A2: In Summer 1987, the contrast between the steaming tea kettle and the cooling imagery of ice cream and melting ice water creates a tension between hot and cold. What is the deeper significance of this visual interplay, and how does it shape the emotional current running through the piece?

EH: I wanted to convey not only the literal hotness of that summer but also the heat of danger — the gradual rise of anger and tension within and around my uncle that ultimately led to his death. The “cool” images, including the ice cream and ice cubes, represent childhood innocence. Despite the chaos emerging in my family that summer, I was innocently anticipating ice cream and fun. Likewise, my uncle was once an innocent child, but his innocence slowly melted as he flirted with danger and lost his life. I wanted my audience to experience bliss colliding with hell. 

A2: With so many intricate layers—both visual and auditory—in Summer 1987, what tools or methods do you rely on to organize the narrative and maintain cohesion? Do you use storyboards or other techniques to balance the flow of the storyline while integrating the artistic elements and ensuring the emotional impact remains intact?

EH: After I wrote the essay version of Summer 1987, I initially started to create a storyboard for the visual piece. I wanted to open with establishment shots of my childhood neighborhood, but I didn’t want to burden anybody to help me film that. So, I wrote an outline and relied on images I could capture in my current home and neighborhood in addition to stock footage to interpret the story. A lot of the details and layering happened in the moment for me. I suppose it’s like creating a soup or stew. You start with basic ingredients and gradually add flavors until it tastes just right. I kept adding and adjusting layers and colors until it felt complete

A2: Inspiration and mentorship often come with conflicting perspectives, especially when shaped by individual experiences. How do you navigate contradictory advice from those you admire, ensuring it keeps you moving forward rather than leaving you creatively frozen?

EH: I rely on intuition to guide my creativity. I learn what I can from people, keep what I feel is useful, and release what doesn’t work for me. Creativity is a divine energy that comes from within. When there is a story for me to tell, it will materialize as it needs to.