Krzysztof Kieślowski stopped making documentaries in Poland because of the line he felt he needed to cross in order to tell a truthful story of the people of Poland and the social and political circumstances of pre-1989. The complexity arises because the documentarian, to be truthful, might show the subject in a negative light. This is, of course, in my mind constantly as I shoot Arthur Secunda, a very good friend of mine, someone I have know for 15 years. I am not speaking about any dark secrets. He is a gentle, gentle man, a man very open and honest. However now that he is in his late years, there are many moments that are private, moments he would not like me to shoot, these can be conversations he has on camera with his family and friends, or simply because he wants to be left alone with Joseph Breton and I. This I respect without hesitation. When he says shut the camera off, I do. Many times he asks me to stop shooting to have a conversation. In these conversations he does not reveal anything shocking or secret. He just wants to chat. Like the old days in Paris, Mexico, NYC. Secunda is a great conversationalist. He enjoys to listen to people, to learn, to tell stories of acquaintances and friends, like Pablo Casals and Kenneth Noland. He is a social creature. And before he is a "subject' of the documentary, he is my friend. Here is a still from the documentary. In the photo is Secunda at his hight school graduation. Same chin. Same mouth. Same brow. Same man.