Una vez fuimos Kids

The movie kids, tho great in many ways, is an emotionless affair. Literally characters who find out they have aids don't cry, they just kinda panic. Nobody seems to, or is depicted to, feel anything in that world.

We Were Once Kids is like the photo negative of that. It's emotionally raw, very vulnerable, pathetic even, embarrassing. And I mean all that as a compliment. Here we see young men grappling honestly with regrets, unrealized dreams, friendships, and new realities, they aren't too cool to walk us through the process of finding adult perspectives on hard childhoods, lost childhoods, opportunities - particularly one stinging reveal that was and is forever lost. Even cast wise: the side characters are the stars, the stars mostly absent.

It's a great depiction of the chance to be in the moons orbit and never getting to land there. The filmmakers are in tremendous company.

I don't believe Larry Clark had a hidden agenda. He clearly was in awe of how this crew of loyal skaters were living life raw and unedited. It was after meeting and reading Harmony Korine's screenplay he felt it had potential to be a full length motion picture. So turning to his connections in the film industry such as Gus Van Sant, for example to make it happen. At this point is when i felt some of the cast got taken advantage of in terms of pay being the classic it still it to date but on the other hand $1,000 is a considerable amount for those who hardly had any screen time. I don't agree with Clark turning ghost after filming completed since it was a community of people who value friendship, loyalty and commitment from eachother. I understand life moves on for everyone but I'm sure some of the kids just felt dismissed by Larry & Harmony. But neither should be a scapegoat for anyone's failed career since half the cast are now very well established actors/actresses. This is my outsiders perspective, for what it's worth.

As much I otherwise enjoyed this little documentary, it is incomplete without including Chloe Sevigny and Rosario Dawson. As another reviewer here wrote, there isn't a single scene, clip, photo or even name-drop of them in this entire film. It's almost as if their lawyers and managers threatened to shut down this entire project if their likeness appeared anywhere in it.

At the end, there is a note that says Larry Clark and Harmony Korine refused to participate in this project, but obviously SO DID Chloe and Rosario, so what's your point? Leo Fitzpatrick also isn't anywhere in this, not even his name!

So how are we supposed to interpret that? Seems there is some bad blood between those "kids" who found Hollywood success after, and those who were left behind.

All in all, it's worth a watch - but anyone expecting behind-the-scenes film-making insight into the making of Kids will be disappointed. The actual production of Kids is glossed over in under 5 minutes; the rest of this doc is a hit piece against Clark and Korine and also a portrait of Justin Pierce and Harold Hunter's tragic pre- and post-Kids lives.

I've not watched Kids since it was released. I was 18 and it shocked me. It shocked a lot of people. I'd not seen anything like it. No one had. What is this? Was a common question? Is this real? Was another. Whether you liked it or not, there's no denying it was fresh and thought provoking. We Were Once Kids is a documentary about the film, its cast and its production. I've wanted to see this for a while, but it's not easy to find in the U. K. In fact it's near impossible, I had to watch on DocPlay via a VPN. Kids is quintessential 90s, but as this doc explains, it's about youth born into 70/80s New York. A place to aspire escape from. That escape is skate culture, bringing people of all types together. One of the big questions of Kids was, where are the parents? These kids are wild! The truth is the parents were wilder. Drugged up or dead as crack exploded through the city. Much of this back story comes from writer Hamilton Harris, he had a smaller role in the film, but he's a big part of this documentary. Painting a vivid picture of a society that's the very definition of dysfunctional. So was it real? Yeah kinda. Some of these people were friends before the cameras rolled. More than that, they were family, replacing what was absent at home. It's fascinating to hear how organically it grew. Kids bonding over skating, weed, a simple need to have someone to hang out with. Hamilton, meets Harold Hunter, Harold introduces Harmony (Korine) a kid from out of town. Tobin Yelland is hanging around and introduces an older dude, Larry Clark into the mix. He runs a photography workshop, loves skateboards, wants to make a film. You can see where this is going. It's all a joke to begin. Larry's gonna shoot a movie, Harmony's gonna write it, we're all gonna be in it. Just a laugh right? Not everyone from the film speaks here and some like Leo Fitzpatrick who played Telly tellingly doesn't feature at all, others are referred to via archive footage alone and there's a lot of archive. Like Justin Pierce, who it's said always wanted to act, he's not interviewed as he took his own life at the age of 25, but he and Harold (who also died young) are the ringmasters, bringing kids to Larry to be cast in the film. It's weird, they know it's weird. Who's this old dude hanging around with a bunch of kids. But it's exciting for them and what else are they going to do? That is unless you're a girl. Highlyann Krasnow (great name) reads Harmony's script and clocks it for its "rape and misogyny". She wants no part, so the casting net widens. Enter people like Jon Abrahams, who talks about going with the flow, doing what Larry says, being stoned while shooting. Javier Nunez, no idea how old he was at the time but very young, smoking a load of joints then passing out. Honestly it's troubling. Most of these kids were from broken homes, vulnerable and it's clear they were taken advantage of. The shoot wraps. They watch a screener and have a party, sign some papers, except some cash. "We were left where we started from". The film goes to festivals and boom! What are these kids doing on screen? How old are they? Are they old enough? Larry Clark doesn't have the answers, because clearly some of them are not. To him, it's just a movie, but it's not is it. It feels real because so much of it is, there's no fluff, it's handheld lofi doc style screams authenticity and it connects. In America at least, audiences bond with it in the same way that those kids bonded before Larry even turned up. The fallout is intense. Some feed off it, like Harold who laps up the limelight, others feel exposed and used. Others choose to distance themselves from everyone. "I remember watching Harmony transform into a person I didn't recognise". The leads, Justin, Jon, Harold, Rosario Dawson, Chloë Sevigny, all have opportunities, it's a stepping stone. Everyone else, it's a dead weight. The movie is a hit. It makes millions. Guess who's cashing in... and who's not. It's a tragic story and very little positive comes from Kids. We Were Once Kids is enlightening, but it's not an easy watch and with that in mind, now I'm going to rewatch Kids.

I would like to know why Chloë Sevigny, Rosario Dawson, and Leo Fitzpatrick were given hall passes on their culpability in the demise and deaths of Justin Pierce and Harold Hunter?

Not only did Chloë, Rosario and Leo (the only actors/stars to emerge successful out of Kids) duck out of being interviewed for this doc, but their names are not even mentioned once. And I mean literally NO mention of them AT ALL, as if they never appeared in Kids.

Instead, the producers and director chose to focus their ire and blame strictly on Larry Clark and Harmony Korine, holding the duo over the fire for abandoning their "kids" so that they could reap all the accolades and financial fruits for themselves. And in doing so - this documentary argues - Pierce and Hunter were left all alone to flounder and eventually fail (Justin later killed himself and Harold OD'd).

I don't think anyone disagrees that Clark and Korine exploited their cast of then-unknown street urchins in order to get Kids made. And after watching this doc, you'd be hard pressed to defend (or even like) Larry Clark (Korine was equally heartless in his unscrupulous treatment of the Kids cast, but unlike Clark he's still making $$$ for Hollywood, so I think people are a bit more lenient of him as Clark's former accomplice).

But it seems grossly unfair of this doc's filmmakers to have such a blatant double-standard of blame - that Clark and Korine could have but didn't help Justin and Harold get set up in Hollywood following the success of kids - all the while categorically ignoring just how huge Chloë Sevigny and Rosario Dawson went on to become in La La Land.

Seriously, where were Chloë and Rosario when Justin Pierce and Harold Hunter were also trying to get roles? And where were they when Justin and Harold, having failed to make it in show business, fell on hard times? Sure, you could argue that Chloë and Rosario had no responsibility for them and were just looking out for themselves as they became popular in Hollywood (both actresses are now A-listers and multi-millionaires).

But then you'd need to grant Clark and Korine the exact same exemption, because they too had no obligation to help out the cast after paying them. After all, at the time Clark and Korine were just two scruffy wannabe filmmakers trying to make it in this industry. Not until years (and decades for Korine) later did they finally find some success.

In fact, if you examine and compare their respective career timelines, Chloë and Rosario were cast in big-budget Hollywood movies immediately after Kids - long before Clark or Korine found enough financing to make their second films. So who at the time really had the ability and opportunity to help out Harold and Justin?

Again I ask: why did the producers and director of "The Kids" (aka "We Were Once Kids") choose to let Chloë Sevigny, Rosario Dawson and Leo Fitzpatrick off the hook by not forcing them to face the camera and ask them the same hard questions asked of Clark and Korine? And not just let them off the hook, but completely leave them out of this doc with nary a whisper of their names? (the end of the film states in writing that Clark and Korine declined to participate; since Sevigny and Dawson also declined to participate, why doesn't it say so?).

Re-watch this documentary with all this in mind and I think their agenda/narrative will make itself more obvious to the viewer: Clark and Korine were low-hanging fruit, but to also go after Sevigny and Dawson would have risked upsetting the Hollywood powers-that-be who finance their films and have the ability to crush aspiring indie filmmakers like Eddie Martin and Hamilton Harris.

I personally think it's shameful and hypocritical, but y'know, I doubt anyone else will ever think this deep about this relatively obscure documentary...