The last time I saw Halyna, she asked me, as she always did, “What’s happening with your projects?” And I knew which ones she meant. Not the documentaries (boring camerawork) but the ones that invo…
The last time I saw Halyna, she asked me, as she always did, “What’s happening with your projects?” And I knew which ones she meant. Not the documentaries but the ones that involved the most complex, creative and wild shots. She wanted to discuss my dream film that I’ve been crafting ever since I met her, a musical sci-fi crafted partially on a stage set representing the cosmos, where stars are personified as live actors.
She even sometimes compelled me to come up with ideas for the express purpose of making beautiful shots, even before the concept was developed. She’d plan things out. Because I came out of the visual art world, where one can construct a shot and then work a story around it, rather than the other way around, as in narrative, she loved each and every visual idea, and that was when things would really fly. She pushed me into so many places with my own work.
A few years ago, she discovered a spot where a house was going to be built, but for now was just a gray, concrete foundation. Anyone else would have seen this spot as a bare, boring wall and driven right past it, but Halyna saw it for the rich tones that the concrete would offer when it absorbed the natural daylight. She saw how tall the wall went without any obstructions, and she saw how much depth she would have to work with, if she put a camera there and had me make something to film.
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