00:20:11.039 amount of content and even though it may look repetitive 362 00:20:11.079 --> 00:20:15.599 at times, that reinforces like the feel of the journey 363 00:20:15.640 --> 00:20:19.079 that who was taking in terms of approaching his dreams. 364 00:20:19.559 --> 00:20:21.759 And I joke because, like when I was looking at. 365 00:20:21.640 --> 00:20:24.079 The footage the first time, I'm also like a former 366 00:20:24.200 --> 00:20:26.799 distance runner and I used to run the similar races 367 00:20:26.839 --> 00:20:29.480 to Coo, and I was like, he's so fast that 368 00:20:29.559 --> 00:20:31.799 if you don't depending on how you cut this, he's 369 00:20:31.799 --> 00:20:34.160 either in dead last because you can't tell how fast 370 00:20:34.200 --> 00:20:36.640 he is in some of these things without the contact, 371 00:20:37.000 --> 00:20:41.880 or he's in obviously the answer is Keith first, but 372 00:20:41.920 --> 00:20:44.279 it was just really funny because no one's near him, 373 00:20:44.559 --> 00:20:46.960 like for most of his races, Like he goes to 374 00:20:47.119 --> 00:20:50.720 start and he is basically out so far ahead in 375 00:20:50.799 --> 00:20:52.839 terms of just blowing a lot of his competition out 376 00:20:52.839 --> 00:20:55.079 of the water. We really had to find those moments 377 00:20:55.119 --> 00:20:57.160 where he might have been lapping somebody so you have 378 00:20:57.279 --> 00:21:00.240 that comparison to be like, wow, this kid is really fast, 379 00:21:00.319 --> 00:21:03.680 or saying the times so you have that reference so 380 00:21:03.720 --> 00:21:05.960 you can keep up to that. Like, those little details 381 00:21:06.000 --> 00:21:09.200 became really important to put the context of how talented 382 00:21:09.279 --> 00:21:10.000 this kid is. 383 00:21:11.039 --> 00:21:13.559 Pige When was the first time that you got to 384 00:21:13.599 --> 00:21:15.319 sit down and watch us with an audience. 385 00:21:16.079 --> 00:21:20.039 Throughout the process, we did a couple of work in 386 00:21:20.079 --> 00:21:23.559 progress streamings. Steph and I participated in the sun Dan's 387 00:21:23.680 --> 00:21:26.119 edit lab when it was like assembly and that was 388 00:21:26.200 --> 00:21:30.720 terrifying to show anybody Bembley type of cut. I think 389 00:21:30.960 --> 00:21:33.880 the first real audience was held by Southwest to have 390 00:21:34.119 --> 00:21:37.880 the actual finished product. There there was a two hundred 391 00:21:37.920 --> 00:21:40.880 person theater and it was almost filled, and so it 392 00:21:40.920 --> 00:21:43.720 was really nerve racking to see it in that way. 393 00:21:43.799 --> 00:21:46.119 But previously I had shown the film to Coop and 394 00:21:46.160 --> 00:21:49.400 his family. I actually went up to Oregon a couple 395 00:21:49.400 --> 00:21:52.799 of cuts earlier to show the film just the Coup, 396 00:21:52.880 --> 00:21:55.960 because this is his story. I wanted to make sure 397 00:21:55.960 --> 00:22:00.480 that he felt like it was representative of him and 398 00:22:00.839 --> 00:22:04.000 that he felt good about the film and where it 399 00:22:04.079 --> 00:22:06.599 was going at south By. 400 00:22:07.039 --> 00:22:08.839 It was just tremendous. 401 00:22:08.920 --> 00:22:12.039