So my Dad and his constant collaborator, Lore Reyes, got a special feature in High Life. It talks about their career from the beginnings of their partnership, all the way to the present day where my Dad is raging against the consistent omission of Lore Reyes’ contribution to the partnership.
It’s a pretty interesting read, about how the past thirty years the industry has pretty much ignored the artistry of Lore Reyes and gave it all to my Dad. You can read that article here: The unsung, ignored half of the Gallaga-Reyes tandem (High Life / Link).
There are two sidebars, I think, or companion pieces to the feature and one of them includes From fantasy to reality: 10 films from the Gallaga-Reyes tandem. In this one, they chronicle ten of their most notable films since they began directing movies together in 1987 with Once Upon a Time.
Now, this is where I come in. Spoiler alert: the ninth and tenth movie of that list is Sonata and T’yanak, both of which I wrote. Now, I’m not mentioned at all in the entry for Sonata but I am not just mentioned in the T’yanak entry, the writer, Francis Joseph Cruz, said quite some lovely things about my contribution to the film that I just have to share. So pardon me while I throw modesty out the window, but I’m proud of what I did for T’yanak and I’m just really happy that it was recognised and acknowledged. I just had to screen cap that thing.
That’s all. It’s just nice to know that someone thought to mention that T’yanak has a lot to owe to my “revisionist appreciation of the lore.” It’s funny that for a feature that is focused on how the industry has ignored the contributions of my Dad’s long-time directing partner for the past thirty-plus years, I got mentioned in their history of notable works with only having worked with them on two films (and a few other projects that never materialised and a television show).
I guess that somehow counts for irony? It’s definitely something to think about.