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A Cast of True Method Actors

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The idea for SIX-SEVEN came about when we met the Alvarado sisters in the English Language Library of Guanajuato during the Spring of 2025. Franny and Josephine were precocious storytellers, perfect to base a film upon. Especially with their older sisters Lucy and Bess providing narration, and commentary, on how one grows from childhood into adolescence. I had worked with Nicolas Lopez with my first film, when he was two and game for everything, and Lalito Velez Blas was the son of our housekeeper, and son of the breakdancer I'd worked with in my first film. Perfect, especially with our teen friends Sebastian and Kyan Fletcher as narrators.

 

And then we found a whole mess of other kids from our city as extras... and a child wrangler, Katie Clancy! A cast was built! And talk about a pile of fun for everyone!

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    We look at the world once, in childhood. The rest is memory, which can be magic.

    Four teenagers, two American and two Mexican, remember how they met when they were children, which we watch as they narrate the ways in which growth has changed the ways in which they see the world. The film captures the beauty we find around us as kids, and the magic we can still find remembering. It explores the world as kids see it: as magical and embracing.

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    The film had its genesis in DON BARRY, my previous work. I wanted to explore similar theses involving creativity and aging, albeit from a different perspective: from the eyes of a child. We began working with two local boys in playful settings in Guanajuato, then traveled to Colorado to work with our girls. I created a narration for our young actors older sisters, in the U.S., and two bilingual brothers here in Mexico. A "radio edit" was pieced together from improvised dialogue by our young "actors," age 4 through 8, the narrative elements we recorded with editorial help from our teens, and the musical elements we wanted to incorporate.

     

    Our main production shoot took place over six days in Spring, 2026, with editing in Mexico City throughput the Summer of 2026 and post-production in early October. 

     

    We believe the film that has resulted is as fresh as the world kids see, but also as full of mysterious memories as the world we later enter as adolescents. It is our belief, as collaborators, that the end result fits our culture's needs at this point in our world's history. The idea is to suggest new ways of seeing.

     

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