The Blog of Filipino Writer-Director Sigfreid Barros-Sanchez

DIREK LINO BROCKA: REVISITED (2003)

2006-06-10T08:21:00.000-07:00

Note: This article was first published in 2003 for the U.S. and Canada-based paper PLANET Philippines. This article further encouraged me to do my film "ANG ANAK NI BROCKA" which was first submitted to Cinemalaya but was later produced by Cinema One Originals. A VCD copy is now out on the market released by Star Records. Regular theater run wil be by mid-June on all SM Cinemas.

DIREK LINO BROCKA: REVISITED
Text and Photos By SIGFREID BARROS-SANCHEZ

HE would have been 65 last April 3. The retiring age, they say. But friends would like to believe that he probably would still be at it, doing what he was famous for to colleagues and comrades and notorious at to adversaries and foes.

He probably would still be down in his all fours, coaching and demonstrating inch per inch to an actor or an actress how he’d like a particular scene to be done. After a good take and a break, he’d probably be talking to his actor or actress, involving himself in their personal problems that would almost certainly color more their working relationships. If he finds out that the utility boy doesn’t get his payment from the producer until next week, he’d probably pack up the shoot and resume when the financer already has money for the littlest man in his set. Then, he’d probably be off to the streets, waging war against a forever worsening system that curtails the rights of the artists and strangles to no end the poor. He most likely won’t show support for either GMA or FPJ, his friends dividedly divulged, and would probably be belting his familiar P.I. cuss word at whoever takes the highest political seat in the country. At the end of the day, he’d be at a music lounge listening to his favorite singer soothe his angst just for the night. Then, just when you thought everything’s done, he’d call you around two or three in the morning to discuss about life, his passion and dreams, and the film project that would finally and forever put the Philippines in the international map (if he still hadn’t done it).

“Nararamdaman pa rin siya. Nararamdaman pa rin ng mga kaibigan at mga taong naka-trabaho niya si Lino,” scriptwriter Ricky Lee says after a deep breath.

Lino Ortiz Brocka. Lino to family and friends. Direk to others. Brocka to Martial Law and Edsa I generations. Thirteen years after his tragic death in May 21 in a car accident somewhere in a dimly lit portion of East Avenue in Quezon City, the director with the smallest frame in the film industry then, but definitely with the biggest and bravest voice that Philippine cinema has ever known, is still very much alive in the memories of friends like director Behn Cervantes, film editor Augie Salvador, production assistant Boy Roque, and Ricky Lee. These are the people who have seen him from pre-Direk Brocka to pre-production Brocka to actual production Brocka to post-production Brocka and to perhaps post-Brocka.

“I always remember him as someone who is very forthright, very visceral, very sensitive, very sincere, but didn’t want to be controlled by anything,” recalls Direk Behn, who, along with actor Joonee Gamboa, has been with Lino as early as their freshmen year in U.P. in 1956. “He had dreams. And these dreams were not basically materialistic. His main concern has always been the people.”

If Brocka was still around, Direk Behn’s friendship with the guy he calls “syano” would have been close to fifty years. Sixteen of those as foes, he discloses. “He was very unequivocal about his displeasure. He would never have succeeded as a diplomat,” he remembers with a smile.

He has seen him from his most embarrassing moment on the stage of the late Wilfrido Ma. Guerrero’s U.P. Dramatics Club to his proudest on the streets of Liwasang Bonifacio to Mendiola and Cannes in France. He played many important roles in Lino’s life from his first acting role to his conversion to Mormonism to his joining PETA to rallies against censorship to strikes of jeepney drivers in Cubao up to the day they were both incarcerated in Fort Bonifacio over charges of exhorting crowds to revolt.

“We were working together for something other than ourselves and still ourselves. It was politics that made us see eye to eye. Politics was very important to us personally. Therefore, we were able to forgive each other’s human frailties more,” he shares.

Ricky Lee, on the other hand, was one of four choice writers that Lino would always call once he gets a project. Ricky would always get the half-serious, half-commercial projects, Pete Lacaba the more serious and political ones, Jose Dalisay, Jr. for harried commercial films, and Jose Javier Reyes the most bongga and most masalimuot. Lee has penned “Jaguar,” “Cain at Abel,” “PX,” “White Slavery,” “Macho Dancer,” “Oca,” “Gumapang Ka Sa Lusak,” and “Hahamakin ang Lahat” for Lino on top of an aborted project for Columbia Pictures and other foreign projects that went with Brocka when he died.

“Very motherly siya and very protective,” Ricky recollects. “Tinatanong ka niya kung kumain ka na ba, kung sinusuwelduhan ka ba ng tama, o kung may problema ka. Aalagaan ka niya at ipaglalaban ka niya.”

Ricky’s first impression on Lino was “bigger than life”. He was “loud,” he says and “ang dumi-dumi ng bibig”. He also thought of him as “pakialamero” in a good sense. He always wanted to be involved with his actors’ and collaborators’ personal lives.

“Makikipag-away ‘yan sa ‘yo. Pupunta na siya sa gitna ng battlefield fighting for you kahit hindi niya pa alam ang buong isyu. Tapos lilingon siya sa ‘yo at itatanong, “Ano nga ba ulit ‘yung problema mo?”” Ricky recalls smiling.

Ricky and Lino had been to many pitches, the first major battle in filmmaking, as they always say. He was there when producers wouldn’t touch him even with a ten-feet pole for having a reputation as a “serious” filmmaker. At the height of bang-bang-pow-wow action films in the early ‘80s, they were able to convince a producer to bank on them only to end up with a more drama than action flick “Cain at Abel”. There was a time Brocka didn’t start shoot when he learned that Ricky and the other crew members didn’t get their just downpayments from a producer. And then there’s the story, which is almost legendary now, on their meeting with Columbia Pictures head honcho David Putnam. When asked how long it would take for them to finish the full script of “Guardia de Honor,” they gave the Hollywood producer the answer of “one month”. Sensing hesitation on the bigwig’s face, the two conferred and gave “two weeks” as their final offer. It turned out, Putnam couldn’t believe that it was possible to write a full-script as quickly as a month. If it had happened today, Brocka would have answered in jest, “Walang ganyan sa States!”

“Lino is a very passionate person. Siya ang taong pambihira mong makita na walang nararamdaman o walang opinion o walang passion about something,” says the renowned scriptwriter. “That was I feel a far bigger, bigger loss than the films that he could have made and the film projects that he could have done for the industry. Ang malaking kawalan talaga ay ang pagkatao ni Lino Brocka, the partisan Lino Brocka, the involved activist Lino Brocka, the pakialamerong Lino Brocka, the wholistic Lino Brocka na walang paghahati, and most importantly the Lino Brocka na hindi takot pumunta sa kalsada to be involved in issues. Malaking force ng strength and inspiration ang nawala sa industriya.”

As film editor of seventeen of Lino Brocka’s movies that include his locally and internationally-lauded ones such as “Tinimbang Ka Ngunit Kulang,” “Insiang,” “Jaguar,” and “Bona,” Direk Augusto “Augie” Salvador shares the same sentiments.

“Aktibista pa rin pihado siya ngayon,” Direk Augie assures. “Kung buhay ‘yon, disgusted ‘yon tiyak sa takbo ng industriya ng pelikula. Sasagupa na ‘yan. Paparada na sa daan. Laban sa piracy, laban sa mataas na taxation, laban sa mataas na raw materials, laban sa pagpapabor ng gobyerno sa mga foreign films kesa local movies, at laban sa lahat ng ills ng society. Lahat na siguro ngayon sasama na kay Lino Brocka.”

The oldest active film director and film editor is the same age as Brocka if the filmmaker was still around and would have, according to him, still be doing films like him but already on selective basis. “Kasi asa’n na ba ‘yung mga magagaling na kasabay ni Lino Brocka? ‘Yung mga sumunod sa kanya gaya nina Marilou Diaz-Abaya, Peque Gallaga, Mike de Leon, Laurice Guillen, at Mario O’Hara? Nakakalungkot pero mga wala nang ginagawang pelikula,” he sadly says.

He is also disappointed over the fact that to an Edsa Dos generation, the name Lino Brocka is considered, just that, a name, a footnote in history, or a line in their textbooks, if ever he gets mentioned.

“Hindi na nila siya kilala. Hindi na nila alam ang kanyang kontribusyon,” he muses. “Karamihan kasi sa mga bata ngayon patterned na sa foreign films, sa MTV, at sa kung ano pang napapanood nila sa TV. Iba nang technique ang gusto nila. Mga “Matrix” na at “Lord of the Rings”. Nawawalan na ng mukha ang pelikulang Pilipino.”

“Pangalan na lang siya. ‘Yun ang masakit do’n. Hindi na siya naaalala ng mga twenty-year old-pababa as Lino Brocka,” says Brocka’s long time production assistant Boy Roque who was with him in a bar ten minutes before he died.

Having worked with the filmmaker since “Bona” in 1980 as a member of the art department, Roque was in many colorful episodes of Brocka’s life. In pre-demonstrations, he was in-charge of painting the agitated placards that the megman will carry on the streets and distribute to his fellow-industry workers; in actual demonstrations, he’d be behind the director, holding his pants just to make sure he didn’t go as far as the police barricades would want them to be; and when he had crossed the border, he made sure he’ll be down with his idol-director in the prison cells of Camp Caringal or the Quezon City Jail and even Fort Bonifacio with the infamous Marcos Preventive Detention Action (PDA) --- the decree that made the former dictator sole arbiter then of life, imprisonment or death --- hanging above their heads.

“Kung experience, marami akong hindi makakalimutan kay Direk. Pero hindi ‘yon ang pinaka-importante sa lahat kundi ‘yung pagkatao niya,” Roque narrates. “Yung convictions niya, ‘yung prinsipyo niya, makikita mo sa simpleng pamumuhay niya. Hindi para sa kanya ang pera niya. Ipinamamahagi niya. Kapag may nagkasakit sa industriya, may namatay, may nangailangan ng pera, minsan kahit huling pera na ni Direk sa bulsa, ibibigay pa niya.”

“Hindi niya kino-compromise ‘yung tapang niya at ‘yung prinsipyo niya. Ang madalas na itinuturo sa amin noon ni Direk, kahit anong mangyari, tatandaan daw namin to “be sensitive sa kapwa niyo. Feel for them. Tingnan niyo kung paano niyo makikita ‘yung tingin ng ibang tao, ‘yung saya ng ibang tao. Maging sensitive kayo sa kanila.” Kahit hindi ka yumaman, ‘yun lang ang makuha mo, sabi niya, successful ka na sa buhay mo,” he adds.

That’s why, like Direk Behn, Ricky, Direk Augie, and countless other friends, colleagues, comrades, and even foes at that, were shocked when news got them the next day of his tragic loss. To an industry, it lost a powerful voice. To the parliamentarians of the streets, it lost an eloquent ally. To a nation, it lost an influential soul. To a world in waiting, it lost a forceful filmmaker.

“Nawalan ng poste, nawalan ng haligi, nawalan ng matapang, at nawalan ang industriya ng konsensya,” Ricky Lee laments.

“Nawala ‘yung boses,” says Direk Augie. “Andaming magagaling na bata ngayon na direktor pero wala silang boses. Wala silang Lino Brocka.”

“First and foremost, we lost a great Filipino filmmaker. We lost a Filipino storyteller. To him, the only international in cinema is his camera. What he captures in his camera has a cultural basis and has a cultural bias. He stayed true to himself and he stayed true to being a Filipino,” Direk Behn imparts.

In an industry diagnosed to be dying and losing to Hollywood’s aggressive and arrogant assaults, perhaps the only remedy will be for this generation to revisit Lino Brocka’s roots and relearn his examples. Although there can only be one Lino and one Brocka, there can be hundreds of Filipino filmmakers who can be as strong and passionate as his convictions. For the Pinoy movie industry to once again flourish and for its poor masa viewers to once again appreciate the art of Pinoy filmmaking made especially for them, Brocka’s teachings have to be dusted off the shelves. A re-education must be in place. For we may have lost a Brocka revolutionary but a Brocka revolution should and must continue to live on.

ANG PINAKA-‘ASTIG’ NA TRIP NI DIREK JON RED

2006-06-10T08:17:00.000-07:00

NOTE: Some time back in 2002-2003, to make ends meet, I wrote articles for a Baguio-based newspaper SKYLAND NEWS and for PINOY WEEKLY. Here are some of the articles tha came out which I am sharing and saving here on my blog.

ANG PINAKA-‘ASTIG’ NA TRIP NI DIREK JON RED

HINDI ko na maalala kung ano ‘yung eksaktong tinext ni Direk Jon Red nang yayain niya akong maging bahagi ng “Astig,” ang bago niyang full-length digital film na magpe-premiere ng libre sa Pebrero 10, alas-7:00 ng gabi, sa CCP Little Theater. Basta ang naaalala ko lang, sabi niya, isang Kowloon na siopao daw ang talent fee ng lahat na sasama sa bago niyang ginagawa, mula sa kanya pababa sa mga artista hanggang sa mga nagsisilbi ng kape at pagkain sa set. Nagreklamo pa nga ako. Sa hirap ng buhay, tumaas na kasi ang talent fee ko. Dagdagan niya kako ng dalawang siomai at pihado mapapa-“Oo” ako.

Ang totoo niyan, hindi mahirap mangumbinsi ang isang Jon Red. Halos lahat ata ng matitinong artista ay gustong maging bahagi ng kanyang pelikula kapag nalamang may ginagawa siya. Patunay lamang nito ang mga taong pumara at sumakay sa bago niyang “trip” na pinapasada bagama’t, tulad ko, siopao lamang ang bayad na maipapangako niya. Minsan, kahit wala pa nga. Puno ng mga artista mula sa mainstream cinema, telebisyon, teatro, at independent scene ang bagong biyahe ni Jon. Kandungan pa nga bukod sa mga nakasabit sa estribo sina Albert Martinez, Francis M, Jeffrey Quizon, Alessandra de Rossi, Ronnie Lazaro, Jaime Fabregas, Nonie Buencamino, Dido dela Paz, Shamaine Centenera, Errol Dionisio (sa kanyang kahuli-hulihang pagganap), Maverick at Ariel, Jackie Castillejo, Benjie Felipe, China Cojuangco, Hector Macaso, Gary Rada, Raul Morit, Tado, at ang pinakasorpresa sa lahat, sa kanyang kauna-unahang pagganap sa isang eksperimental na digital film, si Robin Padilla.

“Ni hindi nga siya nagdalawang sabi, e. Pagkasabi pa lang niya na gawa tayo, “Oo” kaagad ang sagot ko,” pahayag ng tinaguriang Bad Boy ng Pelikulang Pilipino. “Hindi ko naman gagawin kung hindi ko nirerespeto si Jon, unang-una bilang tao at pangalawa bilang matalinong tao. Meron siya nung tinatawag na “kumpas”.”

Dalawang beses nang naudlot na magsama sa pelikula sina Direk Jon at Robin. Nu’ng 2002, nilakad ni Binoe si Jon sa isang Hapon na prodyuser para sa isang proyektong may pamagat na “Biyahe” (na ang manunulat sana na ito ang iskriptwrayter). Ginawa ito ni Binoe matapos niyang mapanood sa UP Film Center ang kauna-unahang idinerek ni Jon para sa mainstream cinema, ang “Utang Ni Tatang”. Naitambak ng prodyuser ang kwento subalit hindi nawalan ng pag-asa ang dalawa na makagawa ng isang matinong pelikula. Nu’ng isang taon, muling kumatok ang pagkakataon nang may nagpahayag ng interes kay Jon upang kunin siyang direktor sa pelikulang “Gabriela,” ukol sa buhay ng pinakamatapang na babaeng Katipunera. Agad na tinawagan ni Jon si Robin upang ibigay rito ang papel na Diego Silang habang nagpapa-audition siya para sa gaganap na Gabriela. Ngunit, tulad ng dati, bigla muling nag-iba ang timpla ng magpipinansya at umatras na magtapon ng pera dahil sa gumegewang-gewang na sitwasyon ng industriya ng pelikulang Pilipino. Dito nabuo kay Jon ang balak niyang gumawa na lamang ng sarili niya.

“Kung gagawa tayo ng pelikula, huwag na tayong maghintay na may magpagawa sa atin. Ganoong attitude, ganoong frustration, at ganoong aspiration. Tayo-tayo, gumawa na lang tayo,” sambit ng 40-taong direktor at nakatatandang kapatid ng isa pang tanyag na indie at rebolusyonaryong director na si Raymond Red.

Sa angas na ito ni Direk Jon nabuo ang “Astig”. Hinugot niya ang ilan sa mga dati niyang kuwento na lagi niyang inilalako sa iba’t ibang kumpanya sa industriya at pinagsama-sama ang ilan sa mga karakter at ideya niya dito. Anim na buwan niyang nilamay ang paghihimay at pagsusulat hanggang sa mayari niya ang siyang tunay niyang nais gawin.

“Obligasyon ng isang manunulat na baliin niya ang nakasanayang paraan ng pagkukuwento ng istorya. Kailangang ipresinta niya ito sa ibang paraan,” ani ni Red.

At halos lahat nga ng nakaugaliang tradisyon sa pelikulang aksyon ay nilabag ni Direk Jon sa “Astig”. Sa kuwento pa lang medyo magkakainteres ka na. Lumilibot ito kay Bien (Robin), isang assassin na sa lahat ng magiging sakit ay “astigmatism”. Ang buong pelikula ay mapapanood mula sa “point of view” ng karakter ni Robin. Nagbibigay ang pelikula ng pakiramdam na parang isang interbyu o kaya’y isang monologue dahil lahat ng kumakausap kay Bien ay kumakausap sa kamera na si Robin ang nagpapatakbo. Naririnig natin ang boses ni Robin pero makikita lamang natin siya kapag tumitingin siya sa salamin. Binibigyan nito ng pagkakataon ang manonood na maging bahagi rin ng palabas at mamuhay sa mundo na ginagalawan ng pangunahing tauhan.

Ayon din kay Red, ang “Astig” ay bahagi ng isang trilogy kung saan ito ang gitnang kuwento na magdidikit at maghahabi sa dalawa niyang naunang trabaho, ang digital pioneer na “Still Lives” na ipinalabas noong 1999 at ang “Utang Ni Tatang” na umani ng Best Cinematography at Best Production Design noong 2002 Manila Film Festival. Bukod sa mga trabahong ito, nakalikha na rin siya ng ilan sa mga maimpluwensiyang short films sa kasaysayan ng independent cinema. Nariyan ang “Es” noong 1988 na ipinalabas sa Belgium Mondial dela Video Festival, “Tiempo” (1991), ang 1993 Metro Manila Film Festival nominee para sa Best Short Film “Trip”, ang maka-manggagawa na “Pabrika” (1995), ang anti-Martial Law na “The True, The Good, and The Beautiful” (1998), at ang dokumentaryo tungkol sa Abu Sayyaf kidnapping na “Bihag” na ipinalabas noong isang taon ng ABS-CBN. Direktor din si Jon ng mga pambatang palabas sa nasabing istasyon gaya ng “Hirayamanawari,” “Pahina,” “Sineskwela,” at “Epol/Apple”. Siya rin ang sumulat ng “Radyo” ni Direk Yam Laranas nu’ng 2001 na bumigla sa mga manonood sa bagong istilo ng pagkukuwento ng isang action-black comedy-thriller.

“Very improvisational si Jon, very experimental, very subversive, at very daring,” ayon kay Larry Manda, kaibigan at cinematographer ni Jon sa halos lahat ng naging trabaho nito sa loob ng sampung taon, kabilang na ang “Astig”. “May paraan siya para pagaangin pa lalo ang shoot. Siguro dahil sa sense of humor niya at siguro du’n sa state of mind niya sa tuwing magus-shoot. Wala kang makitang ka-pressure-pressure. Kung meron man, itinatago niya ‘yun o meron siyang paraan para hindi ipakita ‘yun.”

“Dynamic” naman ang matatawag sa kanya ng beteranong artista sa teatro na si Dido dela Paz. “Hindi siya plastik. Hindi siya nagpapaka-Hollywood kasi alam niyang hindi tayo Amerikano. Gusto niyang maging Filipino ang kanyang mga pelikula and be good at it. Meron siyang deeper insights kung paano ihahain ang istorya sa manonood na kapag nasanay na sila ay mas maghahanap na sila ng mas may kalidad na mga trabaho at hindi ‘yung basurang isinusubo sa atin ng Hollywood.”

Ayon kay Direk Jon, “laro” at “exercise” lamang kung ituring niya ang kanyang mga trabaho. Mas magaan daw kasi ang trabaho kung itinuturing itong mistulang “jamming” lang. Dagdag niya, sa bawat isa na kanyang idiniderehe ay para siyang estudyante na nag-aaral pa. “Sa buhay kasi, hindi ka natatapos maging estudyante. Pero kailangan hindi ikaw ‘yung estudyanteng seryoso at boring. Mas parang estudyante na naglalaro lang sa loob ng eskwelahan.”

Sa kasalukuyan, naghihintay si Direk Jon na maapruban ang alin man sa mga konseptong kanyang isinumite sa iba’t ibang malalaking produksyon. Kung walang mangyari sa mga ito, nakahanda siyang sumabak muli nitong bakasyon upang gawin ang “Kubeta,” isa na namang digital full-length film tungkol sa isang lalaking naglilinis ng inidoro na kumalaban sa malupit na pulitikong kapag umutot ay nayayanig ang buong kapuluan.

“Kapag maagang matapos, tamang-tama siya sa eleksyon,” nakangiti nang asam ng direktor. “At masaya kami kung may participation ulit ang mga mainstream actors.”

Sa panahon ngayon na mistulang pinamamahal na talaga ng mga dayuhang mangangalakal ang paggawa ng pelikula upang sa gayon ay mga pelikulang mula sa Hollywood na lang ang panoorin ng madla at sa patuloy na ring pagkatakot ng mga prodyuser na sumugal sa mga hindi pangkaraniwang konsepto at istorya, ang ginagawang rebolusyon ni Jon at mga kasamahan nito na lumikha ng mga pelikula sa pamamagitan ng digital camera ay isang magandang simulain upang muling mamukadkad ang mahuhusay, alternatibo, at mapagpalayang mga kuwento na magbubukas muli sa kaisipan ng mga Pilipino. Kung hindi man magawa sa 35mm na kamera ang mga rebolusyonaryong ideya na ipinamalas noon nina Lino Brocka, Ishmael Bernal, at Mike de Leon, ang digital filmmaking na maaari ang bago nitong midyum na tagapagsulong.

“Panahon na nga siguro para gumawa tayo ng mga pelikulang pinaniniwalaan natin,” ani ni Jon. “Panahon na para sa mga bagong filmmakers at mga bagong eksperimentasyon. Panahon na rin para sa isang bagong wave.”

Isang ‘astig’ na hamon mula maaari sa pinaka-astig na direktor sa ngayon. Isang astig na hamon na pihadong didinggin ng mga bagong manlilikha ng pelikula sa makabagong panahon. May siopao man o wala mula sa Kowloon.

ERIK MATTI: VISUAL PIMP (2002)

2006-06-10T08:13:00.000-07:00

NOTE: Some time back in 2002-2003, to make ends meet, I wrote articles for a Baguio-based newspaper SKYLAND NEWS and for PINOY WEEKLY. Here are some of the articles that came out which I am sharing and saving here on my blog.

ERIK MATTI: BUGAW NG MGA BISWAL

PAKIRAMDAM ni Direk Erik Matti ay isa siyang “puta”.

“Minsan dumarating talaga sa buhay mo na pakiramdam mo ay isa kang prostitute,” ayon sa 30-taong director. “Sa sitwasyon na kinakaharap ng industriya ngayon --- krisis, kakulangan sa pera, piracy, kakulangan sa suporta ng gobyerno, pulitika --- pakiramdam mo puta ka na talaga… Isang malaking putahan ang Pilipinas.”

Hindi lang si Direk Erik ang unang direktor na nagsabing puta ang maging isang manggagawa sa pelikula. Ang premyadong Swedish director na si Ingmar Bergman ay nagsabing puta ang tingin niya sa sarili niya kung kaya’t ayaw na niyang gumawa ng pelikula. Si Direk Erik, bagamat dumaan at kasalukuyan pa ring dumaraan sa napakaraming pagsubok, ay nag-aanak pa ring ng mga mapanukso at mapang-akit na mga biswal na nagsisilbing halintularan at hulmahan ng mga batang filmmakers.

Sinasabing si Erik Matti ang nagsisilbing tagapamuno ng makabagong alon ng mga filmmakers sa bansa. Edad 26-anyos siya nang una niyang ginawa noong 1997 ang kanyang kauna-unahang pelikula, ang kontrobersyal na “Scorpio Nights 2” para sa Viva Films. Binasag niya ang makalumang tradisyon ng paggawa ng pelikula sa mga sumunod niya pang mga likha gaya ng “Ekis,” “Sa Huling Paghihintay,” “Pedro Penduko II,” “Dos Ekis,” at “Alas-Dose” (na 80% niyang dinirek pero personal na hindi pinalagay ang pangalan sa credits dahil sa hindi pagkakaunawaan sa isang miyembro ng produksyon).

Bugaw

Kung tutuusin, hindi puta si Direk Erik. Mas bugaw pa nga siya kung tutuusin. Ibinugaw niya sa ating harapan ang mga
katawan nina Joyce Jimenez (Scorpio), Sunshine Cruz (Ekis), Maureen Larrazabal (Ekis), Rica Peralejo (Dos Ekis) at Raven Villanueva (Dos Ekis) sa isang paraan na masasabi nating hindi bastos kundi mas nahahanay sa sining. Ibinugaw niya rin sa atin ang mga kakaibang biswal na sa kanyang mga pelikula pa lang natin nakita sa kasaysayan ng pelikulang Pilipino. Sino ang makakalimot sa mga maiinit na eksena ni Albert Martinez at Joyce Jimenez sa loob ng library ng isang pamantasan, maging sa isang makipot na dormitoryo sa University Belt? Ang pakikipagduwelo ni Albert Martinez sa swimming pool sa “Ekis” at ang pagsasayaw ni Sunshine Cruz sa tapat ng refrigerator? Sa “Pedro Penduko II,” angat na angat ang disenyong pamproduksyon at ang kakaibang uri ng komedya na inihain ni Matti samantalang kakaibang pelikulang aksyon naman sana ang gusto niyang mangyari sa “Alas Dose”. Sa “Sa Huling Paghihintay”, trailer pa lang ng underwater na halikan nina Rica Peralejo at Bernard Palanca ay naihanay na natin ito sa mga pelikulang banyaga, lalu pa nang mamalas natin ang eksenang may mga paru-paro sa bukid at ang unti-unting pagbagsak ng mga bulaklak sa isang kalye. At sino ang makakalimot sa sayaw ni Rica Peralejo sa “Dos Ekis” o kaya sa nakabaligtad na movie screen na tinitirhan ni Mark Anthony sa isang sinehan? Siguro nga tama ang sabi ng isang batikan na director na nakausap ko mga ilang buwan na ang nakakaraan: Si Erik Matti ang pinakamahusay na direktor sa pelikula sa panahon ngayon. At nakakatakot raw ang posisyon niya.

Prosti

Kung totoong si Erik Matti ang pinakamahusay na director sa panahong ito, nakapagtataka na ang kanyang kahuli-hulihang pelikula (“Dos Ekis”) ay noong Oktubre noong isang taon pa ipinalabas. Ayon sa isa niyang istap, “natatakot” daw kasi ang mga dati nitong prodyuser sa mga konsepto at mga eksperimentong gustong gawin ni Direk Erik sa paggawa nito ng pelikula. Bagay na pinabubulaanan naman ng kabilang kampo.

Gayunpaman, para sa isang taong minsan nang nagsabi na mabubuhay siya at mamamatay na gumagawa ng pelikula, ang pagburo at pagsakal sa kalayaan ni Erik Matti na lumikha ng sining na siyang natatangi niyang gustong gawin ay naging malaking dagok sa personal at propesyonal niyang buhay. Kung kaya, nang makasilip siya ng isang palya sa kanyang kontrata, agad siyang lumigid sa iba’t ibang produksyon upang ilako ang kanyang serbisyo at mga kuwento. Isa na rito ang pelikulang “Prosti” para sa Regal Films na nagsimula muna bilang “Bugaw” nang ang manunulat na ito (nagsulat ng konsepto ng pelikula) at ang direktor ay parehong nabuwsit sa industriyang kanilang ginagalawan.

“Ang intensyon ko talaga sa pelikula ay ipakita ang istorya sa point of view ng isang filmmaker. Na ito ay isang istorya tungkol sa akin at sa aking industriya,” paliwanag ni Direk Erik sa Ingles. “Isa itong maliit na istorya tungkol sa mga prostitutes kung saan ang mga prostitute ay hindi tinatratong mga biktima. More human, less cliché, more honest, at less politically-correct.”

Pinangungunahan ng bagong aktres na si Aubrey Miles at ni Jay Manalo, ang “Prosti” ang bagong pelikula ng Regal na magtatanghal sa ibang mukha naman ng mga prostitutes na hindi natin madalas makita sa pinilakang-tabing. Bagamat napakarami na ng mga pelikulang ginawa tungkol sa mga babaeng nagkakalakal ng kanilang katawan, ang “Prosti” pa lang siguro ang magpapakita ng mas natural na pagsasalita at pag-iisip ng mga prostitute.

“Hindi namin sila tinratong mga biktima rito bagamat totoong mga biktima sila. Lagi na lang kasi na kapag gumagawa tayo ng mga pelikula tungkol sa mga prostitute, parang ipinapakita natin na hindi sila marunong magdasal, na pinarusahan sila ng Diyos, na pumasok sila dahil sa kahirapan lang,” pagsasalaysay ni Direk Erik. “Ang buhay ng mga puta ay hindi lamang umiikot sa pag-iisip na biktima sila. May mga ambisyon din sila, may mga buhay. Umiibig sila, nagsasaya, nagsisimba, nagbibiruan, at nag-aaway. Mga tao sila at hindi cartoon character. Tao rin silang katulad natin. May mga problema rin silang tulad natin. Gusto rin nilang magka-cellphone gaya ng isang normal na estudyante diyan.”

At ito nga ang mga imahe na mamamalas natin sa “Prosti”. Sa isang advanced preview na isinagawa noong Setyembre 14 sa Roadrunner sa Timog Ave., ipinakita ng bagong obra ni Direk Erik ang iba’t ibang mukha at pagkatao ng mga prosti. May maliit ang suso, may malaking suso, may mataba, may payat, may mabenta, may hindi mabenta, may bago, may laos na, may nagnanais mag-artista, may nagnanais na makapag-asawa, may mag probinsiyanang nagpapagamit ng katawan para matustusan ang kapatid sa probinsyang nagpapabuntis naman pala, at kung anu-ano pa. Maging ang mga kostumer ng putahan ay iba-iba. May malaking tao, may maliit na tao, may mataba, may payat, may mabango, may mabaho ang paa, may nagpapakasawa, may naghahanap ng mapapangasawa, may mapera, may barya-barya, may mataas na opisyal ng gobyerno, at may simpleng estudyante. Lahat sila sa putahan ang punta dahil ayon nga kay Nanay Xedes, ang karakter ni Racquel Villavicencio sa pelikula,”Kaya sila pumupunta rito ay dahil sa pantasya at kapangyarihan.”

Kepyas

Isa pang malakas na makakatawag pansin sa pelikula ay ang eksena kung saan kinukuwenta ni Jay Manalo ang kikitain ng Pilipinas sa isang taon kung lahat ay magpuputa.

“Kepyas ang sasagip sa Pilipinas,” ani nito.

Kung papasadahan, simpleng tirada. Gayon din ang eksena kung saan binabanatan si Aubrey Miles ng Governor sa ibabaw ng mesa nito (i-suspense na lang natin ang manonood at baka rin mapuna ng MTRCB). Pero para sa isang director na hindi naman kilala sa paglalagay ng mga pulitikal na mensahe sa kanyang pelikula, nakakabigla ang mga imaheng ginagamit ngayon ni Direk Erik. Ibang-iba ang “Prosti” sa mga naunang pelikula ni Matti. Wala ito ng mga nakasanayang cinematics at laro ng camera ni Erik, gayun na din ang mga smoke machine effect at madudugong tuhog na nakasanayan na.

“Mahusay si Erik Matti sa blocking. Master na niya ‘yon. Napaka-passionate niya rin sa trabaho niya pero makikita mong hinahanap niya pa ang daan niya. Sana makita niya,” ayon sa cinematographer na si Larry Manda, 2002 Manila Filmfest Best Cinematographer at nakasama ni Direk Eirk sa “Sa Huling Paghihintay”.

At mukhang ito na nga ang timplang iyon. ‘Yun e kung hindi mahaharangan ng paboritong ahensya ng gobyerno ni Direk Erik, ang sinasabi ring “Most X-ed Director” ng nakaraang limang taon.

“Excited ako na ninenerbiyos. Nakakatakot siyempre na mag-submit ng pelikula base sa mga pelikulang binigyan ng ‘X’ ng MTRCB,” paglalahad ni Direk Erik patungkol sa mga pelikulang “Laman,” “Bakat,” at “Ang Galing, Galing Mo, Babes”.

“Hindi mo alam kung ang magre-review ng pelikula mo ay marunong nga talagang manood ng pelikula. Ang problema kasi dito sa atin, konting-konti lang talaga ang marunong manood ng totoong “pelikula”. Nakakatakot para sa mga katulad kong gumagawa ng R-18 movies. Pag sinabi kong R-18, hindi ibig sabihing bold kundi mga pelikulang may matatapang na tema at medyo sensitibo at kritikal. Ang dami kasing gusting gumawa ng mga R-18 movie pero dahil sa tipo ng MTRCB natin at sa paraan ng pagbibigay nila ng ‘X’, natatakot sila baka kasi hindi na maipalabas,” dagdag pa nito.

“Ang gusto kasi ng MTRCB e ‘yung loveteam movies at slapstick comedies. ‘Yung mga R-18, ayaw nila kasi tumatalakay sa lipunan, sa human nature, sa human condition. E ‘yun ang gustong gawin ng mga filmmakers na may gustong sabihin sa mga pelikula nila. Daring structures, daring visuals, daring themes. E kaso nga binabanatan ang pelikula ngayon kasi mas madaling banatan kesa corruption in the government. Nagiging pambawi nila ang pag-attack sa movies sa kanilang mga kasalanan sa ibang departments. Sana lang, tingnan nila ang intent ng isang pelikula,” pangahas na sagot ni Matti, isa rin sa mga Board Members ng Directors Guild (DGPI).

Kung kaya, bagamat mainit ang pagtanggap ng publiko sa teaser ad ng pelikulang “Prosti” sa TV at mga sinehan at sa pangunahing artista nito na sinasabing ipapalit kay Assunta de Rossi, malakas pa rin ang kabog ng dibdib ng mga naging bahagi sa produksyon ng pelikula lalo’t ipapalabas na ito sa Oktubre 2. Doble naman siguro ang kaba ni Erik dahil may ginagawa siyang bagong pelikula, ang “Una’t Huli” na pinagbibidahan ni Richard Gomez at Aubrey Miles muli na may sensitibo ring tema. Ngunit anu’t anupaman, sanay na siguro si Direk Erik. Gagawa’t gagawa pa rin siya ng pelikula kahit pa marahas at kritikal gumawa ng pelikula sa mga panahong ito. Sanay na sanay na siya.

Para saan pang tinagurian natin siya kaninang “puta”.

ERIK MATTI: VISUAL PIMP
By SIGFREID BARROS-SANCHEZ

DIREK Erik Matti feels that he’s a prostitute.

“Sometimes, you get to a point that you really become a prostitute,” admits the 30-year old director. “Given the situation that the industry is facing --- crisis, the lack of money, piracy, the lack of government support, politicking --- you really feel sometimes that you’re a whore and the Philippines is one, big whorehouse.”

Not since Swedish director and world film legend Ingmar Bergman did someone openly declared that being a filmmaker makes one a whore. Bergman said such when asked why he decided to quit making films despite very much at the peak of his creativity. Although not a Bergman, Direk Erik has gone through a lot for somebody who’s only five years into the business. He has risked personal, mental, and emotional aspects in his life to give birth to tempting and enticing works of art that serve as measurement and model for today’s emerging, young filmmakers.

If the 70’s and the 80’s has Brocka, Bernal, and De Leon and the 90’s has Lamangan, Roño, and Siguion-Reyna, pundits say that Matti spearheads the 2000 wave. He was 26-years old when he did his first film in 1997, the very controversial “Scorpio Nights 2” for Viva Films. He shattered the conventional and traditional way of filmmaking and storytelling with his next five assignments: “Ekis” (1998), “Pedro Penduko II” (1999), “Sa Huling Paghihintay” (2001), “Dos Ekis” (2001), and “Alas Dose” (2000) (80% of which he directed but decided to pull-out his name after a misunderstanding with a major member of the production).

Pimp

If we really look at it, Direk Erik is not exactly a whore. He is more of a pimp. A visual pimp. He has peddled before us the bodies of Joyce Jimenez (Scorpio), Sunshine Cruz (Ekis), Maureen Larrazabal (Ekis), Rica Peralejo (Sa Huling Paghihintay), and Raven Villanueva (Dos Ekis) in a way that is not malicious and taboo but more closer to, if not an, art. He sold us visual feasts that we have never before partaken in the history of Philippine cinema.

Who would forget the steamy scenes of Albert Martinez and Joyce Jimenez inside a library and a cramped dormitory in “Scorpio Nights 2”? How about Sunshine Cruz’s “refrigerator dance” and Albert Martinez’s swimming pool gunfight in “Ekis”? In “Pedro Penduko II”, Erik decided to up notches higher the Pinoy’s brand of comedy and production design, while the local action genre would have finally given a different face had he stayed at the helm of “Alas Dose”. “Sa Huling Paghihintay’s” trailer, which saw Rica Peralejo and Bernard Palanca kissing underwater, was at par with Hollywood pieces what more when we viewed its remarkable photography like the butterflies in the field and the falling flowers in high speed. And have our jaws recovered from awe when Rica Peralejo’s dancing body was reflected in stage mirrors or the effect of an inverted movie screen where Mark Anthony Fernandez lives, both in “Dos Ekis”? Perhaps, veteran megman and editor Augusto Salvador was right when he divulged in a movie set a few months ago, “Erik Matti is perhaps the best director in the industry today”. He, however, added that it is not a very secured place to be in.

Prosti

If it’s true that Erik Matti is the best interpreter of the film language today, it is very surprising to know that his very last film (“Dos Ekis”) was done exactly a year ago. According to one of his staff, his former production company was having second thoughts in approving Erik’s concepts for fear of experimentation and unconventional visuals and ideas on the part of Matti. Something that the production company quickly contends.

Nevertheless, for someone who has vowed to make films for the rest of his life, Erik Matti has survived the suppression and containment of his artistic rights to make movies. He saw a glitch in his contract that gained him complete freedom. Immediately, he made the rounds of different major film companies (even minor ones) and offered his services to them. Fortunately, Regal Films opened its doors to the visual genius via “Prosti”, his latest and believed to be his best work. Initially entitled “Bugaw”, the film is a product of this writer (conceptualizer) and Erik’s disappointment over the industry they’ve been roaming around. “Ganti natin sa mga konsepto nating ilang beses na dini-disapprove,” he says.

He further reveals his real intention in making the film, ”I was looking at it from a point of view of a filmmaker. That the story is about me and my industry. It’s a small story about prostitutes wherein they are not treated as victims. It’s more human, less-cliché, more honest, and less politically-correct.”

“Prosti”, which stars newcomer Aubrey Miles and Jay Manalo, essays a different look at the lives of different prostitutes which we don’t normally see on the big screen. Despite having countless films on these female sex traders, the film is perhaps is the first to feature the most natural way prostitutes talk, think, and express themselves.

“We don’t tackle them as victims but yes they are victims. Everytime kasi we do a movie about prostitutes, it seems like they don’t know how to pray, they’re damned by God, that they’re going in because of poverty, and it’s always an excuse,” Erik explains. “Their lives don’t revolve about thinking that they’re just victims. They go on with their lives, they have ambitions, they fall in love, they have fun, they go to mass, they joke around, and they also fight. They’re human beings and not just caricatures or cartoon characters. They’re real people just like us. They have problems just like us. They also want a cellphone like a normal student would want.”

Definitely, these and much more are the images that we will see in “Prosti”. In an advance preview last September 14 at the Roadrunner office in Timog, Avenue, Quezon City (where the film was dubbed and edited), Direk Erik’s newest obra show varied faces and facets of prostitutes as we have earlier written on its first draft: “Putahan. Dito ko na nakita lahat ng hindi madalas makita ng mga tao. Malaking suso, maliit na suso, matabang suso, payat na suso, nag-iingay na suso, mahiyaing suso, mayamang suso, simpleng suso, mabangong suso, may amoy na suso.” Juxtapose that with the customers that frequent the brothel house, “Putahan. Dito nagkikita-kita ang mga taong hindi madalas nagkikita. Malaking tao, maliit na tao, matabang tao, payat na tao, maingay na tao, tahimik na tao, mayaman na tao, simpleng tao, mabangong tao, mabahong tao. Ang putahan ay mistulang lipunang walang uri. Puro ari.” All of them meet and converge at Nanay Xedes’ (Racquel Villavicencio) house of sin because according to her, “Kaya sila pumupunta dito ay dahil sa pantasya at kapangyarihan.”

Kepyas

Another scene in the film that will most probably create a stir and recall to the audience is when Nonoy Laki (Manalo) computes the annual profit the Philippine government can generate if all its population will go the flesh route.

“Kepyas ang sasagip sa Pilipinas!” he exclaims.

A simple political statement from the Bacolod-born director who has seen the crudest and scummiest of the Filipinos when he arrived in Manila ten years ago. He also showed disgust at the government in a scene when Miles gets divirginized on top of the Governor’s table. Visuals show his disgust and it surprises a loyal Matti follower who knows that Direk Erik is not somebody who really puts a strong political message on his films. “Prosti” is every inch different from his past works. It doesn’t have the cinematics and great camera plays Erik used to toy before, nor does it have the presence of Matti’s old reliable smoke effect and crane flippant.

“Mahusay si Erik sa blocking. Master niya ‘yon. Napaka-passionate rin niya sa trabaho niya pero makikita mong hinahanap niya pa ang daan niya. Sana makita na niya,” views cinematographer Larry Manda, 2002 Manila Filmfest Best Cinematographer and who has worked with Erik for “Sa Huling Paghihintay”.

And “Prosti” is perhaps the road that Manda is talking about. According to writer Simeon Espiritu, “Pinakamagandang trabaho ni Erik Matti ang “Prosti”.” With these feathers, he is left with one major hurdle, his favorite government agency. The one who has given him a lot of X-es as grade.

“Excited ako na ninenerbiyos. Nakakatakot for people like me to submit based on the films that were given ‘X’ by the MTRCB,” he divulges, pertaining to the films “Laman,” “Bakat,” and “Ang Galing, Galing Mo, Babes”.

“You don’t know if the ones who’ll gonna review your movies really know how to watch movies. Ang problema dito sa atin, konting-konti lang talaga ang marunong manood ng “pelikula”. Nakakatakot for people like me who are doing R-18 movies. When I say R-18, it doesn’t mean bold movies but films who have really strong themes and medyo sensitive at critical. There are people who plan to do R-18 movies but shy away because it might not even be shown given the ‘X’-es the MTRCB is giving,” he adds.

Direk Erik, one of the director’s guild’s (DGPI) Board Members, has also noticed the following, “The MTRCB favors loveteam movies and slapstick comedies over R-18. R-18 movies kasi say something about either society, human nature, or human condition. Filmmakers want to say something and want to do movies about these. Daring structures, daring visuals, daring themes. E kaso binabanatan ang movies ngayon kasi mas madaling banatan kesa corruption in the government. Nagiging pambawi nila ang pag-attack sa movies sa kanilang mga kasalanan sa ibang departments. I hope they see the real intent of the film.”

Although the public’s attention has been tickled by “Prosti’s” teaser ads on TV and cinema screens during breaks and at the various half-naked photos of its main star in the tabloids, members of the production are still listless as October 2, opening day, draws near. Direk Erik’s heart is even believed to be pumping doubly hard, what with his next film, “Una’t Huli,” which stars Richard Gomez and Aubrey Miles, is undoubtedly charting the R-18 shores. But knowing Erik, he is used to the tension. He’d make his film and his next film and his next, next film, despite these times being hard-pressed and critical times to create such. He’s been used and abused, battered and tattered. He’s

TADO JIMENEZ (2002)

2006-06-10T08:07:00.000-07:00

BIG TIME NA SI TADO
ni SIGFREID BARROS-SANCHEZ

BUGTONG-BUGTONG. Hindi si Diether, hindi si Piolo; hindi si Marvin, hindi si Jericho; lalong hindi si Martin at hindi si Edu. Pero host ng sariling show. Paminsan-minsan nagkokonsiyerto. Lumabas na sa “Trip” at “Pangako Sa ‘Yo”. Nasa “Utang Ni Tatang” at “Radyo”. At madalas niyang raket, MTV, shortfilms, at isang kakaibang brew.

Hindi mo mahulaan?

Tado.

Hindi. Hindi kita minumura. ‘Yun ang pangalan niya: “Tado”. Siya ang bagong komedyanteng ipinaparada ng ABS-CBN sa kasalukuyan sa iba’t ibang mga programa nito. Nakasalamin si Tado na parang nerd, mahaba ang buhok, maliit, payat, at madalas nakapormang hippieng anti-gera: may beads, tie-dye na T-shirt, pinutol na pantalon ng ROTC, at itim na medias na sumasalungat sa kulay puting Chuck Taylor. Dahil nga komedyante ang pagkapakete sa kanya, hindi siya tipong Rexona Boys. Hindi makinis at maputi ang kanyang balat, walang accent at walang maintindihan minsan sa mga Ingles niya, at, marahil, hindi rin kasingkinis ang kanyang kili-kili.

Bagamat hindi produkto ng isang sikat na komersyal sa TV, pumaimbulog ang pangalan ni Tado nang maging isang cult hit ang “Strangebrew,” isang palabas sa unTV 37 tuwing alas-tres, alas-siete, at alas-diyes ng gabi, kung saan dinadala niya tayo at ng kanyang sidekick na si Erning sa iba’t ibang lugar sa Pilipinas para magtanong ng mga bagay na matagal na nating gustong malaman at mga bagay na hindi natin alam kung gusto nating malaman.

“Payag ho ba kayong magkabalikan si Guy at si Philip Salvador?” tanong nito minsan sa isang hardinero sa Lung Center. Sinagot naman siya ng seryosong hardinero, “Nasa sa kanila na ‘yon kung talagang nag-iibigan ba sila, e.”

Ganito ang uri ng comedy ni Tado. Spontaneous na mali-maling mga tanong na sinasagot naman ng spontaneous na mali-maling mga sagot. Ayon sa kanya, hindi nila intensyon ng direktor ng programa na si RA Rivera na maging katawa-tawa ang kanyang mga nakakausap pero sa takbo ng kuwentuhan at interviewhan, at dahil na rin siguro sa mababang budget, kung ano ang kanilang nakukunan ay ‘yon na ‘yung lumalabas. Wala nang Take 2 o Take 3 kumbaga.

Parang nu’ng isinilang siya.

Strangebrew

Dalawampu’t walong-taon na ang nakakaraan nang isinalang siya ng kanyang amang si Jose sa hulmahan ng kanyang ina na si Asuncion sa Leyte. Panganay sa dalawang magkapatid, nagtungo ang kanilang pamilya sa Maynila noong magha-hayskul siya at lumaki sa isang magulong kapitbahayan sa Pasay.

Simula pa lang ay nagpamalas na siya ng kakaibang kilos na nagbigay ng maagang konklusyon sa kanyang ama na kakaiba kumpara sa nakararami ang timpla ng anak. Nahilig itong mangolekta ng mga tabs ng Coke in cans upang balang araw ay gawing wheelchair pag nalumpo raw siya at mga cactus na itinuturing niyang sacred plant. Sa mura ring edad ay nahilig na ito sa pagbubutingting at paglilikha ng sariling sining, bagay na kanyang dinala nang siya’y tumuntong sa PUP-Sta.Mesa. Clinical Psychology ang kursong kinuha niya rito dahil ayon sa kanya, “wala kasing nakapila”. Napabarkada siya sa isang cultural group sa pamantasan kung saan mas lalo niyang nahasa ang kanyang pagiging “artist”. Sa panahon ding ito, inamin niya na naging magulo at palaaway siya. Anim na beses siyang nakulong, tatlong politically-related at tatlo naman sa kasong nag-ugat sa pagsigarilyo sa loob ng jeep hanggang sa marijuana possession. Tipikal na artist, loose, adventurous, at unconvential.

The True, The Good, & The Beautiful (?)

“Risen from the dead ‘yan,” ani ng independent director na si Jon Red. Si Direk Jon ang kauna-unahang nag-cast kay Tado bilang artista noong 1997 nang hindi dumating ang paborito nitong aktor na si Raul Moret. Papel ng isang pinahihirapan at pagkatapos ay sinalvage na aktibista ang naging papel ni Tado sa mala-short film na “The True, The Good, & The Beautiful” ng Foundation For Worldwide People Power (FFWWPP).

“Amuyong lang ako doon at taga-provide ng location,” ayon sa aktor. Nagtatrabaho na bilang writer sa PTV-4 si Tado nang mabalitaan niyang may filmmaking workshop ang Mowelfund. Tinanong niya ang isang kabarkada, na nagkataon palang kapatid ng cinematographer na si Larry Manda, kung paano makapasok sa Mowelfund at dahil walang pera, nakipag-X-deal na lang siya na magtatrabaho sa pamosong film school ng bansa hanggang sa mabayaran ang tuition.

Dahil na rin sa sistemang barkadahan ng Mowelfund, naisama pa si Tado sa mga susunod pang shortfilms ng mga iba pang baguhang direktor. Noong 1998 ay isinama siya ni Glenn Cruz sa 16-minuto na film nito na “Rehab”. Sinundan ito ng 1999 digital breakthrough na trilogy na “Motel” kung saan nagmarka ang kanyang “virginal” acting sa kuwentong “Desperado” ni Nonoy Dadivas. Nagkara-karate naman siya noong 2000 sa “Bruce,” isang tribute short ni Toppel Lee kay martial arts legend Bruce Lee at nag-cameo role kamakailan sa “Piso, Dalawampiso” ni Dennis Empalmado. Kung susuriin nga, mas marami pa siyang kita at raket kesa sa mga gumagawa ng maliliit na pelikula.

“Oo nga, e,” natatawa rin nitong naisip. “Una kasi, puro ka-edad natin ‘yung mga gumagawa ng shortfilms so kahit papaano me pagsasaksakan ako ng role. Pero hindi ko naman talaga inisip na isali ako o aakting ako. Part lang kasi ako ng production. Raket lang ‘to talaga. Nadaanan lang, kumbaga.”

Trip

Kung trip lang nga na maituturing ang naging paglalakbay na ito ni Tado, isang napakamakahulugang biyahe na ang kanyang napasadahan. Itinuturing na Pambansang Tour Guide ng Bayan dahil sa kanyang papel sa “Strangebrew”, kasama na rin siya sa mga programang “Klasmeyts,” “Okey, Fine, Whatever!,” at ilang mga piling episodes ng “Hirayamanawari” ng Dos. Mga ilang buwan na ang nakakaraan, lumabas siyang hippie-dormmate ni Jericho Rosales sa katatapos lamang na teleseryeng “Pangako Sa ‘Yo”. Dahil dito, hindi maiwasang hindi siya makilala ng mga tao, maging sa pinakasuluk-sulukan ng Baguio.

“Hindi ako makatawad sa palengke kasi nakikilala na ako,” kuwento ni Tado. “Putok na putok no’n ‘yung “Pangako…” kaya panay ang tanong sa akin, “Si Jericho? Si Jericho? Asan si Jericho?””

“Pero nagji-jeep pa rin ako hanggang ngayon,” bawi nito.

Malaking adjustment rin kay Tado ang paglipat ng kanyang sining mula sa maliliit na teatro gaya ng UP Film Center patungo sa komersyal na boob tube. Unang-una, iba ang disiplina ng mainstream sa indie at shortfilms.

“Iba ‘yung humor nila,” pag-amin nito. “Sumasakay na lang ako kung ano ‘yung agos do’n. OA. Hindi ka makapag-ad lib kasi supplied ‘yung humor unlike sa “Strangebrew” na abstract.”

“Atsaka malala ‘yung disiplina, pare,” dagdag ni Tado. “Call time alas-otso, ma-late man ako limang minuto lang. Magsu-shoot kami 10:30 o 11:00 na! Tapos hindi maayos ‘yung breakdown. Kung ano ang maisip, tira-bahala. Sa kanila hindi kupal ‘yon pero sa Mowelfund hindi puwede ‘yon! Maling gawain ‘yon! Mas magaling pa nga akong mag-ilaw kesa sa mga taga-Dos! Alam mo naman ang ilawan do’n: “Bulaga Lighting”!”

Utang Ni Tatang

“Ano nga ba ang utang ni Tatang?” Ito ang madalas itanong ng karakter ni Tado sa pelikulang tuluyang nagpasikat sa kanya sa tirahang-masa. Bago pa man siya sumabak sa obra na ito ni Jon Red, naging bahagi na rin siya ng tatlo pang pelikula: “Trip” ni Gilbert Perez, “Radyo” ni Yam Laranas, at “Akala Mo” ni Lyle Sacris. Rumaket din siya sa mga MTV ni Robert Quebral gaya ng “Harana,” “Swimming Beach,” at “Sori Na” ng Parokya Ni Edgar at isang MTV ng Rivermaya. Nagkaroon rin siya ng banda noon, ang Gitaw, kung saan napasama ang isa nilang kanta sa isang compilation album ng Documento Records. Subalit, sa pelikulang “Utang Ni Tatang” siya hinayang na hinayang.

“Hindi ako naniniwalang hindi ‘yon kaya ng audience. Hindi siya na-market ng todo kasi sa incentive pa lang sa Manila Filmfest at sa video rights e bawi-bawi na ang producer. Takot pa rin silang sumugal sa isang pelikulang tulad ng “Utang”,” tahasan nitong banggit.

“Ang problema kasi sa mainstream, nakikita nila na threat sa kanila ‘yung mga bagong director. Alam mo naman sa industriya natin, ang mga gumagawa ng pelikula e ‘yung mga tatay e dating director at natuto lang konti, gumagawa na rin. Darating ‘yung time na malalaman ng mainstream na may iba pa palang paggawa ng pelikula,” komento nito.

Pangako Sa ‘Yo

Kapag walang taping at walang raket na shortfilm, ginugugol ni Tado ang kanyang panahon sa kanyang tatlong babaeng anak na sina Leidulataja, 6, Diosa, 4, at Indi, 2, mula kay Lea Segovia na kanyang kasintahan sa kolehiyo. Sa isang inuupahang bahay sa Marikina, nawawala ng bahagya ang kanyang angst at kabulastugan sa piling ng tatlong batang tinatawag siyang “ama”.

“Perseverance, study well, and good sleeping habits. ‘Yan ang ibinibilin ko sa kanila kasi ‘yan ang principles ni Tado, e,” magkahalong kalokohan at seryoso nitong namutawi sabay banat na, “Pero ayokong gayahin nila ako. Ayokong maging artists sila. Putang-ina! Walang pera sa art!”

Sa kasalukuyan rin ay pinagpaplanuhan na niya ang kanyang kauna-unahang shortfilm na siyang matagal na niyang gustong gawin. “Parang Woody Allen film na Steve Buscemi lang ang artista.” Idol niya kasi si Buscemi at mas dito ibinabagay ang acting kesa sa madalas mapansing Garth na character ni Dana Carvey sa Wayne’s World. “Mamarka talaga sa ‘yo kahit maliit ang role niya.” Tinatapos rin nila ng kanyang mga kasama ang isang tribute film kay Rox Lee, ang ama ng mga Pinoy indie filmmakers, sa pamamagitan ng paggawa ng sequel sa “Juan Gapang” nito. Bumuo rin siya ng bandang new school punk, ang Big T.T. (Time Tado) na nag-ambag ng isang kanta sa soundtrack ng “Utang”. At kung matutuloy rin ang planong isapelikula ni Jon Red ang dalawa nitong scripts na “kuBeta” at “Martial Law Babies,” may nakareserba nang role kay Tado dito.

“Makulit ‘yan pero sumusunod naman,” ayon sa kanyang “discoverer”. “Tulad ng comment niya sa “Still Lives” ko, gano’n din masasabi ko sa kanya: may effort.”

At kung saka-sakaling magkaroon ng pagkakataon si Arvin Jimenez na tanungin ang kanyang alter ego na si Tado, ano kaya ang mala-Strangebrew na kanyang itatanong?

“Malamang wala akong matanong,” ayon sa kanya. “Siguro sasabihan ko na lang na tuluy-tuloy lang at kapag napatunayan mo na ang sarili mo sa ganyan, lahat ng sasabihin mo tama na.”

Sa pagtapak sa big time ni Arvin Jimenez aka Tado, isa lang ang hinihiling natin na sana’y maipangako nito. Na nawa’y maging wais, hindi ‘tado, ang mga diskarte nito.

BIG TIME BECOMES TADO
by SIGFREID BARROS-SANCHEZ

JOLOGS Generation’s cult icon, Tado Jimenez, is slowly feeling the bad effects of success. Baguio was the first to teach him an important lesson.

While roaming around the city’s famous ukay-ukay stalls in Session Road, he was surprised that he couldn’t get a discount like anybody else. He happened to be one of ukay-dom’s top supporter in Manila via the Bambang and Alabang, um, “branches” but it seems Pine City is not receptive of his wisecracks to cut rates unlike a few years before when he was there.

“Nagkataon pala, putok na putok na ‘yung “Pangako Sa ‘Yo”,” he narrates. “Nakilala ako nu’ng mga tindera. Sa “Pangako Sa ‘Yo,” ‘to, e, sabi nila. Kaya, panay tanong sa akin, “Si Jericho? Si Jericho? Asan si Jericho?” Akala nila kasama ko si Jericho at nagsu-shoot kami sa Baguio.”

For those who have erased their memory of the teleserye that made byword the names of Angelo and Ina, aka Jericho Rosales and Kristine Hermosa, Tado played the role of Jericho’s hippie-nerdy dormmate in Manila who, at one episode, gets to bed sexy seductress Bea Bianca (Vanesa del Bianco).

For those who are always glued to their TV sets during primetime, he is that familiar face now regularly beamed on ABS-CBN’s “Okey, Fine, Whatever” and “Klasmeyts”. He can also be seen some mornings of Sundays donning different characters for children’s show “Hirayamanawari”.

As for the Daing-Tuyo-Itlog (Dyologs) Generation, he is no other than one-half of the country’s Official Tour Guide via unTV 37’s cult hit program “Strangebrew”. Actually, it is in this NU 107 UHF Channel, seen everyday every 3PM, 7PM, and 10PM, that Tado and his sidekick-driver Erning became instant celebrities in the tradition of Beavis and Butthead, Ernie and Bert, or even Angelo and Ina.

“’Tang-ina naman, ‘tol! Labo no’n! Hindi naman tayo si Jericho at Kristine!,” he quickly rebuts. “Hindi ko nga matanggap sa sarili ko na komedyante daw ako. Raket lang ‘to talaga. Nadaanan lang kumbaga.”

Radyo

Tado is definitely not a Jericho. He’s not even close to a Marvin or a Diether or a Piolo. Nor is he Power Boys material although his popularity has reached that status and he has some shares of shrieks but for different reasons. With his looks --- long hair, nerd-like glasses, reed-thin body, and a japorms that belongs to the grunge era --- he is absolutely not commercial material. His voice may not even pass for an NU 107 radio jock. But what he possesses is the complete package that the masa loves to chomp and gobble in a Pinoy comedian. His skin tone and built is the Rene Requiestas-type, his peskiness is a cross between a Dolphy and a Chiquito, and his barok-English ways reminds us of that man we, funnily, once put in power.

“Ang gusto ko talaga mala-Woody Allen o Steve Buscemi,” Tado seriously notes. “Gusto ko talaga si Steve Buscemi kasi mamarka talaga s’ya sa ‘yo kahit maliit ‘yung role.”

And Buscemi he tried to aim with his first four film assignments.

Utang Ni Tatang

“Ano nga ba talaga ang utang ni Tatang?” continuously asked Tado’s character in Jon Red’s independent movie “Utang Ni Tatang”. To critics and art film buffs, the flick signified better projects to come for the 28-year old actor who is Arvin Jimenez in real life. His role gave birth to a new breed of comedian as he earned continuous laughs, alongside screen veterans Ronnie Lazaro, Joel Torre, and Jeffrey Quizon, during its premiere at the Manila Film Festival last June.

“Makulit talaga ‘yan pero sumusunod naman,” recalls Direk Jon. “May effort.”

Before “Utang”, Tado had the opportunity to work for some of filmdom’s young and visually talented directors by playing small roles like a security guard in Yam Laranas’ “Radyo”, a provinciano bum in Gilbert Perez’s “Trip” and as a goon in Lyle Sacris’ “Akala Mo”. But the dismal moviegoer-support for Red’s “Utang” affected him the most despite it winning Best Cinematography and Best Production Design in this year’s Manila Filmfest.

“Hindi ako naniniwalang hindi kaya ng market ‘yon,” Tado explains. “Hindi naman na-market ‘yon ng todo kasi sa incentive pa lang ng Filmfest bawi na sila tapos may video rights pa. Ni wala ngang lumabas na trailer sa TV, e!”
The movie, despite a meager budget of less than P3-Million and a less than a week “guerilla” shoot in Tarlac, earned praises for being the only intelligent film of the entries and the only one that dared go against the flow of traditional Pinoy storytelling and filmmaking.

“Nakakahon kasi sila na kailangan lahat ng pelikula may bold. Takot silang sumugal,” he fumes. “Ang problema kasi sa mainstream, nakikita nila na threat sa kanila ‘yung mga bagong direktor. Hindi naman sila balak i-overthrow, e. Gusto lang ipaalam ng mga independent directors sa mainstream na may iba pa palang klase ng paggawa ng pelikula. Na hindi porke’t direktor ang tatay mo at natuto ka ng konti sa paggawa ng pelikula ay puwede ka nang magdirek.”

Trip

If you’re finding it hard to understand why a comedian like Tado could say a mouthful about the film industry’s state, you’ll be even more surprise to find out that he holds in his hand a filmmaking certificate from Mowelfund, the country’s premiere film school.

His trip to strardom started in 1997 when, while working as a writer for a PTV-4 show, he chanced upon an advertisement for a filmmaking course in Mowel. He quickly packed his artist suit and rode the first jeep to its Cubao office right away. Although not having enough money to pay the tuition, he made a pact with the Mowelfund elders to pay them his balance by working for them.

One of his first jobs for Mowelfund was scouting probable locations for shortfilms of the foundation’s promising young filmmakers. It was while Jon Red was shooting a project entitled “The True, The Good, & The Beautiful” for the Foundation For Worldwide People Power (FFWWPP) that Tado’s thespian side was first tapped. Direk Jon’s favorite actor, Raul Moret, failed to arrive at the shoot and the director was desperately in need of an activist figure that would endure bullet torture and slaps from military-like actors. Tado, a real activist in his PUP-Sta.Mesa days, was picked.

The role would earn for him other slots at Mowelfund shorts. He was cast for Glenn Cruz’s 16-minute work “Rehab” in 1998 followed by a bigger part in the digital breakthrough trilogy “Motel” where he played, in Nonoy Dadivas’ “Desperado” episode, a loser who is about to lose his virginity to his boss’ wife in a motel. Toppel Lee then utilize his potentials in “Bruce” in 2000 in a Bruce Lee tribute shortfilm before getting a slot in Dennis Empalmado’s first outing “Piso, Dalawampiso” this year. His being a favorite among young filmmakers has earned him a reputation as an heir to the throne of Ronnie Lazaro, a favorite among Raymond Red’s contemporaries. Heck, he may be even earning bigger than the starving young directors he had lent his talent to!

“Oo nga, e,” he laughs after thinking it over. “Puro ka-edad kasi natin ‘yung mga gumagawa ng shortfilms so kahit papaano me pagsasaksakan ako ng role.”

His body of work doesn’t stop there. He has been a common fixture in MTV director Robert Quebral’s works such as “Harana,” “Swimming Beach,” and “Sori Na” for Parokya Ni Edgar and a Rivermaya tune which title he forgets. “Maikli pa buhok ko do’n, medyo skinhead,” is what he recalls.

In between these, he also has time to jam with his new school punk band Big T.T. (Time Tado) which song was included in “Utang’s” soundtrack (the one used during the rumble scene). He used to sing also for short-live spontaneous band Gitaw where no one knows how to play an instrument nor even sing. A track of theirs is included in a Documento Records compilation album and can still be downloaded.

“Ang gusto ko talagang gawin e gumawa ng short film ko. Darating ‘yung time na gagawa rin ako,” Tado swears.

kuBeta

Although the 2002 NU 107 Rock Awards is fast approaching, Tado quickly silence speculations that he is returning as this year’s host. “Wala namang nag-host ng dalawang taon na magkasunod, “ he says. For now, he is focusing on the new season and the new life given to him and Erning’s show after e-mails bombarded the NU office for new episodes for the duo. Also, a leading beer company now sponsors the show, provided that “Strangebrew” does a “Spot The Beer Contest”. Tado says it’s not selling out. He and director RA Rivera still controls all the creative inputs of the show. “Pa-chienes lang ‘yon,” he defends.

With these developments, we are assured that Tado will still ask us unproverbial questions like “Payag ho ba kayong magkabalikan si Guy at si Philip Salvador?” or “Bakit walang buko pie sa Ilocos?” during the rest of the season. Baguio may even get another glimpse of the guy who once asked an owner of the city’s strawberry farm a very simple question of spelling out his trade but to surprisingly negative results (“Naka-Take Three kami pero mali pa rin”). That is if his plan to shoot the show’s Christmas episode in the Spratlys doesn’t push through.

“Ang weirdo siguro Christmas nila do’n, di ba? May Christmas light kaya do’n?” he asks this writer as if preparing his first question for the episode.

If Jon Red’s plans pushes through by early next year, he may be tackling two more film assignments via his mentor’s “kuBeta” for World Arts Cinema and and “Martial Law Babies,” a finalist at the Cinemanila Scriptwriting Contest. While waiting for these and during TV taping breaks, he plays “ama” to his three girls Leidulataja, 6, Diosa, 4, and Indi, 2 by wife Lea Segovia.

“Perseverance, study well, and good sleeping habits. ‘Yan ang binibilin ko sa kanila kasi ‘yan ang principles ni Tado,” the cactus-collector shares.

We walk back to his place while connecting some people we know ala- “Jologs”. Some hiphop-clad teenagers were calling his name amidst the music booming from their jeep. In another vehicle, pretty young indays sheepishly smile upon recognizing him. He carefully answers in a familiar grin, as if saying, “Bow your heads! Tado, King of The Jologs Community, has arrived!”

INDEPENDENT FILMMAKERS JON RED AND LARRY MANDA (2003)

2006-06-10T08:01:00.000-07:00

WRITER'S NOTE: Back in 2003, to make ends meet, I contributed articles to different small publications. Here are some of the articles I wrtote back thenespecially for SKYLAND NEWS in Baguio. Special thanks to Chit Balmaceda for featuring them on the pages of the paper. I am sharing the articles to anyone who might be interested to read about Directors Erik Matti, Jon Red, and Larry Manda, and actors Epi Quizon, Tado, Aubrey Miles, and Alessandra de Rossi.

INDEPENDENT FILMMAKERS JON RED AND LARRY MANDA
TEN YEARS OF “ASTIG” TRIPS TOGETHER
By SIGFREID BARROS-SANCHEZ, Contributor

The contributor is a 28-year old screenwriter and character actor whose credits include “Prosti,” “Alas-Dose,” “Bertud ng Putik,” “Dos Ekis,” and “Kilabot at Kembot”. He plays one of the goons in “Astig”.

THE way cinematographer Larry Manda describes his and independent filmmaker and friend Jon Red’s manner of making films, it seems that they wanna be known as Philippine independent cinema’s rock and rollers in the age of Friendster. Jamming and strumming their cameras and tripods to the beat of a 35mm, a 16mm, an 8mm, and more recently, a mini-DV tape rolling, they morphed into the Rolling Stones’ free-spirited leaders Mick Jagger and Keith Richards once on the set. Or to make it more fittingly Pinoy, The Jerks’ Chickoy Pura and Nitoy Adriano, the band they both tried to catch and watch at the end of their three-day shoot for their newest full-length digital work “Astig”.

“Astig,” which will have its premiere on February 10, 7PM at the CCP Little Theater and on February 13, 7PM at the SM Megamall Cinema 6’s celebration of this year’s Pelikula at Lipunan, not only marks itself as the first experimental digital film ever to be starred by action prince Robin Padilla. It also celebrates ten years of collaboration between Red and Manda, perhaps the two most influential and most respected indie filmmakers in the country.

The duo’s works have become so significant amongst up and coming filmmakers that one of them, MTV’s Robert Quebral, used the concept of Red and Manda’s first-ever collaborative work together (1993’s “Trip”) to be the theme of an Ogie Alcasid music video shot last year. “Trip,” an entry to that year’s Metro Manila Film Festival Short Film Division, tells the story of a young boy from the province who eagerly rode his jeepney to Manila only to end up disillusioned of what city life is really all about just by meeting all the passengers. Somehow, the film mirrors how the ride has been for Jon and Larry in the past ten years.

“Sa sampung taon, na-realize namin na kapag hindi mo mahal ang ginagawa mo, talagang hindi worth ang lumalabas,” explains the 40-year old Red. “Pero kung okey sa ‘yo, kahit ano gagawin mo. Kaya mong magpuyat, kaya mong hindi matulog, at kaya mong magkulang-kulang na meals.”

“Bumibiyahe kami ngayon na hindi namin alam kung saan kami papunta. Hindi namin kailangang mag-impake. Hindi namin kailangang magpaalam. Ni walang nakakaalam. Basta kailangan naming bumiyahe kahit na anong mangyari,” Manda philosophizes.

Red and Manda’s “artistic vehicles” were already crossing paths as early as 1985. Larry was a part of a Mowelfund filmmaking workshop whose facilitator was Jon’s younger brother, future Cannes Film Festival Palme d’ Or awardee Raymond Red. Dropping by the Reds’ Cubao residence to edit his Super 8 works, Larry would engage in art and film talk with the then-serious painter Jon.

In 1988, when Jon decided to ditch his canvasses for a much bigger one, a wide screen, Larry was already helping at the pre-production planning of Raymond’s most significant and most revolutionary, both literally and figuratively, work “Bayani”. By the time Larry was editing the younger Red’s second foray to full-length filmmaking via “Sakay,” he and Jon had already decided to heed their true calling. Jon for directing and Larry for camera and lighting. Luckily for them, the first and probably the last MMFF short film contest sprouted to give hope to their dreams. The product was “Trip”. And the rest, as the cliché goes, is independent filmmaking history.

“Ang maganda kay Jon, magaan ang shoot. And he has a way para pagaangin pa lalo ang shoot,” compliments Manda who now credits to his name DOP work to over a hundred TV commercials. “Siguro dahil sa sense of humor niya and siguro dun sa state of mind niya during the shoot na wala kang makikitang ka-pressure-pressure. Kung meron man, itinatago niya ‘yun o meron siyang paraan para hindi ipakita ‘yun.” A comment shared by their favorite indie actor and also ten-year co-collaborator Raul Morit, “Hindi lang si Jon ang hindi mo kinakikitaan ng pressure. Pareho sila. Maganda kasi ang rapport nila sa isa’t isa. Walang hierarchy. May concern sila sa trabaho ng isa’t isa, may respeto, at may puso.”

Witness to these are Jon and Larry’s other important works like 1994’s “Pabrika,” “The True, The Good, and The Beautiful” (1998), the digital pioneer “Still Lives” (2000), the 2002 Manila Filmfest breakthrough “Utang Ni Tatang” (which won for Manda Best Cinematography honors and for Bona Fajardo Best in Production Design), and last year’s ABS-CBN documentary on the Abu Sayyaf hostage-taking “Bihag”. In between those years, the two also worked on some episodes of TV shows like “Philippines Most Wanted,” “Hirayamanawari,” and “Pahina” where Red was then resident director.

Red and Manda also had separate dips into mainstream filmmaking before “Utang Ni Tatang”. The former wrote Yam Laranas’ “Radyo,” one of the sleeper hits of 2001 that broadcasted Jeffrey Quizon as a cerebral actor, while the latter did camera chores for Erik Matti’s 2001 remarkably photographed yet critically-snubbed, “Sa Huling Paghihintay”. However, it surprises that after they did “Utang Ni Tatang” on a meager budget and limited shooting days, no producer decided to gamble on them again.

“Meron naman. Several times nagkaroon ng prospects pero laging nauudlot. Pero right now, if I can earn a living through writing plus TV and commercial work tapos I can do this kind of filmmaking on my own, dito na lang muna ako. Pero I’m still open to it,” Red clarifies.

“Astig”, the story of Bien (Robin Padilla), an assassin who suffers from astigmatism, is an example of this type of filmmaking. Using the camera as a device to tell the story, the whole film happened from the point of view of Robin who also works as the camera operator while portraying the role of the killer. Whereas their early work, “Still Lives” was in static due to the fact that it was later revealed that the film acted as a surveillance camera, “Astig” takes the audience where the lead character goes. Somehow, it carries the same effect as the computer game “Counterstrike” only that the device was used to tell a story in a different yet clever presentation. It also transformed them into something they love being the best: daring, experimental, subversive, and improvisational or to put it simpler, rock and rollers.

“Para kaming may mga hawak na instruments na nagja-jam lang kami and everyone goes and dances with the flow. Pixieland!” exclaims the 38-year old cinematographer.

“Ang attitude kasi dapat ngayon ay ‘yung kung gagawa tayo ng film, huwag na tayong maghintay na may magpagawa sa atin ng film. Ganoong attitude, ganoong frustrations, at ganoong aspirations ang dahilan kaya nabuo ang “Astig”,” Jon swings.

Veteran stage actor Dido dela Paz, who plays one of the goons in “Astig”, best sums up Jon and Larry’s works, “Dynamic. I think the way they keep their films, hindi siya plastic. Hindi sila nagpapaka-Hollywood kasi alam nilang hindi tayo Americans. They want their films to be Filipino and be good at it. Meron silang mga deeper insights on how to bring the story to the audience. They give each other ample build-up and ample characterization. Kahit maliit ang role, meron siyang laman.”

Like its predecessor “Still Lives,” Jon and Larry’s line-up boasts of mainstream cinema actors (Robin, Albert Martinez, Francis M, Jeffrey Quizon, Alessandra de Rossi, Ronnie Lazaro, and Jaime Fabregas), theater veterans (Dela Paz, Nonie Buencamino, Shamaine Centenera, and the late Errol Dionisio), TV personalities (Maverick and Ariel, Jackie Castillejo, Benjie Felipe, and China Cojuangco), and indie figures (Tado, Hector Macaso, Gary Rada, Raul Morit, and this writer). According to Red, his newest “film exercise” with Manda acts as the sequel to “Still Lives” and a prequel to “Utang Ni Tatang”. Shot with only P200,000 as total budget, the production scored a first to become, perhaps, the only production team that paid communally and equally all its staff, actors, and crew (from the director to the cast down to the utility guy).

“I didn’t try to convince them. I just presented them the project na if they feel na there is something in it for you, sasama ka. Alam nila sa sarili nila kung sasama sila o hindi. At ang mga sumasali, seryosong actors. Mga artistang may iba pang gustong gawin other than their commercial works,” Red explicates.

“Maraming gustong baguhin at maraming gustong patunayan ang lahat,” Robin enthuses when asked why Red was able to convince him to join. “Kaya namin ginagawa ‘to dahil kailangang may makita na rin ang mga manonood na bago. Hindi ‘yung laging gano’n na lang ang paggawa ng pelikula. Hindi ko gagawin ‘to kung hindi ko nirerespeto sina Jon at Larry, una bilang mga tao at pangalawa bilang matatalinong tao. Meron silang tinatawag na kumpas.”

Coming from the original “astig” of Philippine cinema, the remark somewhat blesses the two filmmakers as “astigs” of their own kingdom, independent cinema. A tag that Manda tries to affirm.

“Mainit pa kami, pare. Kailangang ihanda namin ang mga sarili namin. Gaya nga ng sinabi ko, kailangan pa naming bumiyahe kahit anong mangyari.”

If this is so, we would like to reserve our seats to the next ten years of collaborative work from Red and Manda. After all, their most “astig” trips are yet to come.

2006-06-10T07:56:00.000-07:00

THE PHENOMENA THAT IS ALESSANDRA
By SIGFREID BARROS SANCHEZ, Skyland News

WE may agree or disagree with Toronto International Film Festival’s Steve Gravestock, but Alessandra de Rossi is definitely phenomenal. Throw in also the words exceptional, extra special, and unusual.

At first meeting, the Alessandra that greets you seems like a 16-year old fresh out of the kikay machine. She talks like a sward, blurting out the expression “nakakaloka” as often as possible and gyrates in a manner that’s more Quiapo than Session Road.

But ask her a sensitive question, especially something that pertains to her family (okay, just mention the word “Jules”), and the kikay becomes kicking like a fighter and the sward-speak turns into a sharp-edged sword. And then you watch her act. You follow her career from the nene abused by her father in “Azucena” to the retardate abused by her sister’s lover in “Hubog,” and finally to the young teacher whose new-school ways were refused by a small town in the much-publicized “Mga Munting Tinig”. Suddenly, your first impression of her gets lost in the mature talent that blooms before you. Her petite sixteen-year old frame is erased to reveal her true age of eighteen. Now, she’s not just Session Road but a woman of layers like the terraces. Can you blame Jenny Punter when she described Alex “the next Penelope Cruz” in an article written for Canada’s biggest paper, Toronto Globe and Mail? Jamon, jamon. Or rather, c’mon, c’mon.

International star

“Nakaka-flatter!” she blurts out when asked to describe the feeling. “Lumulutang ka sa hangin. Pero feeling ko marami pa akong kakaining bigas. Hindi pa ito ‘yon.”

But whether she likes it or not, Alessandra de Rossi is now an international star and the responsibility that comes with it is no simple task. “Mga Munting Tinig,” or “Small Voices” as it is called in international festivals, is the country’s entry to the Oscar’s selection committee for Best Foreign Film after earning raves in Toronto and, hopefully, when it is screened on November 8 and 11 at the American Film Institute International Filmfest in Los Angeles. Forget for a while that the flick is criticized for ripping off some foreign art films such as Zhang Yimou’s “Not One Less” (China) and Majid Majidi’s “Children of Heaven” (Iran) laced with Hollywood’s “Sister Act,” “Mr. Holland’s Opus,” “Stand and Deliver,” and “Dead Poets Society”. For one, Alex’s acting is no xerox copy of any foreign actresses. What she delivers is what she understands of the role that is written on the script. She swears she never watches films that reflect the roles she currently portrays to distance herself from being accused of imitating a particular actress.

“Ang kalalabasan kasi may ginagaya ako. Gusto ko lagi natural,” she divulges. She even shares that she never immersed nor got to meet real teachers for her role in “Mga Munting Tinig”. “Wala. Naghinhin-hinhinan lang ako,” she reveals laughing.

Alex’s acting formula has tallied three best supporting actress trophies for her, one for “Azucena” and two for “Hubog”. And with “Mga Munting Tinig” Oscar-bound, we can safely say that a best actress nod isn’t far behind come next year. She may add another feather to her cap if her audition for the role of Tom Cruise’s Filipina girlfriend in the World War II flick “Fertig” garners positive signals from Hollywood bigwigs.

“Nakakaloka!” goes her words again.

Young teacher

“Lahat tayo may karapatang mangarap, mayaman man o mahirap,” so goes one of Alessandra’s lines in “Mga Munting Tinig”. She plays Melinda in the film, a young educator from Manila who gets assigned to a remote mountain barrio after one of the teacher leaves. She eventually teaches the students her progressive way of thinking and encourages them to triumph over life’s struggle by joining a choir singing competition. Despite the different odds and hurdles posted by some fellow-teachers and some parents, Alessandra inspires her class and eventually awakens a sleeping barrio.

Alessandra’s journey into the industry started in 1992 when her Italian father and Filipina mother decided to visit the country after spending years in Leche, Italy. Together with sister Assunta and two other sisters, the vacation opened doors for the Da Rossi’s when some of their mother’s friends recommended that the kids be trained to speak Tagalog and hone some acting in them through workshops. Back then, the sisters were already lookers with their European features and heights that pass a model’s criteria.

Shortly after, Alex and Assunta were suddenly part of “D.A.T.S.,” German Moreno’s replacement for talent springboard “That’s Entertainment”. The show was short-lived and the Da Rossi’s trained their sights at the Star Circle of the other station. Alessandra made it to Star Circle 7 with Jodi Sta.Maria, Tracy Vergel, and Desiree del Valle. Her career, however, didn’t bloom with the group. She was petite, dusky brown, and also admits to be very lazy at that time to think of showbiz.

In 1996, she got a small part in Peque Gallaga’s “Magic Kingdom”. It’s a one-sequence experience that woke up the gifted in her. Her genius is further pushed when Carlitos Siguion-Reyna and wife Bibeth Orteza held auditions for the role of an abused daughter in “Azucena”. The role was supposed to be for Mumay Santiago but her late audition (she came at the last minute, at the last day) was just what the couple were looking for. The rest, they say, belongs to history.

Fifth choice

The role of Melinda was not offered to Alessandra in the beginning. Nor was she second or third or fourth choice. Vina Morales, Kaye Abad, and even Judy Ann Santos were the firsts to be invited to try out for the part but previous commitments and a very low talent fee, that is common on independently-produced films, made the more popular stars back-out. Their loss is currently Alex’s gain.

“Halos naglalaro lang kami,” Alessandra narrates of the whole “Munting Tinig”-experience in Lukban, Quezon. “Bihira ang Take Three o Take Four sa amin. Para lang kaming gumagawa ng telesine. Ito ang pinakamadaling pelikulang ginawa ko!”

Ironic it may sound but she never thought that the film will ever go as far as being sent to the Oscars. “Naloka ako,” she says. “Nu’ng nabasa ko ‘yung script nito, sabi ko, ang hirap pagandahin ng istorya nito. Sobrang simple talaga. Kailangan sobrang ganda ng pagkaka-execute ng mga eksena kasi nakakaloka.”

“Tinanggap ko ‘yung role dahil sa direktor,” she adds. “Dahil rin sa script kasi alam kong makakabuti sa akin. Basta kasi nakakabuti sa ‘yo, okey lang kahit na gaano kahirap ang role mo.”

One of the sacrifices she endured while shooting “Mga Munting Tinig” was the skin asthma that struck her due to the weather conditions in Lukban. During the interview, traces of whitish marks can still be seen on her hands and arms. She just shrugs them off as long as, she says, the film gets to the Magic 5 at the Oscars.

College life

As her character portrays a BS Education graduate in Manila, Alessandra has yet to experience college life. One of the things she had to give up to showbiz’s glitters is the privilege of pursuing a college course like her former classmates at the Our Lord’s Grace Montessori. She would have been a junior student now, perhaps taking Culinary Arts or Aeronautics if given the chance. She also dabbled on the idea of taking up Pre-Law upon her mother’s suggestion. “Lagi raw kasi akong may ready argument. Parang walang nananalo sa akin,” she shares in jest.

“Siyempre nanghihinayang ako. Maganda rin ‘yung sasabihin mong may natapos ka. Sabi nga ng Mommy ko, baka ma-karma daw ako at kapag may anak na ako e ayaw ring mag-aral,” Alessandra discloses. “Basta siguraduhin lang niya na meron siyang pagbabagsakan at pagbibigyan ko siguro.”

No matter how much she wants to break the karma, she currently cannot sacrifice yet a booming career for education. That’s “yet”. She tapes thrice a week for soap opera “Kung Mawawala Ka” as Paloma, the rebellious daughter turned cult leader. Then there’s teeny-bopper “Click” in between where she plays the tomboyish Ian. She also has TV guestings on other shows like the one she attended for Korina Sanchez’s “Isyu” before this interview.

“Ang Mommy ko magna cum laude dati kaya siyempre itinutulak niya talagang kahit paano e may natapos kami,” she lets us in. “Ayaw niya na isang araw e magigising ako at wala na akong trabaho at wala na ring kakainin. Pero naiintindihan niya na paano nga ako makakapag-aral e araw-araw busy ako.”

After “Mga Munting Tinig,” Alex also entertained ideas of becoming an educator someday. Although not the kind that she portrayed in the movie, the young actress is more akin to be a pre-school educator once she retires back to Italy.

“Mahilig talaga ako sa bata,” she tells. “Kasi parang andaling magturo sa mga bata. Nasa puso ko talaga sila. Natutuwa ako kapag nakikita ko sila. Pasensyosa rin kasi ako at tina-try kong mag-eduacte sa mga bata kahit papaano.”

Paranormal

During spare times, Alessandra turns to reading to educate herself. A science buff since high school days, she currently carries with her Jaime Licauco’s “Encounters With The Unknown” to know more about paranormal experiences and strange beings. She seriously divulges that she had experiences of having able to brush with these beings from time and again. She can’t recall but she thinks this one experience she had in Baguio last year has something to do with these activities.

“Three days kami do’n nung dalawang kaibigan ko tapos biglang sumakit ‘yung dibdib ko,” she stories. “Hindi ako makahinga pero conscious ako. Akala ko mamamatay na ako. Kung kailan pa naman ako nasa Baguio. Sabi ko, huwag naman sana dito sa Baguio.”

Lucky for her, her friend was able to medicate her in time or she wouldn’t be Oscar-bound now. After the incident, as if nothing happened, she proceeded to eat balut during the night and dove-in the next day at the ukay-ukay, where she got some of her bohemian attires and, on that lucky day, a P600 Pravda bag. Had she succumbed to the incident, the Pinoy fishmonger would have grieved one of the most colorful figures in the industry especially after series of lashing out at her sister and her boyfriend-husband.

“Huwag na tayong magpaka-plastic!” she answers when asked whether what small voice in her does she want to speak out loudly in public. “Sa showbiz hindi ka tatagal kapag totoo kang tao katulad ko. Konti lang ang nakakaintindi sa akin pero wala akong pakialam. Hindi ko kailangang magpaka-plastic kasi mahihirapan akong magsalita kung magsisinungaling ako.”

As Alessandra gears up for Hollywood, the biggest coddler of “tupperware” individuals and characters, we hope that she already knows what to do once she gets there. We advise her that it will take more than Alessandra, the phenomenal, to take on the giants. Like her character in “Mga Munting Tinig,” she’ll be counting on Alessandra, the cerebral.

AUBREY MILES ARTICLES (2002)

2006-06-10T07:51:00.000-07:00

AUBREY MILES: PATRON NG MGA PROSTI
mula sa panulat ni SIGFREID BARROS-SANCHEZ

PUTA. Ewan ko kung marunong pa akong magpatawa.

Nu’ng nakaupo pa si Erap, ipinakilala na raw sa kanya si Aubrey Miles.

“Ikinagagalak kitang makilala, Aubrey Mile,” may pagnanasang banggit ng dating pangulo habang nakatitig sa dibdib ng dalaga.

Ngumiti si Aubrey sa pagkakamali ni Erap. “Nakalimutan niyo po ‘yung “S,” sir,” puna nito.

“Oh, excuses me,” kabig ni Erap. “Let me corrects myself… Ikinagagalak kitang makilala, Aubrey Smile.”

Marahil nga na kung nu’ng panahon ni Erap binanggit ang pangalang “Aubrey Miles,” wala tayong kaide-ideya kung sino siya. Foreigner siguro, iisipin natin. Bagong kalye, maaaring isagot ng mga pilosopo. Ang katunayan, mga ilang buwan pa lang ang nakararaan, hirap akong ipakilala si Aubrey sa mga kakilalang nagtatanong kung sino ang bida ng bagong pelikula kong minamakinilya.

“’Yung nasa patalastas ng Greenwich Seafood Pizza…”

Patlang.

“’Yung nasa commercial ng Sprite na nandoon si Piolo…”

Akala ko nahuli na. “’Yung sumigaw?”

“Hindi. ‘Yung nakasalamin sa likod…”

May dumaan na anghel.

“Puta sa lahat na nagtuturing ang babae’y basahan,
Laslasin ang pulso at pasabugin ang tiyan…”

Nakakatawa pero hanggang sa matapos ang huling araw ng shooting ng pelikulang “Prosti” ng Regal Films noong Hulyo, hindi pinagkaguluhan ng tao si Aubrey. Lumibot na sa Pampanga, San Juan, Caloocan, Makati, at Quezon City ang mga lokasyon ng shooting pero hindi dinumog ng mga miron ang bagong Regal baby ni Mother Lily. Nagtatanong ang mga tao kung sino ang bida pero tanging si Jay Manalo lang ang kilala nila. “Ano ulit ang pangalan nu’ng babae?” madalas na itanong. “Audrey ano?”

Ito ay bago maglabasan noong isang buwan at pagpiyestahan ng mga kalalakihan ang mga seksing litrato ni Aubrey Miles sa mga tabloid. Bago maging palaman ang hubad niyang katawan ng September isyu ng isang panlalaking magasin. Bago maging paksa siya ng usapan ng mga manginginom sa umpukan. Bago kutkutin sa tsismisan ang mga pribadong bagay sa buhay niya. Bago maging ang pagbigkas ng kanyang pangalan ay parang sindali na lang ng pagbawi ni Gloria sa mga balitang nakuryente siya.

“Nakikilala na ako ng mga tao,” pagmamalaki ni Aubrey sa isang panayam sa Roadrunner Office sa Timog kung saan idinaos para sa mga PRESS ang isang special preview ng kanyang launching movie. “Simula nu’ng lumabas ‘yung mga litrato, may mga nagpapa-sign na, may mga nagpapa-picture, may mga tumatawag na sa pangalan ko, at may mga nagsasabing “Pamilyar ka, a! Pamilyar ka!” Mas nakikilala na ako.”

“Puta sa lahat na nagtuturing ang babae’y basahan.
Hilahin ang dila at galugarin ang lalamunan…”

Dalawampung taon na ang nakakaraan nang isilang si Aubrey sa isang payak na mag-anak ng mga Santos-Sandel sa Marikina. Sa isang awitin ng 70s folk-rock group na Bread kinuha ng ama niya ang kanyang pangalan. Walang kaalam-alam ang ama na balang-araw ay magiging bukambibig ang pangalang ibinigay, hindi lamang sa mga eskinita ng Tondo, kundi hanggang sa malalawak na opisina sa Ayala. Maagang naghiwalay ang kanyang mga magulang, bagay na labis na ikinalungkot ni Aubrey at ng dalawa pa nitong kapatid.

Sa acting workshop na isinagawa ni Direk Erik Matti noong Mayo hanggang Hunyo para mailabas at mahasa ang natatagong talento ng buong cast ng “Prosti,” nag-aalangan pa si Aubrey na pakawalan ang mga pribadong bagay sa buhay niya. Matigas pa ito at mapapansing sarado at hindi madaling magtiwala sa ibang tao. Bagay na naging pabigat sa simula sa kanyang direktor. “Matatapos na tayo sa workshop pero I still don’t know you,” natatandaan kong kumento ni Direk Erik. Galit rin itong pinalabas ng respetadong megman sa kuwarto na pinagdadausan ng workshop sa Regal office nang sa imbes na seryosohin ang exercises na ibinibigay ay nahuli pa itong bumubungisngis at tumatawa.

“Hindi ko kasi akalain na ganoon siya, na strict siya sa work,” pag-amin ni Aubrey nito na lang huli.

Huling araw mismo ng workshop nang sinorpresa ni Aubrey ang direktor at hinarap ang mga multo na matagal na niyang tinatakasan. Ikinuwento nito na naging malaking dagok ang paghihiwalay ng kanyang mga magulang sa kanya dahil, bilang bunso, siya ang beybi-beybi ng kanyang ama. Binalikan niya ang masasayang bahagi nu’ng magkasama pa sila ng kanyang ama at bagamat malaki ang hinanakit niya rito, ang pagkikita muli at pag-uusap nila ang siyang pinakaaasam-asam ng dalaga. Ito rin ang nagpabagsak sa maraming luha niya bagamat sa exercise ay pinapaalis niya na ito sa buhay niya.

Hindi ko rin masisisi si Aubrey kung sa ilang mga tanong ko sa kanya ay relaks siya at parang sumasagot ng tanong sa isang beauty contest. Ito kasi mismo (beauty contests) ang bumuhay sa kanilang pamilya noong panahong mag-isa na lamang ang kanyang ina na nag-aahon sa kanila. Kasama ng isa niya pang kapatid, lilibot sila at sasali sa iba’t ibang beauty contests, sa iba’t ibang lungsod sa Kalakhang Maynila, para lamang may perang maipambayad sa tuition at maiambag sa bigas at ulam sa araw-araw. Nakakatawang anekdota, pero gamit niya ang apelyido ng kanyang ama samantalang apelyido naman ng ina ang gamit ng isa sa mga timpalak. Naghahanap din sila ng kamag-anak o kakilala sa lugar kung saan may beauty contest para palabasin na kunwa’y sa bahay ng mga ito sila nakatira at sila’y legal na residente para makasali . Madalas, pareho silang magkapatid ang pasok sa finalists at kalauna’y nag-uuwi sa top three prizes.

Sa beauty contest rin na Elite Model noong 1998 nadiskubre ng pamosong talent manager na si Wyngard Tracy ang 5’6” na dalaga. Agad siyang binigyan ng pagkakataong ipamalas ang kakayahang umarte sa sitcom na “Beh Bote Nga” ng GMA-7 kasama ang isa pang baguhan na si Sharmaine Santiago. Pamangkin ni Tiya Pusit at Dick Israel na nagbabantay sa tindahan ng dalawa ang kanyang papel at naging love interest kunwa dito ni Anjo Yllana. Sinundan pa ito ng ilang guest appearances sa “Pira-Pirasong Pangarap” at sa “Bubble Gang,” at pagkatapos ay bigla na lang itong naglahong parang bula. Ayon sa ilan, gaya ng nakasanayan, tinangay raw ng pag-ibig sa lupain ni Uncle Sam. Marami pang usap-usapan ang nagsulputan pero hindi naman lumawak at pinatulan ng mga nagbebenta ng laway dahil, noong mga panahon na iyon, sino nga naman si Aubrey Miles?

“Puta sa lahat ng nakangiti’t nakatanga lang,
sa harap ng babae na kita ang laman…”

Mahigit dalawang linggo ko ring ginalugad si Aubrey para sa isang interview. Huli kaming nagkita sa España, sa isang bus station sa tabi ng Mayric’s at sa tapat ng dati niyang eskwelahan, ang UST, kung saan siya nag-aral ng dalawang taon sa Conservatory of Music. Shooting ito ng bago niyang pelikula, ang “Una’t Huli” kung saan itinatambal siya kay Richard Gomez sa isang teacher-student relationship, anti-tweetums trap na pelikula muli ni Erik Matti. Kung hindi nasa Bicol, nasa Subic ang dalaga para sa isang pictorial ng isang kalendaryo. Alas-sais ng gabi nang i-text ako ng assistant niya na tagpuin ko raw sila sa Roadrunner ng alas-siete at tutulak din agad sila at babalik sa Subic. Sa muling pakikipagharap sa aktres, iisa ang napuna ko: Mabilis na nakapag-adjust at nakapag-mature ang bagong sex symbol ng dekada. Bagay na sinang-ayunan ni Direk Matti na nanduon rin nu’ng araw na iyon.

“Nagkaroon na siya ng self-confidence,” ani ng direktor. “Kaya na niyang mag-tackle ng scenes with other actors na more established than she is. Hindi na siya naiilang.”

“Ang maganda kasi kay Aubrey, kahit na baguhan pa lang siya, ay madali siyang nakapag-adopt at natuto tungkol sa paggamit ng camera,” dagdag pa ni Direk Erik. “Ito kasi ang pinaka-last na natututunan ng mga baguhang artista, ang gamitin ang camera. Ito ‘yung pag-alam mo kung saang anggulo ka kinukuhanan ng camera, gaano kaganda ang shot, at gaano karaming arte ang iyong ibibigay base sa shot. Aware kaagad siya dito. At ‘yun ang maganda sa kanya.”

Bagay naman na ibinato pabalik ni Aubrey sa direktor, “Pinanood ko ‘yung “Dos Ekis” niya at “Scorpio Nights 2” kaya may ideya na ako kung ano ‘yung hihingin niya. Kung titingnan mo kasi ‘yung mga shots niya, hindi puwedeng bahala na. Hindi puwedeng basta-basta. Very professional.”

Kung kaya nga, istorya man ng pagpuputa ang pelikula, hindi ito lumabas na bastos at imoral. Maging ang bagong MTRCB, na kamakailan lamang ay nagpaulan ng ‘X’ sa napakaraming pelikula, ay walang nakitang malaswa at kontra-moralidad sa “Prosti” kung kaya’t magaan itong pinatawan ng R-18 rating, without cuts. Bagay na ikinabigla ng lahat.

“Nu’ng pinapanood ko ‘yung mga bold scenes, napapayuko ako pero hindi ako nahihiya,” sambit ni Aubrey. “Sobrang worth ‘yung pinaghirapan ko. May mga scenes do’n na sobrang pagod na pagod na ako na feeling ko sa mga scenes na iyon, hindi ko nai-emote ng mabuti. Pero nu’ng makita ko, okey pala. Magaling si Direk mag-motivate at magpiga ng acting. Pagod ka na pero kailangang i-express mo pa rin ‘yung nararamdaman ng character mo. Pagod ka na pero kailangang ipakita mo na hindi ka pagod.”

“Puta sa lahat ng nanonood at nakangiti,
Nakatanga’t nakangiwi, labas ang titi…”

Sa ngayon, hindi nga puwedeng mapagod si Aubrey Miles. Nagsisimula pa lang siya. Dalawa pa lang sa walong eksklusibong pelikula na pinirmahan niya sa kanyang kontrata sa Regal ang kanyang nagagawa. Malayu-layo pa ang kanyang lalakbayin, marami pang dumi at alikabok ng showbiz ang kakainin. Subalit, ngayon pa lang, pakiramdam niya ay kailangan na niyang mag-ambag kahit papaano sa lipunang kanyang ginagalawan. Alam niyang sa mala-birhen niyang mukha, malaki ang kanyang maitutulong para maiangat ng ibang kababaihan ang tingin nila sa kanilang sarili. Nakahanda siyang gampanan ang papel ng pag-asa’t patron ng mga prosti.

“Hindi lahat ng prostitutes walang pangarap,” matalas niyang banggit. “May mga prostitutes na may gusto ring marating, may mga prostitutes na gusto ring makapag-aral, may mga prostitutes na gusto ring umayos ang buhay nila pero hindi sila binibigyan ng chance dahil mababa ang tingin sa kanila. Ang gusto ko lang, mabigyan sila ng chance at pansin kasi lahat naman ng tao may karapatang mabigyan ng chance at umayos ang buhay. May mga tao pang mas kailangan ng hope.”

Ganitong ugali, kung mapapanatili, ang magdadala kay Aubrey sa kasikatan upang matamo ang inaasam na katawagang “artista”. Bayan na ang maghahatol sa kanya. Sa ngayon, tuloy-tuloy na ang kanyang katanyagan at kasikatan. May nakaantabay na na modeling contract mula sa isang sikat na clothing wear, sangkatutak na proposisyon para lumabas sa iba’t ibang kalendaryo next year, kaliwa’t kanang hiling na interviews at pictorials, umaalong product endorsements, iba’t ibang offer sheets ng recording, at lumalawak na mga tagahanga mula sa iba’t ibang rehiyon.

Sikat na si Aubrey. Hindi na siguro magkakamali si Erap sa pangalan niya. Pati si Ate Glo, malabong makuryente kung tatanungin tungkol sa kanya. Huwag tayong mabibigla kung isang araw ay makita natin siyang katabi ang Pangulo para sa isa na namang photo-ops. Kapag nangyari ito, isa lang ang pihadong masasabi ko…

“Puta.*”

(* mula sa tulang “Puta” ni Benilda ‘Wendy’ Castro)

LICK, SUCK, EAT, AUBREY
By SIGFREID BARROS-SANCHEZ

FILMDOM almost lost an Aubrey Miles to Baguio.

“Sobrang bilis ang takbo nu’ng kabayo,” silverscreen’s newest sex siren recalls her experience at Wright’s Park, “Nagtatatakbo siya. Tinatawag ko ‘yung ate ko pero nahulog na ako. Nagkaroon ako ng sugat sa mukha.”

Lucky for her and for us, the wound quickly healed so that when we watch her launching movie, Erik Matti’s “Prosti” for Regal Films, we won’t find any trace of the Baguio experience on her stunning and radiant face. The horse, perhaps knowing that someday the pretty looker’s body will be her ticket to stardom, miraculously averted his hoops’ possible brush with Aubrey’s toots.

“Pero sobrang happy pa rin ako sa Baguio,” she conciliates. “Nami-miss ko ‘yung ukay-ukay, ‘yung bilihan ng mga damit.”

Eat

It’s hard to believe that, a few months ago, I was having a hard time describing to friends the female protagonist of the story I was tinkering on my computer keys.
“Yung nasa patalastas ng Greenwich Seafood Pizza…”

Duh.

“Yung nadoon sa commercial ng Sprite na nandoon si Piolo…”

I thought they had it. “Yung sumigaw?”

“Hindi. ‘Yung nakasalamin sa likod…”

Dead stares.

For making them do something that they seldom do on their own (think, that is), I ended up treating pizza and soda instead. Funnier is the fact that up to the last shooting day of “Prosti” last July, people never even bothered to mill around Aubrey. Locations changed from Pampanga to San Juan to Caloocan to Makati to Quezon City but the usual Pinoy miron never ogled at her. Fact is, Aubrey can move freely to ride and drive her red car to and from shoot without fear of being groped or touched by male fans with shooting hormones. It was Jay Manalo, his co-star for “Prosti,” who solicits more shrieks, name calls, picture-taking, and autograph signing. For Aubrey, mothers carrying their kids has this constant question, “Ano ulit ang pangalan nu’ng bida niyong babae? Audrey?”

But all these have changed during last weekend’s special preview for movie writers of Matti’ newest opus at the Roadrunner office in Timog, Quezon City. All eyes, questions, cameras, tape recorders, and videocams were on this 20-year old lass from Marikina. As for Jay Manalo, he was comfortably sitting at the receptionist area playing a computer game, surprisingly, unbothered by anyone.

“Nakikilala na ako ng mga tao,” she beams. “Simula nu’ng lumabas ‘yung mga litrato at trailer, may mga nagpapa-sign na, may mga nagpapa-picture, may mga tumatawag na sa pangalan ko, at may mga nagsasabing “Pamilyar ka, a! Pamilyar ka!” Mas nakikilala na ako.”

Suck

The wheel of fortune is definitely turning in Aubrey’s favor. As if it was only a few months ago, I met her at Direk Erik’s acting workshop for “Prosti’s” first-time actors cast at the Regal Films office in San Juan. She was then very hesitant and cautious in dealing with the exercises the fame megman and basic acting professor was giving her. Something was definitely holding her back and she was very uncooperative at first which earned the ire of the strict Matti. She was kicked out of the room at one point. “Delikado. Mukhang matigas ang ulo,” I remember telling art director Richard Somes. But Direk Erik never gave up on her, even if they have a day left at the workshop and she was still giving the same “fuck you, suck my hinny attitude”. “Matatapos na tayo sa workshop pero I still don’t know you,” commented Erik then.
Who really is Aubrey Miles?

The staff of “Prosti” got the answer to that in a surprising twist of mind-set from Miles at the last minute of the exercise. She offered to take the middle of the room for queries, inquiries, and interrogations. She was ready to face her ghosts.
Miles, who is actually Aubrey Santos Sandel in real life, is a product of a broken marriage. The youngest in the brood of three, she was hurt the most when her parents split up because she was “Daddy’s little girl”. Her mother struggled to keep the kids in school and give them a decent way of life. To make ends meet, she got the idea of entering her kids to various beauty contests after friends find mines lying untapped in her daughters’ faces. Aubrey narrates that she and a sister would enter contests carrying different surnames, she her father’s and the other her mother’s. They will go in and around Metro Manila’s beauty pageants, borrowing the addresses of friends and relatives so that they could present proofs and documents that they really legally live in that place. Most of the times, the sisters would end up entering the finalists and romping off in the end with either of the top three places.

A beauty contest also paved the way for Aubrey to hook up with the promise and glitters of stardom. Veteran starbuilder Wyngard Tracy spotted her at the Elite Model contest in 1998 and immediately got her a stint at GMA7’s “Friends” and “Beh Bote Nga”. It was at “Friends” where she crossed paths with future fellow-boldies Maui Taylor and Pyar Mirasol. After a few guest appearances for “Pira-Pirasong Pangarap” and “Bubble Gang”, she burst into oblivion and the public heard nothing of her. Actually, nobody bothered and cared. After all, who was Aubrey Miles then?

Lick

In “Prosti,” Aubrey takes another crack at the world’s oldest profession by playing Merceditas Bernadas, the student by day, and Melody, the prostitute by night. Her pimp, Nonoy Laki (Manalo), breaks the first important rule in the prostitution ring upon seeing her: “Don’t fall in love with your prostitute”. Things get complicated when Nonoy accidentally kills Nanay Xedes (Racquel Villavicencio), the Mama-San of the brothel house.

“Kepyas, tang-ina, kahit saan kepyas. Kung lahat ng kepyas pagkakakitaan, yayaman ang Pilipinas,” Jay’s character narrates.

Aubrey, although not exactly literally, is following the pointers. Right now, her body, her bosom, and her booty have earned her a modeling contract from Her Bench and countless offers from liquor, cigarette, and magazine companies to pose for their 2003 calendars. Add to these the left and right requests for magazine covers, interviews, pictorials, TV and radio guestings, and recording contracts (she has in her resumé two years worth of training at the UST Conservatory of Music). She is also currently shooting her second film, “Una’t Huli,” for Matti which pairs him with teenage crush Richard Gomez. That’s just for the last quarter of the year.

“What’s nice about Aubrey, eventhough she’s a newcomer is that more than just being able to bring out the emotions needed from her as an actress, she easily adopts to and learn the camera,” Direk Matti lauds at Miles who right now is being teased as his Gong Li, Chinese visual genius Zhang Yimou’s once favorite actress.

“A lot of times, ang last na natutunan ng mga baguhang artista is the use of the camera. It is being to know where the camera is taking your shot, how nice the shot is, and how much acting are you gonna give based on the shot. What’s nice about it is she’s very much aware of it. And since she’s very much aware of it, she knows how to give just the right amount of emotions,” Matti adds.

Compared to the current list of sexy stars in showbusiness, Aubrey licks the competition. She does not have the biggest boobs nor the most whistlebait figure but what puts her above the rest is her sincerity and desire to disrobe her most intimate secrets before the public. She quickly admits that she is no longer a virgin and is proud to say that her “pomelos” are not the product of modern science. Unlike most boldies, who quickly grab at a recording stint even if they don’t have the voice, she, with that Broadway-like voice, is not rushing to have one. She plays the piano and is well-traveled, having gone to some Asian countries and some parts of the States. Heck, she may not even deserve the title “boldie” to her name! Actress? Artist? Well, she’s getting there.

One of her most kept secrets is the Chinese character tattoo she got in Hongkong placed just above the pubic hairline or the mons pubis. It translates to either “eat me, suck me, or lick me.” Also, at this stage, she seems to be carrying the flag for the country’s prostitutes by asking them to stand up, be heard, and fight for their rights.

“Hindi lahat ng prostitutes walang pangarap,” she says, shifting to a stance of a Gabriela. “May mga prostitutes na may gusto ring marating, may mga prostitutes na gusto ring makapag-aral, may mga gusto ring umayos ang buhay nila pero hindi sila binibigyan ng chance kasi mababa ang tingin sa kanila. Ang gusto ko lang, mabigyan sila ng chance at umayos ang buhay. Kailangan nila ng hope at ‘yon ang gusto naming ipakita sa movie namin.”

Definitely, Aubrey, like the Bread song, is not your ordinary girl nor name. And, like another Bread ditty, she’s positively going “miles away”.

EPI QUIZON: "I AM A JOLOGS, SON OF A JEPROKS!"

2006-06-10T07:45:00.000-07:00

EPI QUIZON
“I AM A JOLOGS, SON OF A JEPROKS!”
Text and Photos by SIGFREID BARROS-SANCHEZ

IF 2002 will be summed up by the end of the year, only three groups of people will best summarize it --- The Power Boys, The Sex Bomb Girls, and, yes, of course, The Jologs. Although a film was made on the supposed lives of the jologs, the production company failed to really give us the real picture of what a jologs really is. What it gave us was its own interpretation of the word, plus its usual money-making machine of cashing in on something they thought they have complete authority of defining. Thus, like our culture and identity, we are again at lost at something that is already practically ours.

Coined some two years back by some state school punks in Diliman to define the “new masa”, jologs is actually a corruption of the everyday man’s common meal, “daing-tuyo-itlog” or “d-yo-log”. Last year, it was first used in a film when lady jock Ruffa Mae Quinto teased a psychotic Jeffrey Quizon after it phoned in a very baduy request. The film is “Radyo,” directed by Yam Laranas and written by Jon Red, which catapulted a timid Epi Quizon to national consciousness and the word “jologs” into every street corner lingo.

“Tuwing naglalakad ako no’n, me tumatawag sa akin, “Hoy! Jologs!”” the 29-year old Jeffrey recalls. “Sasagutin ko naman na, “Jologs ka rin!””

“Ewan ko talaga kung papasok ba talaga ako sa totoong definition ng jologs. Pero kung jologs ako, I am a jologs, son of a jeproks!” he proudly adds.

Late-bloomer

For a son of “the” Dolphy, Jeffrey Quizon bloomed late. His brothers, Eric and Ronnie, were already well-adjusted to the lights and intrigues of moviedom for a decade when he decided to test the same water. Although he has been active behind the camera as an assistant director (“Langit Sa Piling Mo”) and as a scriptwriter (“Cristina Moran”) to brother Eric’s films, the brave step he took in “Markova,“ as the younger version of his father, opened a lot of opportunities for him.

“Mahiyain ako, pare. Todo akong mahiyain,” he confides although this writer is a witness to this shyness as a fellow-workshopper at the 11th Ricky Lee Scriptwriting Workshop in 1998. He was more Jeffrey then than the Epi now. “Siguro nu’ng bata ako kaya pangit ‘yung lumalabas kasi kabado ako. I have to overcome my fears to become who I am right now and the fear was more of facing the people. Dahil nga nahihiya ako sa harap ng kamera, nagtrabaho ako sa likod.”

It was also during this time that he decided to experiment at Jeffrey Quizon, the theater actor. A Humanities student then at the DeLa Salle University in Taft Avenue, Manila, Epi decided to study the different schools of acting (Stanislavsky, Eric Morris, etc.) in preparation for a role that required him to play four characters. The piece was Lakaginting Garcia’s Palanca-award winning “Juan Bautista” that had Epi portraying a professor, a father, an evil person, and the play’s narrator in one evening.

“Yun ang pinakapaborito kong ginawa,” he proudly states.

Young Dolphy

Jeffrey decided to bring his new-found love for acting to the big screen when director Gil Portes decided to scout for a younger-looking Dolphy who will act a few yet marked scenes in the bio of comfort gay Walter Dempster, Jr. The role gave him rave reviews and, eventually, acting nods from some of the country’s top award-giving bodies. It eventually paved the way for other roles such as a psychotic radio listener in “Radyo,” a gang-member out to extract vengeance against their old boss in “Utang Ni Tatang,” and a gay friend of Judy Ann Santos in “Bakit Di Totohanin”. But Epi admits that this list would have been longer had he gobbled tempting offers served on him to play more gay roles.

“Hindi ko sila pinayagan,” he strongly affirms. “Andaming offers, pare, pero sabi ko sa kanila, I wanna play different characters muna. I want to continue to learn from different people. Kasi, I want to think of myself as a social chameleon. In my profession, in my work, I’m a social chameleon. Everytime I step out of the house, it’s already work.”

His decision proved to be healthier for the young Epi as he has averted the common stigma that befell and fell most of our comics (even generally actors) in the past and in the present: overexposure and overdoing of a particular role (think Rene Requiestas, GBHS). Because of that, we just don’t know Jeffrey as Epi the gay character in “Markova” and “Detour”. During the past four years, we had different images of him on the TV set as the nosy helper in “Biglang Sibol,” the bumbling provinciano in “Kahit Kailan,” the sidekick cop in “Daboy En Da Girl,” the matchmaker in “Match TV,” and the tour guide in “Road Trip.” Come next month, we might be seeing him in two other new faces. He plays the stylish contravida Jiggs in the Sex Bomb Dancers’ launching film “Bakit, Papa?” for Regal Films and then shifts to a masked Green Goblin-like villain, Stryker, in M-ZET and Octo Arts Films’ Metro Manila Filmfest entry “Lastikman” opposite Vic Sotto. He might even do a cameo role in his father’s MMFF entry “Home Along Da River” once he gets the green light from the Quizon patriarch.

Psycho

“I’m experimenting still,” he explains. “Eksperimento pa rin kaya kahit na tirahin ako ng sinumang kritiko, please do. I am more than welcome to listen to their criticisms because I’m learning. Kaya nga Epo ‘yan e. It’s a hyperbolic expression of me. Sabihin nilang OA pero ‘yun talaga ‘yon.”

Epi admits that he loves playing psychos, which also concludes that his “Radyo” experience tops his list. “May psycho sa lahat ng tao, e. May tama tayong lahat. Pero dapat lahat ng tama natin tama, hindi mali,” he seriously delivers. Quite noticing also is his choice of his top films as motivation: “One Flew Over The Cuckoo’s Nest” for serious roles and Peter Sellers’ “The Party” for comedy. Try combining that and Epi comes out. He also voices out that if there’s one movie made by his dad that he wants to remake, it would be the 1977 critically-applauded “Omeng Satanasya” where his father played five characters like a devil, an angel, and three different humans. It earned for Dolphy a best actor plum.

“Every Quizon is a filmmaker. Nasa dugo na namin ‘yan, brod,” he tells. “We may not be really filmmakers but we appreciate them. Nakikita namin siya in all aspects, commercialism and experimentation. Wala kaming discrimination. Basta kung ano ang market mong tina-target, mapa-masa man siya o mapa-elitista, basta may gusto kang kuwentuhan at may kuwento ka na gusto mong sabihin, suportado ka namin.”

Serious comedy actor

Epi’s hardwork and working ethics has not passed unnoticed by his peers from in and out of the industry. In his death scene for the film “Lastikman” opposite Vic Sotto, Epi spent some five to ten minutes internalizing his character by walking to and fro on the set, blurting razorback-like sounds. Something that past villains (even leads) of Pinoy comedies never did.

“He’s a very serious actor,” says the much-veteran Sotto. “Kahit comedy ‘yung ginagawa namin, nandoon pa rin ‘yung intensity niya as an actor. Meron siyang sariling kusa as far as development of the character is concerned. Meron siyang mga suggestions na magaganda na makakatulong sa character and the movie in general. Hats off ako sa kanya.”

“Very professional,” says megman Tony Reyes. “Quizon, e, kaya nanggaling sa father niya ang ugali. Very well crafted ang acting at masarap katrabaho kasi buhos ‘yung loob. Everyday naibibigay niya lahat.”

Director Jon Red, who has worked with Epi for “Radyo” and “Utang Ni Tatang” sees him as a “flip and wild pero may disiplinang artista at tao”. He even goes into adding that not a single trace of “Bow your heads, I am Dolphy’s son”-attitude was thrown in by Epi in his set. “Parang ayaw iparamdam na anak siya ni Dolphy,” Red shares.

“Gano’n ang tatay ko!” Jeffrey proudly answers why. “Yun ang makikita mo sa tatay ko! “Discrimination” is unknown in our vocabulary. Tinuro kasi sa amin ng tatay ko to be open-minded and open-arms to every soul. Kaibigan namin lahat. A, B, C, D, E, kahit anong demographic, puta, kaibigan ko lahat ‘yan!”

Baguio blues

Epi considers Baguio his second home, having spent most of his childhood at the family property in Ambuklaw, Tiptop overlooking the Sto. Tomas Mountain. He remembers the days when he was just plain Jeffrey and he’d hie-off to the city via bus to watch the sunrise, write some songs, and create some of his famous “ultra-violet effect photography”. He even took some crash courses, a few years ago, of photography and videography, at the UP-Baguio and has been donning for the past five years some fashion wears dug at the famous ukay-ukay shops. “It’s one of my favorite places,” he reveals.

However, like a true son and lover of the once-favorite vacation spot in the country, he is saddened by the abuse and beatings taken by the city due to its forced embrace of development and commercialism due to globalization.

“Nasasayangan ako sa Baguio dahil sa growing population, smoke belching, and the traffic now,” he criticizes. “Kapag nasa city ka na, hindi mo na maamoy ang amoy ng pines. Kailangan mo pang maghanap ng sarili mong spot para maamoy mo ‘yung preskong hangin. Kailangang ma-kontrol ‘yung sobrang development at alagaan ang Mother Nature.”

He still tries to sell it though to this writer “Mahirap man, you can still find your spot there, pare.” I nod in agreement. But at that time, at two in the morning, the only spot I could think of is that one where my pillows lay.

I decided to hook up a ride with Epi from the Star City to my place in Vito Cruz. As his van treks the short distance, we are greeted by the face of a Manila by night --- dirt, garbage, pollution, prostitution, scums, and crumbs. It dawned on me that someday his fear of Baguio will be turned into a new Bernal via “Baguio By Night”. When what remains of that spot he wants us to find is just a blot or, shamefully, a dot.

“It’s actually a black and white world and what’s in between are colors,” Epi tries to remind. “Itim at puti pero sa gitna ang nagpipinta, Diyos. Nagpipinta siya sa mga mukha ng tao na walang parehong mukha, walang parehong tingin. Tapos, parang film, kina-capture Niya ‘yung twenty-four moments, ‘yung twenty-four frames, in one second.”

With the way this jolog’s career is going, we may be seeing him in more than just twenty-four frames in the coming years. And when all these end, rest assured we will always find him in Baguio seated at his chosen spot, surviving with his daily daing, tuyo, and itlog. After all, he’s not a son of a jeproks for nothing.

MY POETRY BACK IN 2000-2002

2006-06-10T07:38:00.000-07:00

SOMETIME BACK IN BETWEEN THE YEARS 2000-2002, NAG-AMBISYON AKONG MAGING ISANG POET. MUKHANG SA PUWET ANG AKING KINABAGSAKAN. ETO ANG ILAN SA MGA TULANG NAISULAT KO AT NAI-PUBLISH SA IBA'T IBANG PAHAYAGAN NUNG MGA TAONG IYON...

PARLOR
*Appeared on “Trip”, UP Collegian’s Literary Folio, July 2000, under the writer’s pseudonym “Karl Sebastian”.

nagsasayaw sa hangin
ang amoy ng magkatipan
na kyuteks at mertayoleyt
sa saliw ng musika
ng jazzer na gunting.

ang acetone at cuticle remover
ay pumapadyak-padyak
sa pagsipol ng blow-dryer
na sumasabay naman sa awit
ng baklang itsinitsismis si Mrs. dela Cruz.

umiindak-indak sa ilong
ang neutralizer at cold wave lotion
habang nagpa-plucking ang kilay
at kumikislap-kislap
ang hair highlights sa dance floor.

nakahanay na ang mga kababaihan
nagpapakyutan ang mga kalalakihan.

Nagbukas na muli ang parlor ni Samantha.

Matutulis muli ang mga kukong
walong taon nang di namamanikyuran.
Nakulot na nito ang utak
ng bagong rehimeng nag-aastang straight.
Naka-rollers na ang mga dolyar
na ibubulsa ng mga taksil at bentador.
Mineyk-apan na ng pampaputi
ang kulturang nahihiya sa tunay niyang balat.
Kinukulayan na ng red, white, at blue streaks
Ang nilalaman ng mga diyaryo, telebisyon, at radyo.
Binubunot na nila ang mga hibla
ng mga lupang sakahin sa kanayunan.
Shinampoo na ng mga dayuhang kapitalista
ng mabubulang pangako ang mga manggagawa.
Ise-cellophane nila ang mga bibig
ng mga aktibistang humihiyaw ng karapatan.
Iti-trim down nila ang mga pulang mandirigma
sa mga joint military exercises nilang pakana.
Ibinabad muli sa hot oil
ang bayang sinasabing puro tangles.
Winax na uli ng amo at ng tuta
ang bagong kasunduang base militar.

inihahanay na ang ating mga kababaihan
hindi na nakukyutan ang sambayanan

Nagbukas na muli ang parlor ni Sam.

Manash,
Pakiabot nga ang lipstick kong pula.

INSTANT NOODLES
*Appeared on the UP Engineering Logscript, November 2000, under the writer’s pseudonym “Karl Sebastian”.

ibinenta ka sa halagang limang piso
sabay inilubog sa marami-raming kumukulong tubiog
tatlong minuto kang pakukuluan
at kapag luto na, hahanguin
saka ilalagay ang mga pampalabok
na hitik na hitik sa mga kemikal
na balang-araw ay papatay sa kanila
kung may pera pa, lalagyan ka ng isang itlog
at ilang mga gulay na napulot
sa maputik na kalsada ng divisoria.

ihahain ka sa apat na anak
at aasang mapapatalino mo at mapapalusog sila
accepted ka kasi ng DOH
at may sangkap-pinoy, sabi ng pakete
hihigupin nila ang mainit mong sabaw
na wala nang lasa sa dami ng tubig
nanamnamin nila ang mga hibla mo
baka nga naman may naligaw
na totoong chicken o beef
matutulog sila at magkukunwaring busog
bukas, iisipin muli kung saan kukunin
ang ipambibili sa iyo
ano'ng timpla? ano'ng rekado?
anong brand ng instant noodles?

nissin's, maggi o lucky me?

ibinenta tayo sa dayuhan sa halagang mamiso
na naglubog sa ekonomiya sa kumukulong mantika
minu-minuto kang pinakukuluan
sa sweldong hilaw at madaling hanginin
bibilugin tayo ng mga pangakong mapalabok
habang sa trabaho'y niluluto sa init at kemikal
na balang-araw ay papatay sa atin
pinararami natin ang kanilang pera at pinalalaki ang mga itlog
at kapag gulay na ang mga katawan
itatapon tayo sa maputikna kalsada ng divisoria.

pagkatapos, ano ang ihahain sa apat na anak?
paano tatalino at lulusog sa kitang di-sapat?
ia-accept tayo ng DOH
na may sakit-pinoy, sabi ng x-ray
nahigop na ang mga baga natin
halos wala nang natitira at tinutubig
malapit nang namnamin ng uod
ang hibla ng buhay ng bawa't isa
at gawing pagkain
ng mga chicken at beef
di tayo makatulog, ni magkunwaring busog
bukas, iisipin muli kung may pagkukunan pa ba
ng perang ipambibili
ano'ng ipantitimpla? ano'ng irerekado?
ah! kahit anong brand ng instant noodles.

lucky me nga ba?

SAPATOS
* Used in 2001 for my short film of the same title

ang buhay raw ng tao, parang sapatos
lalo na ang babae
ang haba ng sintas ay maaaring ihalintulad
sa haba ng buhok o haba ng pisi ng pagtitiis niya
ang pagkabago at pagkaluma nito
ay simbolo naman ng pagkagamit sa kanya sa tahanan,
sa pagawaan, sa lansangan, at ng kabuuang lipunang kanyang ginagalawan

iba-iba rin ang uri ng mga sapatos
may goma, may plastik, may peke, may tunay na balat,
merong may takong, meron ding wala
may puting sapatos, itim na sapatos,
asul na sapatos, berdeng sapatos
dilaw na sapatos, at kulay kayumangging sapatos

araw-araw, ikakaskas sila sa maalikabok na kalsada
pupudpurin sila sa mainit na aspalto ng kalye
kakaladkarin sila sa iba’t ibang sulok at dilim
mapuputikan, marurungisan, masusugatan,
matatamaan, maaapakan, matatadyakan,
madadaganan, mababasa, mapagsasamanatalahan,
at pagkatapos ng lahat ng pinagdaanan
huhubarin sila at ililigpit
at pag gagamitin na naman
konting punas lang
konting himas lang
okey na naman

hindi na siya papakaskas sa maalikabok na kalsada
hindi na siya papapudpud sa mainit na aspalto ng kalye
hindi na siya papakaladkad sa iba’t ibang sulok at dilim
di na mapuputikan, marurungisan, masusugatan
di na matatamaan, maaapkan, matatadyakan
di na rin madadaganan, mababasa at mapagsasamantalahan
pagkatapos ng lahat ng pinagdaanan
di na sila pahuhubad, paliligpit at pagagamit
hindi na madadaan sa konting punas, sa konting himas.

ang buhay raw ng tao, parang sapatos
lalo na ang babae
may goma, may plastik, may peke, may tunay na balat
merong may takong, meron ding wala
may puting sapatos, itim na sapatos
dilaw na sapatos, berdeng sapatos
may asul na sapatos,
at may pulang sapatos.

HI-TECH
*Appeared on “Trip”, UP Collegian’s Literary Folio, July 2000, under the writer’s pseudonym “Karl Sebastian”.

www
ba't andami mong tanong
sa suliranin ng bayan
isa lang ang solusyon
.com

SIKAT
*Appeared on “Handumanan”, UP Collegian’s Literary Folio, September 1999, under the writer’s pseudonym “Karl Sebastian”.

Sikat ka na
Sabi ng isang kasama
Hindi ka na namin nakikita
Nakakasama sa martsa
Sa gitna ng kalsada
Sa Ayala
Sa Ortigas, sa Mendiola

Sikat ka na
Akalain mo nang makita
Sa Risiris, kahapon ‘yon, di ba?
Si Ricky Lee ang kasama
At iba pang manunulat
Sa TV at pelikula
Naks! Sikat ka.

Ako? Sikat na?
Nagbibiro ka yata?

Ako’y sikat na
‘Pag naalayan ng tula
Ni Villa o De Manila
‘Pag nabanggit sa kolum
Ni De Quiros o Doronila
Ipininta ni Dalena
Malang, Ben Cabrera
Naililok ang pigura
Ni Jullie Lluch o ni Aba
Natatuan sa katawan
Ni Alfred Guevarra
Naisama sa comic strip
Ni Pol Medina.

Ako’y sikat na
‘Pag ako’y naimbita
Ni Cheche at Korina
Ni Loren Legarda
Ni Mel at Jay Sonza
‘Pag nagawan ng kanta
Ni Bobby Balingit, Granada
Koyang Jess at Chickoy Pura
Francis M, Ely Buendia
At tamang-tamang kakanta
Ang Jerks o Put3ska
With interpretative dance
Mula kay Lisa Macuja.

Ako’y sikat na
‘Pag nagawan ng pelikula
Ng Regal o ng Viva
‘Pag idinerek ng mga batikang
De Leon, Kidlat at Abaya
(Sayang patay na
Sina Brocka at Ishma)
At ang nagsulat ng iskrip
Si Lee o si Lacaba
Lao, Bautista o Lana
Baka si Goma ang bida
O si Jomari Yllana
(Pero mas akma raw si John Regala).

At ‘pag ako’y sikat na
Pipili ako ng aking kapareha
Si Nora ba o si Vilma
Si Gina o si Hilda
Chanda, Sha o Maria
O baka mas okey
Kung si Joyce o si Ara
Si Sunshine, si Ina
Si Capri at si Rosanna
Ngunit mas gusto ko, ha
Kung gagawing si Bella
Kasi matagal na
Ang paghanga ko sa kanya.

Subalit, ako talaga’y sikat na
‘Pag ang aking mga tula
Ay magpapalaya sa magsasaka
Sa pagkakagapos sa lupa
At ang aking mga kanta
Ang inspirasyon ng manggagawa
Sa pagkawala sa tanikala
Ang aking mga iskrip
Ay ibinatay sa pakikibaka
Ng mga kahanga-hangang kasama
Ang aking mga pelikula
Ay makapag-aanak pa
Ng marami pang aktibista
At ang iba ko pang sining
Ay nakabatay sa mga katagang
“Mula sa masa, para sa masa”
Siguro, sa panahon na ito
Saka mo sabihin sa ‘king
Ako’y sikat na.

FILMS IN THE GUISE OF A HOMAGE (2002)

2006-06-10T07:34:00.000-07:00

WRITER'S NOTE: This writing was first published in 2002 for PEYUPS.com. Just sharing them to you and preserving some of my early writings.

FILMS IN THE GUISE OF A HOMAGE
By SIGFREID BARROS-SANCHEZ

A FEW months ago, while filming some “unnecessary” sequences for the film “Kilabot at Kembot” in a popular motel, we were surprised to find an unexpected visitor on the set --- a well-known director. He happened to pass by the Malate area and saw the lights and generators outside the motel. Familiar with this set-up, he decided to take a look inside. He was talking to the film’s publicist when I happened to chance upon him outside.

“Ano’ng ginagawa mo ngayon, Direk?” asked the publicist.

“Oh! It’s a very wonderful film. Very original,” he says. I remember the words very well. We, writers, are suckers everytime we hear somebody tell an original tale. “It’s about this young teacher na nagturo sa isang eskwelahan in a far-away barrio. She inspires the kids despite bata pa siya at kaka-graduate lang.”

“Ah, parang “Not One Less”…” I uttered. I know I should have not opened my mouth. But for someone who has Chinese director Zhang Yimou at the top of his list of influential filmmakers, how can you not butt in especially upon recognizing the semblance right away. At this moment, the local director is already looking at me and the publicist is in a quandary on what the hell I just said.

“Ano ‘yung “Not One Less,” Direk?” asked the writer in front of him. He tries to regain his poise and delivers, “Oh! It’s a Chinese film. It’s a homage, actually. But there’s this twist in my film. Two of the students are very poor kaya nagpapalitan sila ng uniform…”

I was about to play party-pooper again but decided to whisper my comment to myself.

“Children of Heaven…” I murmured as I tried to walk away, shaking my head. Iranian Majid Majidi’s film holds a special spot on my shelf of art films.

Recto

Homage. Paying tribute. Bestowing respect. To express high regard for someone else’s work. However, for some, it’s a good excuse to copy. To clone or to duplicate. An alternative for the phrase “ripping off”. Even closing in on the word “stealing”.

Everytime I hear that word, the next thing that comes to my mind is Recto. No, not the person, but that place in Manila where you can get all the copycat-stuffs in the world. You want a cheap imitation of the newest fad in the fashion, even corporate, world? Go to Recto and you can find one there. Perhaps your brother’s diploma or your sister’s perfume or your best friend’s Levi’s jeans are all but products of this wonderful avenue when they visited Manila. Heck, you can even be wearing a Recto right now!

Martin Scorsese once said that we just repeat everything that was done before, shots, styles, stories. But once the obvious becomes too obvious and, instead of admitting it, you defend it by saying it was just “coincidence” and start putting on your press releases that it was an actual account, then your “homage” becomes “hambog”.

Same sins

The Pilate, I am not. I, too, have committed the same sins in writing my scripts. When Viva Films asked me to write my first work, “Alas Dose,” for their company, the first direction I decided to go with my first draft, upon learning that we will be having Cesar Montano and Christopher de Leon as main actors, was Robert de Niro and Al Pacino’s “Heat”. Director Erik Matti, who directed 80% of the movie only to relinquish the job to Direk Ogie Salvador after a major spat with a major figure, decided to break this idea I have been toying for several drafts and decided to give it a different twist. Had he finished the film and went the way the road that we finally agreed upon, Filipino action movies would have been very, very different by now. Or so we think up to this day.

When I pitched for “Kilabot at Kembot,” I was very excited to hear that the production is very, very interested to get “fresh” ideas for its initial offering. “Basta dapat iba,” they kept on telling me.

I decided to write the first four drafts in a mixture of “American History X,” “Enemy of The State,” and, would you believe, Giuseppe Tornatorre’s Oscar-winning work “Cinema Paradiso”? The original story was that an ex-gangster goes out of jail, full of tattoos, and decided to change his ways by working as an “aparatista” (projectionist) in an old cinema house at the Recto area. Its ending was supposed have an “Enemy of The State”-like finish with three groups going at each other while the protagonist outwits them and escapes. Think also of Ridley Scott’s “True Romance”. It was supposed to tackle and hit the booming film piracy eventhough its main actor was not yet involved then (nor was thinking probably or else he had given his thumbs up on the first draft) as chairman of the anti-piracy agency of the country. It was supposed to be my “homage” to the film medium itself and all the movies I’ve watched in my younger years. Eventually, I got kicked out of the production for a month for failing to supply them with what they said was “iba”. “Masyado kang pa-art film,” was one of the comments. When I was asked to rejoin again, the new script retained just the “American History X”-thing: the main actor had tattoos and there’s this kid who idolized him.

“Prosti” was another one that could have gone the “homage” direction. When Direk Erik asked me to write its complete story after getting the go-signal from Regal Films upon pitching it, I wanted to retain my original idea that Jay Manalo’s character has a cut dick (ala-“The Angry Inch”) after his American stepfather bit it off when he was just a small boy. I actually saw this story on TV Patrol and decided to use it as my political statement in the film and to show the anti-U.S. Bases in me. Also, I wanted to show a pimp falling in love with his prostitute and that among the many men that has used Aubrey Miles character’s body, it is he, dick-less and all, who has offered the only true love and not lust.

To tell it honestly, I was inspired by that Chinese film (sorry but I just love works by these Chinese) “Xiu Xiu: The Sent Down Girl” where a man tries to hide his feelings for a student sent to him to experience life in the countryside in communist China. After the government fails to return the girl back to the city, he watches each time different men use Xiu Xiu’s body for lust. It turns out, the man fights off his feelings because he has lost the “weapon” he needs to demonstrate his love for Xiu Xiu in the line of battle a few years back. I was very much engrossed and absorbed at this different kind of love twist that I decided to fight it out with Direk Erik that the scene be retained. Regal however gave the thumbs down explaining that it will be hard to explain to Pinoy viewers the lovemaking scenes when they can not actually make love. So, we instead got a character named “Nonoy Laki” for Jay who’s problem is he got a big wiener (can we count this as a homage to Jay’s “Totoy Mola”?). Direk Erik however was able to incorporate some “homages” to films we were very much inspired during pre-production: Wong Kar Wai’s “In The Mood For Love” (the slo-mo brushing of shoulders of Jay Manalo and Aubrey Miles while going up and down the stairs) and Todd Solondz’s “Happiness” (the montage of characters and their search for their happiness). He even did an obvious homage to his teacher’s, Direk Peque Gallaga, original “Scorpio Nights” by shooting a scene wherein Jay peaks into and spits in a crack on the floor. Seeing Jay lie flat on his stomach on the floor gives goosebumps as you recall Daniel Fernando in the ‘80s doing the same thing.

However, thinking we escaped with those reverences, “Prosti’s” showing incidentally coincided with “In The Mood For Love’s” showing at the Art Film Theater in Greenbelt, Makati. Although film buffs, artists, critics, and elite citizens only go to these screenings, we got our worst criticism from a reviewer who always hated Erik’s works a few days later. “Prosti: In the mood for lust,” it reads. Erik’s answer? “He failed to see that it was an obvious homage.”

Lately, local films that we have been viewing or that are shown in cinemas have actually scenes, sequences, or highlights borrowed from Hollywood movies and the unobvious foreign art films.

Jologs

This year’s biggest grosser, “Jologs” is actually inspired by “Go” and “Pulp Fiction.” Although what we saw on screen was very, very much different from the one that won for scriptwriter Ned Trespeces the top plum in the 1st Star Cinema Scriptwriting Contest in 2000, he admits that the inspiration was still there. Even the lip-synching part at the end of the film of all the characters was taken from the film “Magnolias” which starred Tom Cruise (it got limited playing in the country). Next we heard, the same company which produced “Jologs” is actually trying to come up with a Pinoy version of that hit Spanish film “Amores Perros” and that French sleeper “Amelie”. We may even get “Fat Greek Wedding” or “Ring” wannabes (both recent top moneymakers in the US) by next year. After all, isn’t “Got To Believe” just “The Wedding Planner” and that recent Aga-Claudine flick “Kailangan Kita” a mixture of “Like Water For Chocolate,” “Chocolat,” and “Woman On Top” dipped in Pinoy melodrama sauce?

Then there’s Quark Henares’ “Gamitan” which is actually that Ryan Philippe-Sarah Michelle Gellar-Reesee Witherspoon “Cruel Intentions”. There’s a scene in Ara Mina’s latest “Two Timer” which is very much like that in “Unfaithful” of current did-you-see-her-boobs Diane Lane. Robin and Juday’s “Jeannie, Bakit Ngayon Ka Lang” is clearly based on that ‘60s show “I Dream of Jeannie” which is being shown locally on Studio 23. Jeffrey Quizon admits that his current film with Vic Sotto “Lastikman” has shades of Tobey Maguirre’s “Spiderman”. Meaning to say, come this year’s entries at the Metro Manila Film Festival in December, we might be seeing a handful of these so-called local flicks laced with either “homage” concepts or “homage” scenes.

Just recently, I was able to catch with my kids an afternoon show that viewed past Pinoy films wherein we have obvious copycats of “Batman and Robin,” “Sleeping Beauty,” etc. But considering that these are comedy films, this genre uses a different word in describing a “homage” film: Spoof.

Meanwhile, for the past fifteen years, our Pinoy action films have been very well patterned after hits by either Arnold Schwarzenegger or Sylvester Stallone. And so we get poor xeroxes of “Kindergarten Cop” or “Rocky” along the way. Manila Filmfest entry “Diskarte” which starred Rudy Fernandez and Ara Mina was actually an “airball” copy of Mel Gibson’s “Payback”. Airball because it really failed to hit the rim.

In a directing class a couple of years ago at the Ateneo de Manila University in Loyola, QC, one of the directors in the panel openly admitted that in making his high-tech movie about a group of teenagers stumbling upon a plot to start a nuke war by unearthing them at the abandoned Clark Airbase, he recorded all the scenes from different Hollywood pictures in one tape and requested his crew ---- cinematographer, production designer, cameramen, editor, and special and digital effects men --- to shoot his scenes at the very same way as that of which he recorded. The movie was a big flop despite its budget and the director never got to direct again.

Economics

“Kokonti lang naman ang istorya sa mundo,” director Augusto “Ogie” Salvador once told this writer. “Babali-baligtarin mo lang.” In contrast, an idealist friend in college once told me that we still have a lot of stories to tell aside from our love story, our sex life, or our miseries. “Puwede kang gumawa ng istorya tungkol sa lapis o sa sapatos o sa iba pang maliliit na bagay na bihira mong mapansin. Kailangan lang ibuka mo ang mata mo ng maigi, maging aware ka sa paligid mo, at marunong kang makiramdam. May istorya sa bawat sulok. Hindi lang natin nakikita ngayon kasi may mga bagay na pumipigil sa atin para makita at maisulat ang kuwentong iyon.” That has been my inspiration ever since.

In entering the film industry four years ago, I encountered one major block in writing very original pieces: economics. Armed with what I thought was a very original piece via a script entitled “Ang Anak Ni Brocka” wherein I tried to prove that Lino Brocka sired a son in 1979 while filming “Jaguar” in Tondo, I was slapped with the truth. Producers, who are businessmen above all else, are still at the helm of the industry and they are concerned at only one thing --- to make money. And making money means copying films overseas that made millions for their producers. You, a starving artist with a pregnant wife and three more young mouths to feed, decide to give in to their every demands. “Gayahin mo ‘yung ganito. Gayahin mo ‘yung ganyan. Lagyan mo ng hubad. Dagdagan mo ng sex,” is what you’ll hear. Seldom do we see a really original film like “Bayaning Third World” by Mike de Leon. The sad part is, the market doesn’t go for intellectual art films. The Eraserheads learned about it, in the music business side, when their “Fruitcake” album failed to earn as much as their past ones. That’s why in one of their songs they belt out, “…Pinilit kong iahon ka. Ngunit ayaw mo namang sumama” (“Para Sa Masa”). It holds the same for less-traditional films.

And so, does this mean that we must stop copying or “paying homage” to other films? The answer, for now, is “no”. It helps you find your identity, your focus, and your style. Also, it educates and introduces new visuals and ideas to the nation’s major market (the “bakyas”) who are not privilege to watch foreign and art films. But when your film has the making of being seen internationally or even being viewed by a panel of jury from, say, the Oscars, wouldn’t it be wonderful that your movie has no traces of obvious “homage” from other films? It makes you feel proud. The feeling, they say, is the hardest to copy .

ALLAN DIONES OF ABANTE TONITE ON "ANG ANAK NI BROCKA"

2005-09-02T06:29:00.000-07:00

ENTERTAINMENT
ALLAN DIONES, ABANTE TONITE

Si Phillip at Ang 'Anak' ni Lino Brocka

Binigyan kami ni Tito Mario Bautista ng VIP pass para panoorin ang anim na kalahok sa Cinema One Originals Digital Film Festival na ginanap sa Megamall nu’ng weekend, pero isang pelikula lang ang napanood namin.

Hinabol namin ang 9:00 PM screening ng Anak ng Tinapa nu’ng Linggo pero hindi ito ang napanood namin kundi Ang Anak ni Brocka.

Sabi sa amin ng katotong William Reyes ay na-X daw ng MTRCB ang Anak ng Tinapa (ni Jon Red) kaya sa UP na lang daw ito ipalalabas.

Kakaiba ang dating ng Ang Anak ni Brocka na ginawa ng indie filmmaker na si Sigfried Barros-Sanchez. Pinaghalo itong fiction at documentary na umikot sa kuwento ng isang 20-anyos na binatang nagki-claim daw na anak siya ng nasirang direktor na si Lino Brocka.

Sinaliksik ng isang grupo ng investigative journalists ang ‘scoop’ na ‘yon na natisod ng isa nilang kasamahan para ipalabas sa kanilang programang ‘Lente’ sa Channel 22. Naghananap kasi sila ng mga bagong istorya para mapataob nila sa ratings ang kalaban nilang show at ‘yun nga ang tinugaygayan nilang istorya.

Ang kilala lang namin sa grupo ng ‘Lente’ ay sina Roence Santos (si Patotina ng Krystala na mabenta rin sa indie films), Noni Buencamino at Soliman Cruz (gumanap na ama ni Maxi sa Ang Pagdadalaga ni Maximo Oliveros).

Kasabay ng pag-iinterbyu kunwari ng grupo ng mga taong makapagtuturo sa kanila kung nasaan ang sinasabing ‘anak ni Brocka’ ay may interbyu rin sa mga tunay na kaibigan, kapamilya, katrabaho at mga nakasama’t nakilala noon ng bantog na direktor.

‘Kaaliw ‘yung MOS (o men on the streets) interview na iba-iba ang sagot ng mga tao sa kalye nu’ng tanungin kung naniniwala ba ang mga ito na may anak si Brocka.

Hirit nu’ng huling lalakeng tinanong, "Kanino, kay Phillip (Salvador)?!"

***

Interesting ‘yung iba’t ibang anecdotes tungkol kay Direk Lino na isinalaysay ng mga taong malalapit sa kanya — tiyahin niya, guro niya noon sa kinalakhan niyang bayan ng San Jose, Nueva Ecija, mga kaklase, pinsan, kaibigan, tagahanga at iba pa.

Lahat sila ay ipinagmamalaki at ikinararangal ang narating ng kanilang promding kababayan.
Laki raw sa hirap si Lino (Catalino Ortiz Brocka sa totoong buhay) at api-apihan ito nu’ng paslit pa. Nag-stowaway pa raw ito nu’ng kabataan niya. Ipinanganak si Lino nu’ng Abril 7, 1939 sa Pilar, Sorsogon.

Isa sa pinakahinahangaan at tinitingala naming direktor si G. Lino Brocka, na nagsilbing instrumento kung bakit kinilala ang kahusayan ng mga pelikulang Pilipino sa ibang bansa nu’ng kapanahunan niya.

Nalungkot kami sa MOS interview sa mga kabataan ngayon na halos lahat sila ay hindi kilala ang namayapang dakilang direktor at National Artist for Film.

Heto ang ilan sa reaksyon ng mga bagets sa tanong kung kilala ba nila si Lino Brocka: "Hindi po. Hindi kasi matunog ang pangalan niya, eh!" Sabat naman nu’ng isa, "Namatay siya kasi, nasagasaan siya, di ba?"

Nang magpabanggit sa kanila ng pelikulang gawa ni Brocka na naaalala nila, ang sinagot nila ay Oro Plata Mata (gawa ni Peque Gallaga), Dekada ‘70 (gawa ni Chito Roño) at Scorpio Nights (gawa rin ni Peque Gallaga).

Katwiran ng isang lalakeng teenager, foreign movies daw kasi ang mas pinanonood nila kaya panay American directors ang kilala nila. Ang saklap, di ba?

***

May isang eksenang naghagilap ng betamax tapes si Roence para panoorin nila ng staff niya ang mga pelikulang dinirehe ni Brocka.

Napagtripan nila ang iba’t ibang titulo ng mga Brocka films.

Ang Insiang daw ay pelikula tungkol sa bagyo; ang Bona ay tungkol sa gatas ng bata; ang Tinimbang Ka Ngunit Kulang ay tungkol sa mga tinderang nandaraya ng timbang sa palengke; ang Cain at Abel ay isang gay film; ang Miguelito: Batang Rebelde ay tungkol kay First Gentleman Mike Arroyo; at ang Orapronobis ay tungkol sa marijuana (dahil katunog ito ng cannabis).

Kung sa Pepot Artista ay naiirita kami kapag ipinakikita ang film clips mula sa mga pelikula nina Guy & Pip, dito ay kinikilabutan kami kapag ipinakikita ang iba’t ibang film footage mula sa mga di malilimutang obra ni Direk Lino. Bigla tuloy namin siyang na-miss!

Ang cute ng reaksyon ng mga kaibigan at malalapit kay Lino nang tanungin sila kung naniniwala ba silang may anak ang namayapang direktor.

Ayon kay G. Pete Lacaba, hindi interesado sa chicks si Brocka. Panay rin ang tawa nina Mel Chionglo, Ricky Lee, Peque Gallaga, Roy Iglesias, Mara Lanot, Boots Anson-Roa, Rez Cortez, Boy Roque, Francis Magalona, Timothy Diwa, Chanda Romero at Joey Reyes dahil alam ng lahat na bading si Direk Lino kaya hindi sila kumbinsidong magkakaanak ito.

Pakli ni Direk Joey, "He has lots of children, but unfortunately, no one could live up to the stature of the father." Very well said!

May interbyu rin ang mga kaibigan at kasamahan noon ni Lino sa UP na sina Behn Cervantes, Ed Sicam, Bibsy Carballo at Bobbie Malay.

Pinagtatawanan daw noon ang Ingles ni Brocka sa UP dahil promdi ito at matigas ang puntong Tagalog, pero kapagkuwan ay nanalo ito sa isang oral contest.

Ayon sa isang parloristang bading (Epi Quizon in a cameo role) ay madalas daw pumunta ng mga gay bar tulad ng 690 si Brocka nu’ng nabubuhay pa ito. Bayani umano kung ituring ng mga bading si Direk Lino.

Bukod kay Epi ay may cameo appearances din sa pelikula sina Gina Alajar, Bembol Roco, Phillip Salvador, Geoff Eigenmann, Angie Ferro, Aurora Yumul at iba pa.

***

Lahat ng lugar na pinuntahan at pinaglagian noon ni Direk Lino ay sinuyod nila, kaya nagtungo rin sila ng Tanghalang Rajah Sulayman sa Fort Santiago kung saan itinanghal ang unang dula ni Brocka para sa PETA.

Siya pala ang kauna-unahang direktor na nagdala ng mga artista ng pelikula sa teatro o lehitimong entablado.

Ayon kay Gng. Cecille Guidote-Alvarez, hindi nakapagtapos sa UP si Lino at nagprisinta itong pumasok sa teatro. Doon nagsimulang lumitaw ang artistic at creative genius nito.

Nalaman namin mula sa kuwento ng playwright na si Rody Vera na may intrigahan din pala sa teatro lalo na nu’ng panahong pasabugin ni Brocka ang tinagurian nilang ‘PETA bomb’ na ang ilang miyembro ng grupo ay kasapi umano sa kilusan ng mga komunista.

Ang ironic doon, 3 years after ay si Brocka ang nakulong dahil sa pagiging aktibista nito.

Tsika naman ni Chanda, madalas silang pagmumurahin noon ni Lino dahil ang lutong ng puntong Bisaya nila kapag nagdadayalog na sila sa entablado. Dagdag pa niya, si Lino ang direktor na pati pagpatak ng luha at paghinga mo ay bilang.

Sinuyod din ng pelikula ang mga slum area at makikipot na eskinita, ang lugar ng mga iskuwater at mga maralitang tagalunsod na siyang lokasyon ng karamihan sa mga obra ni Brocka tulad ng Kapit Sa Patalim, Jaguar, Tatlo Dalawa Isa, Macho Dancer, Pasan Ko Ang Daigdig at marami pang iba.

Hanggang ngayon ay tanging si Lino lang umano ang direktor na nakapagpakita sa katsang telon ng tunay na mukha ng kahirapan sa Pilipinas.

May mga anekdota rin ang ilan pa sa mga artistang nahawakan ni Brocka gaya nina Ronnie Lazaro, Joel Torre at Alan Paule.

"Lino gave birth to the concept of freedom in art," ayon kay Ronnie.

"There could never be another Brocka!" bulalas ni Francis M.

May nakatutuwang rebelasyon kaming natuklasan sa Ang Anak ni Brocka. Ito ay ang tsismis na umikot noon sa malalapit sa nasirang direktor.

Lahat ng mga kaibigan niya ay alam ang tungkol sa ‘famous myth’ na kesyo may nakarelasyon noon si Lino na isang sikat na Hollywood actor!

Ayon kay Direk Joey ay nalokah siya nang ikuwento sa kanya ‘yon ni Brocka nu’ng minsang nasa Hawaii sila para sa shooting ng Strangers in Paradise. "Ang haba ng buhok niya, huh!" dayalog ni Chanda. Sabi ni Timmy Diwa (na nagdayalog na ‘horny’ person daw si Brocka), ipinagkakalat niya ‘yon sa mga kaibigan niya dahil proud siya sa episode na ‘yon sa buhay ni Direk Lino. Siya rin ang nagbanggit na aktibo pa ang nasabing Hollywood actor at sa katunayan ay napapanood daw ito sa programang The West Wing.

Kiyemeng ayaw pa itong ibuking ni Direk Behn pero siya ang nagbitaw ng pangalang ‘Martin.’
So, ibig sabihin, nakarelasyon noon ni Brocka si Martin Sheen ng The West Wing??! Bongga, di ba? Ang haba-haba nga ng hair niya!
Ha! Ha! Ha!

***

Hanggang ngayon, 14 taon matapos mamatay sa isang aksidente (Mayo 22, 1991) ay hindi pa rin namamatay ang diwa ni Lino Brocka.

Sabi ng mga aktibista at militante, ang pinakamatingkad na katangian ng mga pelikula ni Brocka ay ang paglalarawan sa mga isyu ng lipunan at ang marubdob na pagtatanggol niya sa karapatan ng mga maliliit at inaapi.

‘Yun ang kanyang natatanging tatak na hanggang ngayon ay hindi makopya ng mga direktor na pilit na gumagaya sa kanya.

Sana nga ay palagi natin siyang maalala at hindi na makalimutan pa…

INDIEFILMMAKING-RELATED QUESTIONS ASKED BY MANILA BULLETIN

2005-09-02T06:27:00.000-07:00

INDIEFILMMAKING-RELATED QUESTIONS ASKED BY A NEWSPAPER

QUESTIONS MANILA BULLETIN ASKED ME FROM MANILA BULLETIN.

What specific issues do you think the local film industry urgently needs to address?

TOO MUCH POLITICS IN THE FILM INDUSTRY. "TOO MUCH" MAY EVEN SEEM TO BE A KINDER WORD. BASTA, ANG DUMI-DUMI-DUMI NA NG INDUSTRIYA. HIGH TAXES, R-18 BANS, PIRACY PROLIFERATION, ETC., LAHAT 'YAN NAKAUGAT SA PULITIKA. THERE ARE A LOT OF PROVISIONS, FOR EXAMPLE, IN GRADING WHAT A GOOD FILM SHOULD BE. IT ONLY PERTAINS TO FILMS DOINE BY FILMMAKERS WHO HAVE SUPPORTED THE INCUMBENT PRESIDENT DURING LAST ELECTIONS. IF YOU WILL NOTICE, FILMS LANG NILA ANG PWEDENG MAKAKUHA NG MATAAS NA GRADE. PAG DI KA PRO-ADMINISTRATION, MALAS MO. NAHALUAN NA TALAGA NG SOBRANG PULITIKA LAHAT. CONSPIRACY THEORY NA NGA. NA PATI PAGBABAWAL NG R-18 MOVIES SA ISANG MALL AY POLITICALLY-MOTIVATED. KASI YUNG ANAK NG MALL MOGUL AY KASAMA SA ISANG FILM BOARD KUNG SAAN NAKAUPO ANG MGA FILMMAKERS NA TANGING PELIKULA LANG NILA ANG PWEDENG BIGYAN NG MATAAS NA GRADE AT SABIHING "GOOD QUALITY FILM". NAG-AAWAY-AWAY ANG MGA FILIPINO FILMMAKERS DAHIL LAHAT NABAHIRAN NA NG KULAYO KAYA AY MAY MGA PINOPROTEKTAHAN NANG TAO AT INTERESTS. THE SAD PART IS, TAYO-TAYO NAG-AAWAY NOT KNOWING THAT HOLLYWOOD AND OTHER FOREIGN FILMS ARE LAUGHING ALL THE WAY TO THE BANK. HIGH TAXES, PIRACY, ETC.? LAHAT YAN PART NG POLITICAL PLAN TO KILL THE FILIPINO FILM INDUSTRY AND ITS PASSIONATE ARTISTS SO THAT THESE FOREIGN PRODUCTS ARE THE ONES WE ARE GOING TO BUY AND PATRONIZE. MAY PINOY FILMS PA RIN PERO 'YUN LANG MAY BASABAS NG ADMINISTARTION ANG PWEDENG MAKIPAGSABAYAN NG PROMOTIONS AT MEDIA SPACE. PARANG EKONOMIYA NATIN. PARANG MGA BUSINESSES NA TUMATAKBO SA BANSA. PRO-BIG AND FOREIGN INVESTORS, ANTI-SMALL AND FILIPINO ENTREPRENEURS. ITO ANG KATAS NG WORLD TRADE. HANGGANG SA ENTERTAINMENT RAMDAM. KAYA NGA ANG INDIE/ALTERNATIVE FILMMAKERS DAPAT HINDI SILA SUMAKAY DU'N SA MGA NAKATAYO NA NA ORGANIZATIONS KASI MAY MGA PULITIKA NA DUN. DAPAT KASAMA SILANG GUMIGIBA DU'N SA BULOK NA BIULOK NANG SISTEMA NA KINAIN NG PULITIKA. PAG NAGAWA NILA 'YUN, MAY BAGONG WAVE NA TALAGA NG FILMS, FILMMAKERS, AUDIENCE, PRODUCERS, AND EVEN MEDIA NA SUPPORTIVE SA ISANG BAGO AT WALANG HALONG PULITIKA NA INDUSTRIYA. BUT AS LONG AS INDIE FILMMAKERS WANT TO BE CONTROLLED BY OLD-TIMERS, WALA. INDIE MAN SILANG SABIHIN O BAGONG WAVE PERO PUPPET PA RIN SILA NG OLD TRADITIONS AT NG PULITIKA NG SINUMANG ADMINISTRASYON.

What do you think of past government incentives for film producers to make better quality films in exchange for tax deductions?

FIRST, WE MUST REALLY DEFINE WHAT "BETTER QUALITY FILMS" MEAN AND WHO DEFINES IT. KASI, IF WE LOOK AT THE GOVERNMENT'S DEFINITION OF "BETTER QUALITY FILMS," IT ONLY PERTAINS TO FILMS MADE BY SOME DIRECTORS WHO SUPPORTED THE PRESIDENT'S CANDIDACY AND HER CURRENT POLITICAL AGENDAS. HAVE YOU EVER SEEN THE RULES AND BY-LAWS? LAHAT NG EXAMPLES NG "BETTER QUALITY FILMS" OR STANDARDS PARA SA KANILA NG "BETTER QUALITY FILMS" ARE THOSE FILMS ONLY DONE BY THE PRESIDENT'S ALLIES. PAG ANTI-ADMINISTRATION KA, YOU DON'T FALL IN THE CRITERIA OF "BETTER QUALITY FILMS" PARA SA KANILA. SO, MAY PULITIKA NA NAMANG INVOLVED. SO, ANG DEFINITION LANG NG "BETTER QUALITY FILMS" AY 'YUNG TUNGKOL SA PAMILYA, PAG-IBIG, AT PAGKAKAIBIGAN NA MARE-RESOLVE THROUGH RELIGIOUS MEANS. BAWAL ANG TUNGKOL SA KAHIRAPAN, SA PAG-AAKLAS, O KAHIT SIMPLENG ISTORYTA NA TUNGKOL SA BALL PEN O PAPEL. KAPAG GUMAWA TODAY NG MGA "MAYNILA SA KUKO NG LIWANAG" O "TINIMBANG KA NGUNIT KULANG" O "KISAPMATA", MALAMANG HINDI MABIBIGYAN ANG MGA PELIKULANG 'YUN NG "A" AT NI HINDI MASASABING "BETTER QUALITY FILMS". SAD, PERO TOTOO. I AGREE NA MAGANDA YUNG KAHIT SAMPUNG PELIKULA LANG MAGAWA NATIN SA ISANG TAON PERO QUALITY FILMS LAHAT. PERO KUNG ANG SAMPUNG QUALITY FILMS NA 'YUN AY MAY HALONG PULITIKA ANG PAGKAKAPILI O PAGKAKA-DEFINE NA "QUALITY FILM", DI BALE NA LANG. DU'N NA LANG AKO SA MGA "HINDI" QUALITY PINOY FILMS BUT I KNOW IN MY HEART THAT THEY REALLY ARE. GOVERNMENT INCENTIVES ONLY SERVE THE INTERESTS OF THOSE WHO ARE ONLY PRO-ADMINISTRATION OR WHOEVER SITS ON THE THRONE.

Have you ever seen a Bollywood film?

YES, I HAVE. TINATAWANAN MAN NATIN ANG PORMA AT ISTILO NG BOLLYWOOD FILMS, I AM ALL SALUTE AND RESPECT TO THESE KIND OF FILMS. WHY? BECAUSE, SO FAR, IT'S THE BIGGEST "FUCK YOU!" TO THE HOLLYWOOD INDUSTRY WHO HAS BEEN GOBBLING UP THE LOCAL FILM INDUSTRIES OF OTHER COUNTRIES WHOSE FILM INDUSTRIES USED TO PROSPER (THE PHILIPPINES INCLUDED). BUTI PA ANG INDIA MAY IDENTITY ANG FILMS NILA AT ANG KANILANG INDUSTRIYA. THE PHILIPPINES, NI WALANG IDENTITY. WE JUST COPY KUNG ANO ANG USO. "ASIAN HORROR"? GAGAWA DIN TAYO. IRANIAN-TYPE FILMS? KOKOPYAHIN NATIN. FANTASY NA ALA-LORD OF THE RINGS AT HARRY POTTER? NEXT WEEK LANG PINAGPAPLANUHAN NA. KAYA NAMATAY ANG ACTION FILMS NATIN. WALANG IDENTITY. KOPYA LANG NG KOPYA SA HOLLYWOOD FILMS. E TUMAAS ANG STANDARDS NG HOLLYWOOD ACTION FILMS WITH COMPUTER GRAPHICS AT MGA REAL STUNTS. HINDI MAKASABAY ANG ACTION FILMS NATIN KASI MAHAL AT HALATANG PEKE NA TALAGA ANG SA ATIN. KAHIT SI STALLONE AT SCHWARZENEGGER LUMAOS. KASI TUMALINO ANG AUDIENCE AT ALAM NA NA HINDI SILA ANG GUMAGAWA NG STUNTS NILA. AT MAS COOL NA KAPAG BATA O CHINESE MARTIAL ARTISTS. IBABAGAY MO PA SA MAS HIP NA STORIES AT EFFECTS. NAGISING DIN TAYO AT NALAMANG NILOLOKO NA RIN TAYO NG ACTION FILMS NATIN. NAHIRAPAN KASING SUMABAY.

ANG BOLLYWOOD, PILIT WINAWASAK NG HOLLYWOOD. THEY EVEN DID A BOLLYWOOD-HOLLYWOOD IN "THE GURU". PERO PUMALPAK ATA. I THINK IT BOMBED. HOLLYWOOD WANTS THE BOLLYWOOD MARKET. PERA-PERA PA RIN AT ANG INDUSTRIYA NG PELIKULA SA INDIA, MALAKING PERA 'YUN. INDIA IS NUMBER TWO, I THINK, IN THE GLOBAL FILM INDUSTRY. NEXT ONLY TO THE U.S. I REASD SOMEWHERE THAT HOLLYWOOD IS NOW TRYING TO INFLUENCE THE YOUNG FILMMAKERS OF INDIA BY ENTICING THEM TO TRY UN-BOLLYWOOD THEMES IN FAVOR OF HOLLYWOOD-TYPES. THEY'RE EVEN INTRODUCING ASIAN HORROR AS AN ALTERNATIVE PARA MABUKSAN 'YUNG MARKET AST MADALI NA SILA MAKAPASOK. BUT I THINK INDIA IS NOT BITING. GOOD FOR THEM. IT'S DEFINITELY A DIRTY FINGER TO HOLLYWOOD. FOR GOBBLING UP THE ONCE LIVELY FILM INDUSTRIES OF COUNTRIES LIKE HONGKONG AND THE PHILIPPINES, INDIA IS ASIA'S MIDDLE FINGER TO THE WEST. IT'S STILL THE CASE OF A BIG OAF WHO WANTS TO EAT, GOBBLE, AND CONTROL KAHIT NA BUSOG NA BUSOG NA SIYA. GLUTTONY. WONDER WHY SI COCO LEE ANG BINIBUILD-UP AT HINDI A BETTER SINGER LIKE A FILIPINA? WONDER WHY SUDDENLY THEY FIND INTEREST IN JACKIE CHAN, CHOW YUN FAT, JET LI, AND EVEN SAMO HUNG WHEN BEFORE HOLLYWOOD WON'T EVEN TOUCH THEM WITH A TEN-FOOT POLE? AT BAKIT LAHAT HALOS NG FILMS NGAYON NAKA-SITUATE SA CHINA ANG ILANG SCENES O KAYA AY MAY CHINESE ACTORS O CHINESE-SOMETHING SA STORY? IT'S BECAUSE CHINA HAS OPENED ITS DOORS TO COMMERCIALIZATION AND IT HAS THE BIGGEST POPULATION IN THE WORLD. ANG LAKING MARKET NG CHINA! AND THEY'RE SO VIRGIN WITH THESE AMERICAN PRODUCTS. SO, TO PUT UP A MC DONALD'S BRANCH THERER OR A NIKE STORE, YOU NEED GLOBALLY-KNOWN CHINESE FIGURES. SO, NAKA-PLANO LAHAT. PASISIKATIN SINA JACKIE CHAN, COCO LEE, CHOW YUN FAT, AND YAO MING PARA MAKAPASOK ANG U.S. PRODUCTS, FILMS INCLUDED, SA CHINA. SO NGAYON, ANG CHINA, UNTI-UNTING NAGIGING UTAK-HOLLYWOOD NA RIN. AND IT WILL TAKE ANOTHER 50 OR MORE YEARS PARA BASAGIN 'YUN KASI, RIGHT NOW, LUNOD NA LUNOD SILA SA MGA AMERICAN PRODUCTS. BAWALA MUNA MAGPASIKAT NG PINOY O IBANG TALENTS FROM OTHER COUNTRIES NGAYON. SIGURO MAY MAKAKALUSOT NA ISA O DALAWA PERO MINOR CELEBRITY STATUS. WHY? THE WORLD HAS NO USE FOR US RIGHT NOW IN SELLING THEIR STUFFS. DI TAYO KASING-INIT LIKE DURING THE 70S AND 80S NA TALK OF THE WORLD TAYO BECAUSE OF OUR POLITICAL SITUATION. RIGHT NOW, WE'RE JUST ONE OF THOSE CORRUPT COUNTRIES WHO WILL PATRONIZE AND BUY WHATEVER HOLLYWOOD IS GOING TO FEED US. THEY HAVE ALREADY CONTROLLED OUR MINDS. HOW I WISH BOLLYWOOD WON'T GO THE SAME ROUTE.

Who are your all-time favorite filmmakers?

I ALWAYS SAY THAT I GREW UP WATCHING BLACK AND WHITE LVN AND SAMPAGUITA MOVIES ON CHANNEL 9 AT 1:00 IN THE AFTERNOON WITH DOLPHY, PANCHO MAGALONA, TITA DURAN, ROGELIO AND JAIME DELA ROSA, CARMEN ROSALES, NIDA BLANCA, NESTOR DE VILLA, ETC., AND PILING-PILING PELIKUYLA AT CHANNEL 13 WHICH SHOWED MOVIES STARRING LITO LAPID, JESS LAPID, REX LAPID, REY LAPID, JUN ARISTORENAS, ROBIN ARISTORENAS, WENGWENG, CHIQUITO, TINTOY, REDFORD WHITE, CACHUPOY, TITO, VIC, AND JOEY, ETC. WHOEVER DIRECTED THOSE FILMS HAVE A VERY GREAT EFFECT ON ME AND MY BROTHERS AS KIDS BECAUSE THOSE WERE OUR FIRST INTRO TO FILMS. PLUS "TEKS", A LOCAL CARD GAME WE USED TO PLAY IN THE STREETS WHICH FEATURE LOCAL FILMS (WITH DIALOGUES, ACTION, AND ALL) ON IT.

WHEN I GREW UP AND BEGAN TO UNDERSTOOD VISUALS, I WAS VERY MOVED BY THE FILMS DONE BY THE THREE MOST-DROPPED NAMES IN FILIPINO FILMMAKING: LINO BROCKA, ISHMAEL BERNAL, AND MIKE DE LEON. I ALSO FOUND PEQUE GALLAGA'S VISUALS AND MOOD VERY EFFECTIVE. WHY? BECAUSE IT AROUSED ME IN MANY WAYS. I THINK ANNA MARIE GUTIEREZ WAS MY FANTASY GIRL THEN BECAUSE OF SCORPIO NIGHTS AND UNFAITHFUL WIFE (MY UNCLE BORROWS BETAMAX COPIES), HEHEHEHEHEHEHE... I AM A GREAT FAN OF THE WRITINGS OF RICKY LEE, PETE LACABA, AND DOY DEL MUNDO. I REMEMBER COPYING SCENES OF "BATCH 81" SA MGA KAIBIGAN KO AND INICIATED THEM WITH A STYRO WHILE YELLING "ALPHA KAPPA OMEGA..." PATI MGA FILMS NA MAY MGA RALLIES AND PROTESTS, I WOULD YELL SA STREET THE LINES, "HUWAG MATAKOT, MAKIBAKA!" BUT I STILL CRY EVERYTIME I WATCH "ANG TATAY KONG NANAY" ESPECIALLY THAT PART NA KUMAKANTA SI DOLPHY AT NINO MUHLACH TAPOS MAGKALAYO SILA NG BAHAY. 'YUNG "MATUYLOG NA, AKING BUNSO" WHICH TUNE I SOMEHOW USED SA "ANG ANAK NI BROCKA".

SA CONTEMPORARY DIRECTORS, I AM REALLY A BIG FAN OF ERIK MATTI'S VISUALS AND JON RED'S INDIE-NESS. THEY'RE MY MENTORS, IN SOME WAY, ASIDE FROM BEING FRIENDS DURING MY JOURNEY INSIDE THE FILM INDUSTRY.

SA FOREIGN DIRECTORS, I RESPECT THE WORKS DONE BY GIUSEPPE TORNATORRE (CINEMA PARADISO, STARMAKER, MALENA), ROBERT ALTMANN (SHORT CUTS, THE PLAYER) WHO LOVES MULTI-CHARACTERS, OLIVER STONE'S POLITICS, AND THE POETRY OF ZHANG YIMOU AND WONG KAR WAI (I ALMOST NAMED A SON "SZHANGYIMOU KARWAI" BUT SETTLED WITH "STANLEE KUBRICK" WHEN MY MOTHER BANGED HER TELEPHONE AT ME AFTER HEARING MY CHILD'S WOULD-BE NAME). I ALSO AM A BIG, BIG FAN OF AMERICAN INDIE DIRECTORS LIKE KEVIN SMITH (THE CLERKS, MALL RATS) AND TODD SOLONDZ (HAPPINESS, WELCOME TO THE DOLLHOUSE). THEN THERE'S THE "PETER PAN" IN ME THAT LOVES TO WATCH CARTOONS/ANIMATIONS DONE BY DISNEY, PIXAR, DREAMWORKS, and EVEN CLAY ANIMATIONS LIKE "WALLACE AND GROMIT". I'M A YOUNG BOY TRAPPED IN A BIG MAN'S BODY WHO ALWAYS REFUSES TO GROW UP.

What is your dream project?

SABI KO DATI, IF I GET TO DIRECT "ANG ANAK NI BROCKA" THEN THAT'S IT. PERO AFTER DOING IT, YOU TRY TO LOOK FOR CONCEPTS INSIDE YOUR HEAD WHICH YOU FEEL WILL CHALLENGE YOU MORE. LIKE A FILM NA DALAWA LANG ANG CHARACTERS AT ISANG LOCATION LIKE TORNATORRE'S "UNA PURA FORMALITA" (PURE FORMALITY). OR PELIKULANG IISA LANG ANG CHARACTER. YOU THIRST FOR NEW EXPERIMENTATIONS, NEW WAYS OF TELLING A STORY NA HINDI PA NAGAGAWA KAHIT NG HOLLYWOOD. YUNG MAGTATAAS KAHIT ISANG HAKBANG O DALAWANG HAKBANG SA UTAK NG TAO TUNGKOL SA PANONOOD NG PELIKULA. KAPAG MAHANAP KO YUNG FORMULA OR EXPERIMENTATION NA YUN, ASTIG! MALAYA KANG GINAWA AT MAKAKAPAGPALAYA KA PA NG IBANG KAISIPAN. I ALSO LOVE TO DO A FILM FOR KIDS (ANIMATION MAN O HINDI), NA WILL HAVE ME AND MY KIDS WATCHING IT AND LAUGHING TOGETHER. KAHIT MATATANDA NA KAMI AT MAY MGA ANAK NA DIN SILA. MY KIDS ARE MY BIGGEST FANS AND MY HARSHEST CRITICS. AFTER THE SCREENING OF "ANG ANAK NI BROCKA," MY ELDEST ASKED ME "E SINO YUNG ANAK NI BROCKA?". HAHAHAHAHAHA...

When did you first get into filmmaking?

IT WAS A HUMANITIES PROFESSOR BY THE NAME OF HENRY ALVIR THAT INTRODUCED ME TO THE WORLD OF INDIE FILMMAKING. HE ASKED US TO VIEW SHORT FILMS, ONE OF WHJICH IS "TRIP" BY JON RED WHERE HE WAS ONE OF THE ACTORS. "TRIP" AND ROXLEE'S "TITO'S WEDDING" HAD A VERY GREAT EFFECT ON ME THAT I DECIDED THAT I ALSO WANT TO DO THESE SO-CALLED 15-MINUTE "SHORT FILMS". I WAS A POLITICAL SCIENCE STU7DENT THEN AT UE-RECTO AND WAS TRYING OUT FOR A SLOT AT THE VARSITY BASKETBALL TEAM, UE RED WARRIORS.

MY FIRST FILM-RELATED WORKSHOP WAS FOR RICKY LEE'S 11TH SCRIPTWRITING WORKSHOP BACK IN 1999. AFTER THAT I WENT TO SEVERAL FILM-DIRECTING WORKSHOPS LIKE MARILOU DIAZ ABAYA'S FILIPINO FILMMAKING WORKSHOP IN ATENEO AND THE 10TH CINEMA-AS-ART WORKSHOP AT THE UP FILM INSTITUTE WITH TIKOY AGUILUZ AND RAYMOND RED AS PROFESSORS, AMONG OTHERS.

I FIRST WORKED IN THE FILM INDUSTRY AS A SCRIPT READER FOR VIVA FILMS IN 1999. THEY WERE SENDING ME FOUR TO FIVE SCRIPTS A MONTH TO DECIDE WHAT IS FILMABLE AND WHAT IS NOT. I RECEIVE TWO-THOUSAND PESOS FOR CRITICIZING OR GIVING SUGGESTIONS TO SOME SCRIPTS. THAT RAN FOR SIX MONTHS. ONE OF THE FILMS THAT GOT MY VERY GOOD RATING WAS JON RED'S "BOSO" THEN SUPPOSED TO BE DIRECTED BY YAM LARANAS. IRONICALLY, SIX YEARS LATER, I WAS PART OF THE CAST OF THE SAID FILM.

VIVA OFFERED ME MY FIRST SCRIPTWRITING JOB AFTER SIX MONTHS AND GAVE ME "ALAS-DOSE" WHERE I FIRST MET ERIK MATTI WHO WASS THEN ITS DIRECTOR. AFTER THAT, I DID A COUPLE OF OTHER FILMS LIKE "KILABOT AT KEMBOT," "BERTUD NG PUTIK," "PROSTI" AND ACTED FOR "DOS EKIS," JON RED'S "ASTIGMATISM," AMONG OTHERS. I ALSO WROTE FOR TV LIKE ERIK MATTI'S "KAGAT NG DILIM" (WHICH WAS TOO AHEAD OF ITS TIME) AND THE SOAP "DARATING ANG UMAGA". I ALSO ACTED FOR SOME TV SHOWS LIKE "HIRAYAMANAWARI" AND "DETEK-KIDS". IT WAS IN THESE SETS THAT I MET VERY YOUNG AND PASSIONATE FILM WORKERS LIKE ME WHO HAVE INFLUENCED ME A LOT, ERIK AND JON AND THEIR STAFFS INCLUDED.What was your very first camera?
IT WAS A PANASONIC MINI-DIVI DIGITAL CAMERA THAT I STILL USED RECENTLY IN SHOOTING THE BROCKAS' MUSIC VIDEO. MY PARENTS SENT IT TO ME FROM THE STATES AFTER I KEPT BUGGING THEM THAT I WAS THE ONLY ONE IN MY FILMMAKING CLASS WHO HASN'T HAVE HIS OWN CAMERA. I REMEMBER SHOOTING IT AT MY KIDS FIRST THEN THE NEXT DAY BEGAN SHOOTING ANTS THAT WERE TRAVERSING ON OUR "SAMPAYAN". I DID A HOMAGE TO MYSELF IN "LASPONGGOLS" BY PUTTING ANTS TRAVELLING ON A "SAMPAYAN" IN ONE SCENE. TO REMIND ME OF HOW I WAS BACK THEN.

Did you ever consider pursuing your filmmaking career elsewhere?

I WAS SUPPOSED TO LEAVE FOR NEW YORK BACK IN 2000 FOR A WRITING JOB THAT WILL EVENTUALLY HAVE ME PURSUING A FILM COURSE THERE IF ONLY I SAID YES. BUT I TURNED DOWN THE OFFER. IT WAS VERY BIG ISSUE IN MY FAMILY THAT RESULTED IN MY WIFE AND KIDS LEAVING ME FOR ALMOST A YEAR. FOR THEM IT WAS A BIG OPPORTUNITY AND A BETTER LIFE THAT I TURNED DOWN. BUT I STILL SAID UP TO THIS DAY THAT I MADE THE BETTER DECISION. NAKAPASOK NA YUNG ISANG PAA KO SA LOOB NG INDUSTRIYA, AALISIN KO PA? KINAKAGAT MAN AKO NG MGA LAMOK AT HANIP AT KUNG ANU-ANO PA, IT WAS STILL A GOOD ONE FOOT IN. PAG UMALIS AKO, PAGBALIK KO, MAHIHIRAPAN NA AKONG MAKAPASOK ULIT. BACK TO SQUARE ONE. ANDAMING GUSTONG MAKAPASOK SA FILMMAKING, NAG-AARAL NG APAT NA TAON, NAGMAMASTERAL PA, O KAYA NAKIKIPAGPATAYAN KAHIT MAGING P.A. LANG. AKO, NANDUN NA, BAKIT PA AKO AALIS. AND IF I GO AND STUDY FILM IN N.Y. OR ANYWHERE ELSE, PAGBALIK KO, HINDI KO NA MAIINTINDIHAN ANG PINOY FILMMAKING KASI ANDAMI NANG THEORIES SA UTAK KO. THE BEST PINOY FILMMAKING CLASS PA RIN IS NOT THE ONE BEING OFFERED INSIDE THE BIG UNIVERSITIES. IT WILL STILL BE YOUR ACTUAL INVOLVEMENT IN MAKING ONE. YUNG MGA KUNG ANU-ANO NANG KINUHANG WORKSHOPS, TATANDA NA HINDI PA RIN NAKAKAGAWA O NAKAKAINTINDI NG PINOY FILMMAKING. IF YOU'LL NOTICE, THOSE WHO LAST FOR YEARS INSIDE THE INDUSTRY ARE TOSE WHOSE EDUCATIONAL ATTAINMENTS ARE ONLY HIGH SCHOOL OR EVEN ELEMENTARY GRADUATES. BUT THEY HAVE4 THE PASSION FOR THE WORK AT MUKHANG MAS MARAMI PANG ALAM KESA DUN SA MGA NAG-ARAL NG ILANG TAON. SCHOOLS WILL ONLY GIVE YOU THEORIES. ANG TUNAY NA LABAN AT GERA NG PINOY FILMMAKING AY NASA AKTWAL NA PAGSAMA MO SA PAGGAWA NG ISANG PELIKULA. NOTHING COMPARES TO THAT. SABI NGA N COLOR IT RED, "IT'S ADDICTIVE, IT'S SEDATIVE, AND IT WILL MAKE YOU LOSE YOUR MIND..."

How did you survive as an independent filmmaker?

GUTOM TALAGA. KAHIT HANGGANG NGAYON, GUTOM. I HAVE A LOT OF STORIES KUNG PAANO AKO NAGBEBEG, BORROW, AND STEAL PARA LANG MABUHAY. LAHAT NG KAMAG-ANAK NILAPITAN KO NA ATA PARA MAHIRAMAN NG PERA KAPAG WALA KAMING PAMBILI NG GATAS AT BIGAS. THERE WAS ONE INCIDENT THAT'S REALLY VERY TOUCHING TO ME UP TO THIS DAY NA INILAGAY KO SA SCRIPT NG "ANG MGA KIDNAPPER NI RONNIE LAZARO" (MY OTHER CINEMALAYA TOP 30 FINALIST THAT DIDN'T MAKE IT TO TOP 10) KUNG SAAN DAHIL SA KAANTUKAN KO AY NABAGSAK KO ANG LATA NG GATAS NA TITIMPLAHIN KO SANA AT KUMALAT SA KUSINA NAMIN. THE MILK WAS THE LAST SCOOPS OF MILK THAT WE HAD AT HINDI KO MADAMPOT KASI MADUMI NA. BUT THE BABY WAS CRYING HARD AT DIS ORAS NG GABI AT WALA RIN KAMING KAPERA-PERA NA MAG-ASAWA, NI ISANG KUSING. NANLAMBOT NA LANG AKO AT UMIYAK SA TABI NG NATAPON NA GATAS HABANG PILIT NA KINUKUTSARA ITO. THAT WAS PAINFUL. AND THE NEXT DAY, WALA KAMING MAUTANGAN. THE BABY HAS TO DRINK "AM" INSTEAD FOR TWO DAYS! MY LOLA USED TO SAY "P-MAN" OR "POOR MAN". NOW I UNDERSTOOD IT. NGAYON, IMPORTANTE SA AMIN ANG BIGAS AT GATAS. BASTA MERON NITO, BUHAY KAMI. KAHIT ISANG LATANG "YOUNGSTOWN SARDINES" NA MAANGHANG NA TIGSASAMPUNG PISO AY BUHAY KAMI BASTA MAY LAMAN ANG TIYAN. O KAYA UTANG SA KAPITBAHAY NG TOCINO AT CHEESEDOG PARA SA MGA BATA. WHAT I ONLY HAVE NA TREASURES AY ANG MGA KONSEPTO SA UTAK KO AT ANG ABILITYY KO NA MAGSULAT. IT FEEDS US. KAHIT MALILIIT NA CONTRIBUTIONS. SUWERTE NA LANG KUNG DI AKO MATIIS NG MGA MAGULANG KO AT MGA KAPATID AT MAGPAPADALA SILA, THEN OK NA ULIT. BUT SINCE 1999, GUTOM TALAGA. BUHAY ARTIST, LALO AT I MARRIED EARLY AT 21. KAYA MADALAS, ALSA-BALUTAN SI MISIS AT PUPUNTA SA KANILA WITH THE KIDS. KAYA NGA ANG CIVIL STATUS KO, KAPAG INILALAGAY KO, "MARRIED, SOMETIMES".

In conceptualizing a film, do find that you write better in tandem with someone else, bouncing ideas off each other, or do you prefer to write solo?

I ALWAYS LOVE COLLABORATIONS. MAS MASARAP LAGI SA AKIN ANG PROSESO NG MAY KABATUHAN. BUT SOME COLLABORATIONS WORK. SOME DON'T. KASI, NAKALIMUTAN KO NA SOME COLLABORATORS MAY NOT SHARE THE SAME PASSION AS I HAVE. NA MAAARING SILA PALA, ANG INIISIP NA NILA AY KUNG PAANO SILA KIKITA SA GINAGAWA NBIYO AT HINDI ANG JOURNEY NG PAGGAGAWA NIYO NG PELIKULA. AKO KASI, MAGUTOM MAN, BASTA MAKABUO AT MAKITA KO NANG TUMATAKBO ANG PELIKULA TA NABUBUHAY ANG MGA CHARACTERS AT SCENES KO. SOME COLLABORATORS I'VE WORKED BEFORE SEE IT THAT WAY LIKE GOOD FRIENDS LIKE SHUGO PRAICO (headwriter sa ABS-CBN), RICHARD SOMES (Erik Matti's Production Designer), and JOSEF DE GUZMAN. BUT I HAD SOME COLLABORATORS NA WALA NGANG MAIBIGAY NA IDEAS, PERA PA ANG NASA ISIP KAAGAD. MABILIS LANG KAPAG BAYARAN NA. KAPAG MAG-IISIP NA NG IDEAS, MAY KUNG ANU-ANONG PALUSOT O KAYA AY TANGO NA LANG NG TANGO. HINDI KA MAG-GROW. YOU WANT TO LEARN, TOO. YOU WANT TO BE CHALLENGED. O MINSAN NAKIKIPAGPATAASAN NG IHI. AKALA NIYA, INDIVIDUAL CONTEST ANG SINALIHAN NIYA AT HINDI GROUP WORK. YABANG AGAD ANG NAUUNA. O KAYA PA-IMPRESS SA PRODUCER O DIREKTOR. FILMMAKING IS A COLLECTIVE PROCESS. HINDI YUNG AKALA MO DIYOS KA. KASI, IN THE END, IT DOESN'T MATTER KUNG SINO WRITER, O DIRECTOR, O PRODUCTION DESIGNER, O CINEMATOGRAPHER, O CLAPPER. BASTA LAHAT KAYO, NAGING BAHAGI, LAHAT KAYO FILMMAKERS.

What was the most challenging part of making this film (Lasponggols) for you?

ONE THING IS THE FINANCIAL ASPECT. WE HAVE TO SHOOT AT MY FAMILY'S PLACE IN VICTORIA, TARLAC AND WE FAILED TO INQUIRE THAT LIGHTS AND OTHER EQUIPMENTS THAT WE WOULD BE BORROWING WILL BE TIMES TWO WHEN WE TAKE THEM OUTSIDE MANILA. WHEN WE CANVASSED, WE WERE ONLY CANVASSING THEIR REGULAR PRICES SO WE THOUGHT WE WERE STILL RIGHT ON TRACK. IT WAS WHEN WE WERE ALREADY THERE THAT WE FOUND OUT THESE THINGS. WE EVEN BROUGHT LIGHTS WHICH WE CANNOT USE OR EVEN RETURN BACK IMMEDIATELY TO MANILA BECAUSE THE POWER SUPPLY IN THE PROVINCE WASN'T ENOUGH FOR 6K LIGHTS. WE HAVE TO SHOOT FOUR STRAIGHT DAYS WITH LITTLE SLEEP. SA SECOND DAY, BAGSAK NA ANG MGA TAO. AKO NGA NAGKA-CUT NA NAKAPIKIT HABANG NAKATAYO. IT'S A GOOD THING MOST OF THE ACTORS AND STAFF WERE FRIENDS. JEFFREY QUIZON WAS A FORMER CLASSMATE. DWIGHT GASTON WAS A FORMER BOSS AT AN AD AGENCY AND AN IDOL AND FOR ME WAS THE MOST UNDERRATED ACTOR OF HIS TIME. THE REST WERE FRIENDS I ACCUMULATED ALONG THE WAY WHILE JOURNEYING INSIDE THE INDUSTRY. THE SET WAS FUN. WE WERE LAUGHING AND PLAYING JOKES EVERY NOW AND THEN ESPECIALLY WITH THE SUPPORT OF MY FAMILY MEMBERS IN VICTORIA, TARLAC WHO COOKED THE FOOD FOR US AND SHELTERED US. WE WERE JUST EXHAUSTED AND WE HAVE TO MAKE DO WITH THE BUDGET WE HAVE AND HAVE TO RUSH SOME TAKES ESPECIALLY WHEN THE SUN IS STARTING TO GO DOWN. YOU'LL NOTICE THAT IN SOME OF THE LAST SCENES OF "LASPONGGOLS". HINDI NA HALOS PAREHO ANG KULAY. EVEN SCENES INVOLVING THE OTHER ACTORS LIKE THE APO HIKING SOCIETY WHO ONLY GAVE US TWO DAYS OF THEIR TIME. DINAYA NA NAMIN ANG TIE-UP NG BAWAT ISA. SOMETHING I LEARNED FROM DIRECTOR-EDITOR AUGUSTO "AUGIE" SALVADOR WHEN I WAS WORKING FOR HIS SET. ANG MABIGAT LANG TALAGA AY 'YUNG PERA PART. ANDAMING NAUTANGAN NA HANGGANG NGAYON AY BINABAYARAN PA RIN.

If you had one classic Tagalog film, and one foreign film to remake or re-edit in your own version, what would it be and how would you execute that film?

THE WENGWENG FILMS? HEHEHEHEHEHEHE... ACTUALLY, WALA E. KASI THEY HAVE THEIR OWN IDENTITIES. WHEN THEY WERE MADE, PARANG SWAK NA SWAK SILA SA PANAHON NA GINAWA SILA. I FEEL THAT THOSE FILMS WILL HAVE A VERY HARD TIME IN CAPTURING AN AUDIENCE TODAY KAPAG NI-REMAKE. YOU CAN ALWAYS HAVE SOMETHING NA "INSPIRED BY". BUT NOT A REMAKE. ANG LAKING PRESSURE NU'N. KAHIT TITO, VIC, AND JOEY FILMS O DOLPHY FILMS, MAY SARILING MAGIC ANG ORIGINAL VERSIONS NITO.

What do you think makes Jeffrey Quizon such a good actor for indie cinema, apart from his genes or being the son of a veteran actor? I mean, what hashe got that other young actors should pick up on?

I'VE KNOWN JEFFREY OR EPI EVERSINCE HE WAS STILL THAT SHY, QUIET STUDENT OF OUR RICKY LEE CLASS. LAGI NGA NAMIN SIYANG SINASABIHAN NA PWEDE SIYANG LUMABAS NA YOUNG DOLPHY KASI SIYA ANG MAY PINAKAMALAKING RESEMBLANCE SA DADDY NIYA SA MAGKAKAPATID. KAYA NGA SA GRADUATION GIFT NAMIN KAY RICKY LEE, KUNG PUPUNTA KA SA BAHAY NIYA, YOU'LL SEE EPI AS THE "BALLERINA" NA GINAWA NAMIN SA PHOTOSHOP. THIS WAS EVEN BEFORE "MARKOVA". BECAUSE I SAW HIM THAT WAY. A YOUNG FACIFICA FALAYFAY. OR A YOUNG CORING NA CHARACTER NI DOLPHY SA "ANG TATAY KONG NANAY". EPI WAS VERY SHY BEFORE. BUT HE HAS A LOT OF STORIES IN HIS HEAD AT VERY SENSITIVE SIYA KASI NAKAKA-RELATE SIYA HINDI LANG SA NARARAMDAMAN NG MGA NASA SOCIAL BRACKET NIYA WHICH MAY BE "A" OR "B", KUNDI PATI NA RIN YUNG "C", "D", AT "E". KAYA NIYANG BUMABA SA LEVEL MO AT MAKIBAGAY SA 'YO. AND THAT MAKES HIM OR HAS MADE HIM INTO A BETTER ACTOR. JOLOGS NA JOLOGS PA RIN SIYA TAPOS KAPAG KASAMA NAMAN NIYA MGA BARKADA NIYA AY PANG SOCIETY PAGE PA RIN SIYA. I THINK THAT'S ONE THING NA MAGNDANG IBINIGAY SA KANYA NG TATAY NIYA, YUNG HINDI MAKALIMOT SA MALILIIT NA TAO. AND TAHT ALONE IS SOMETHING NA TROPHY SA DADDY NIYA AT MGA KAPATID. IT'S SOMETHING THEY CAN BE VERY, VERY PROUD OF KAY EPI. KASI HINDI LANG ARTIST SI EPI, SENSITIVE ARTIST DIN SIYA. AND VERY HUMBLE. DI SIYA NAKAKALIMOT SA PINANGGALINGAN NIYA. HE'S THE GODFATHER OF MY SON AND I PROMISED HIM BEFORE THAT IF I DO MY FIRST FILM, HE'LL BE ON IT. TUMUPAD AKO SA PANGAKO THROUGH "LASPONGGOLS" AND WHAT HE GAVE MY FILM, MY CAST, AND MY CREW IS SOMETHING REALLY WORTH NOT FORGETTING. HE SHOWED US NA HINDI LANG SIYA ANAK NI DOLPHY KUNDI ANAK DIN SIYA NG BAWAT ISANG SIMPLENG TAO. HE GOT PAID THE SAME AMOUNT AS THE LOWEST MEMBER OF MY CREW, THE UTILITY BOY. AND HE DIDN'T MIND.NAKAKALUNGKOT LANG NGA NA SA AGE BRACKET NIYA, IILAN LANG ANG WILLING MAG-SACRIFICE AT MAGPAHIRAM NG TALENTS NILA PARA SA MGA MALILIIT NA PELIKULA GAYA NG GINAGAWA NAMIN. AFTER EPI, THERE'S YUL SERVO, TADO, AND LATELY PING MEDINA, TAPOS WALA NA. SA MATATANDA, ANDAMING WILLING LIKE JOEL TORRE, RONNIE LAZARO, PEN MEDINA, JOHN ARCILLA, ALBERT MARTINEZ, ARCHIE ADAMOS, ETC. SI EPI, NAIINTINDIHAN NIYA ANG STRUGGLE. AND HE'S WILLING TO TAKE THE RISKS. SALUDO KAMI DU'N SA KANYA. AND HE'LL FOREVER HAVE OUR RESPECTS.

What do you do when you wrap up shooting? Do you have enough energy left over to take everyone out for a drink or just go home to collapse before thetedious editing process begins? What do you do/where do you go to relax?

I ALWAYS GO BACK TO MY FAMILY, ESPECIALLY MY KIDS. THEY KEEP MY FEET PLANTED ON THE GROUND. LAGI KO NGANG SINASABI PAGKATAPOS NG SHOOT NA "PLEASE, TAKE ME HOME, TAKE ME HOME." GUSTONG-GUSTO KO NANG MALIGO AT MATULOG SA KAMA KO AT MAGISING KINABUKASAN NA TUMATALON ANG MGA ANAK KO SA KAMA AT TUWANG-TUWA SILA NA UMUWI NA AKO AFTER ILANG DAYS. THEN WE'LL WATCH CARTOONS TOGETHER. AND I'LL FEEL LIKE A KID AGAIN. IF EVER I BECOME BALLISTIC IN ANSWERING SOME ISSUES ABOUT FILM, I'M DOING IT FOR THEM AND THE OTHER KIDS WHO WILL OR WHO MIGHT GO INTO FILMMAKING. NA MAAYOS NA KAPAG SILA NAMAN. KASI, BUTAS TALAGA NG KARAYOM PINAGDADAANAN NAMIN WHO REALLY HAVE A VERY BIG PASSION FOR CINEMA. NAGKATAON LANG NGAYON NA PINAPANSIN KAMI. BUT IMAGINE RAYMNOND RED, JON RED, ROX LEE, DANNY RED, LARRY MANDA, KIDLAT TAHIMIK, ETC., DURING THEIR TIME. 20-25 YEARS NA SILANG LUMALABAN AT HINDI BUMIBIGAY. I WANT MY KIDS TO SHARE THE SAME PASSION KAYA RIGHT NOW I INTRODUCE THEM TO THE ARTS. NAGKE-CLAY ANIMATION KAMI NA STOP MOTION SA LUMA KONG CAMERA, WE HAVE PAINTING SESSIONS NA WATER COLOR, NAG-AARAL SILA NG PIANO AT VIOLIN PARA MAKAKUHA NG MOOD AT RHYTHM, AND NANOOD KAMI NG FILMS. MY TWO FIRST KIDS' FIRST FILMS NA PINANOOD ARE "INSIANG" AND "TINIMBANG KA NGUNIT KULANG" WHICH WE TOOK THEM TO SA CCP. AT HINDI SILA NATULOG. THEY WERE WATCHING ATTENTIVELY. KAHIT NGAYON. PATI ART FILMS PINAGTITIYAGAAN NILA, ESPECIALLY MY ELDEST. SANA LANG HINDI LANG SIYA MAKUNTENTO SA PANONOOD KUNDI LUMIKHA RIN SIYA. KASI BAKA MAGING CRITIC. AYOKO NAMANG MAGING TAGA-CRITICIZE NA LANG SIYA NG TRABAHO NG IBA. BUT I REALLY LOVE COMING HOME TO MY FAMILY AND COOKING FOR THEM LIKE THEIR FAVORITE ADOBO OR IF IT'S WEEKEND, SOMETHING NA MAY SABAW LIKE SINIGANG OR NILAGA. PAG MAY PERA, LALABAS AT MANONOOD NG SINE. O PUPUNTA SA PARK. I LOVE THEM WHEN THEY ASK QUESTIONS KASI ALAM MONG NAGSASALIKSIK SILA.

What project are you planning to work on next?

VIVA IS SCHEDULING A MEETING FOR "BACKRIDER," A FILM I WROTE ON THE PATOK JEEPNEY DRIVERS THAT PLY THE RIZAL ROUTE KUNG SAAN MAY MGA ESTUDYANTENG NAGIGING SYOTA NG MGA JEEPNEY DRIVERS NA ITO. THEN THERE'S EVEN TALK THAT UNITEL MIGHT BE INTERESTED WITH "ANG MGA KIDNAPPER NI RONNIE LAZARO". BUT ONCE NA MAY GRANT O INDIE PRODUCER NA MAGSUSUGAL SA RONNIE LAZARO PROJECT, I MIGHT GO THAT ROUTE AND MAKE IT AS INDIE AS POSSIBLE. THEN, WE ARE THINKING OF DOING "TABLOID," A SEQUEL TO YAM LARANAS' AND JON RED'S "RADYO". I ALSO PLAN TO JUST WRITE STUFFS FOR FUTURE FILM GRANTS LIKE MY "THE MARCOS PAINTINGS" AND "ANG PINAKAMAGANDANG KUWENTONG HINDI MAISASAPELIKULA".
THEN, I WANT TO GO BACK TO DOING SHORT FILMS. MAS MASARAP KASI. PARA RIN MATURUAN AKO NG MAGKUWENTO MULI NG HINDI MASYADONG MAHAHABA. HEHEHEHEHEHE... YUN KASI ANG COMMENTS NILA SA WORKS KO. MAHAHABA. THEN SIGURO MUSIC VIDEOS ON THE SIDE AT MAY TALKS NG MGA COMMERCIALS. PANG-HANAPBUHAY. PAMBIGAS AT GATAS. MY INDIE FILMS ARE MY "PANG-BUHAY". PAMBUSOG SA SOUL.

If you were on a trip what book/s would you take with you to read?

I'M NOT REALLY A BIG BOOK LOVER FAN. KASI NAGKAROON AKO NG HATE-RELATIONSHIP SA LIBRO NUNG KINICK-OUT AKO SA LIBRARY NAMIN NUNG SECOND YEAR HIGHSCHOOL AKO. BANNED FOR LIFE. MAKULIT KASI AKO DATI. HANGGANG NGAYON. SO, AFTER THAT, DI NA AKO PUMASOK NG MGA LIBRARIES. KAHIT NUNG COLLEGE. I JUST BUY BOOKS NA KAILANGAN. KAYA SIGURO AKO NAGING VISUAL PERSON KASI GUSTO KO YUNG MGA KUWENTO, INSTEAD NA BINABASA KO AY PINAPANOOD KO. SO MAS NAGING VISUALS ANG STORYTELLING SA AKIN. AT PATI MUSIC. MAS NAGING LISTENER AKO NG VERY GOOD STORIES NA TINUTUGTOG NG MGA ALTERNATIVE BANDS AND ARTISTS. I FELT THAT THEY HAVE BETTER STORIES THAN THGE ONES NA PINAPANOOD NATIN. ERASERHEADS, GARY GRANADA, YANO, DATU'S TRIBE, SUGARFREE, THE JERKS, JESS SANTIAGO, BUKLOD, JOEY AYALA, ETC., LAHAT SILA NAGKUKUWENTO NG MGA ISTORYANG NAKAKAPAGTAKA AT WALANG GUMAGAWA NG ISTORYA O PELIKULA. KUNG MAY GUMAWA NAMAN NG PELIKULA AY MALI ANG PAGKAKAINTINDI. PROBABLY I'LL JUST BRING SOME VERY GOOD CDS. BUT I LOVE PETE LACABA'S POETRY AND LOVE TO BRING HIS WRITINGS ONCE IN A WHILE. KAHIT YUNG TRIP TO QUIAPO NI RICKY LEE DI KO NAGSASAWANG BASAHIN. KAHIT KAPAG UMEETCHAS. IT STILL TICKLES ME.

In one word, how would you describe the state our country is in right now?

LIKE THE FILM INDUSTRY, "DYING" BECAUSE OF A CANCER CAUSED BY SO MUCH POLITICS AND INCURRABLE CORRUPTION.

Do you see it as possible material for another film?

OH, YES. VERY MUCH. I REALLY LOVE TO DO A FILM NA PULITIKAL ANG BACKGROUND. NA SA PULTIKA AT KABULUKAN NATIN LUMILIBOT. GIVEN THE CHANCE, I WILL DO ONE. KULANG SA TAPANG MGA PELIKULA NATIN NGAYON, KULANG SA GIGIL. I WILL NOT DO A PROPAGANDA FILM. I WILL ONLY DO WHAT IS TRUE AND HONEST. YUN KASI ANG KULANG NG MGA PELIKULA NATIN NGAYON, "HONESTY". LAHAT SILA NAGTATAGO SA EFFECTS AT MAGAGARBONG ILAWAN AT KUNG ANU-ANO PANG EKLAT. KAYA WALANG IDENTITY.

Do you carry a good luck charm in your pocket when you are shooting, or do you put on a favorite work shirt or a "thinking cap"?

NOPE. I JUST CARRY AN EXTRA BOXERS AND A SHIRT AT PAMUNAS NG PAWIS. MADALAS NAKASANDO LANG AKO KAPAG NAGSU-SHHOT, NAKA-TSINELAS/SANDALYAS, AT NAKA-JEANS NA SISISPSIP SA LAHAT NG MABAHO KONG PAWIS SA BUONG MAGHAPON. MY ONLY ADVISE VERY SHOOT AY PAGHANDAAN AKO NG TWO BOTTLES NG 1.5 NA COKE. SUGAR INTAKE AND SUGAR RUSH. YUN LANG ANG TANGI KONG LUHO SA BUHAY KASI DIABETIC AKO. KAPAG WALA AKONG SUGAR INTAKE, NANLULUMO AKO SA SHOOT AT PARA AKONG SABOG. KUNG MAY SUGAR RUSH, WALANG KATAPUSAN ANG ENERGY KO AT MADALDAL AKO AT MARAMI AKONG IDEAS NA NAIISIP. PWEDE NA ATA AKONG MAG-MODEL SA COKE 1.5, HEHEHEHEHEHEHE... ALAM NA NG STAFF KO 'TO AND I ASK THEM TO UNDERSTAND NA ALTHOUGH PANTAY-PANTAY LAHAT NG TAO SA CAST AT CREW KO, DITO LANG AKO MAKAKALAMANG SA KANILA KASI TALAGANG KAILANGAN KO. YOU'LL SEE ME MOST OF THE TIMES CARRYING A 1.5 COKE SA KAMAY AT TUMUTUNGGA. BUT IT'S NOT GOOD LUCK CHARM. PINAPATAY KO NGA SARILI KO. IT'S JUST TO HELP ME GET THROUGH THE SHOOT. PLUS THE VOICE OF MY KIDS SA CELPHONE WHEN I CALL THEM DURING BREAKS.

ABOUT THE DIRECTOR

2005-08-25T07:05:00.000-07:00

ABOUT THE DIRECTOR

TWENTY-NINE year old, six-feet four, and two-hundred thirty pounds SIGFREID BARROS-SANCHEZ was born to a family of writers and artists in Vito Cruz,
Manila. At 16 years old, he wrote articles and interviewed alternative and underground musicians for 1990s Filipino rock music bible, Rock & Rhythm, while studying Political Science and trying out for a basketball varsity slot at the University of the East-Recto campus. He decided to leave school to learn more about filmmaking after watching short films done by Jon Red (“Trip”) and Roxlee (“Tito’s Wedding”), which a Humanities professor asked them to watch.
In 1999, he became part of the prestigious 11th Ricky Lee Scriptwriting Workshop and shortly after studied directing at the Filipino Feature Filmmaking class of Direk Marilou Diaz-Abaya in Ateneo. The year after, he further honed his craft at the 10th Cinema-As-Art Filmmaking Workshop at the Univeristy of the Philippines Film Center (UPFC) under Direks Tikoy Aguiluz and Raymond Red, among others.

His first job in the movie industry was as a script reader for Viva Films until he was given a chance to write his first script “Alas Dose” (2000). His next assignments include writing “Kilabot at Kembot” (2002), “Bertud ng Putik” (2003), and “Prosti” (2003) and acting for “Dos Ekis” (2001). He also wrote for TV shows like “Erik Matti’s Kagat ng Dilim” (2001) and “Darating Ang Umaga” (2003) and acted for kiddie shows like “Hirayamanawari” and “DetekKids”. In between, he was also taken as script reader for Seiko Films (2003).
His first foray into indie filmmaking was as an actor for Jon Red’s “ASTIGmatism” (2004) whom he met for an aborted project (“Balong Malalim”) back in 2001. He then acted for Khavn dela Cruz’s “Barong Brothers” (2004), Topel Lee’s “Nak Ng!” (2004), Ato Bautista’s “Sa Aking Pagkakagising Mula Sa Kamulatan” (2004), and again for Jon Red in “Boso” (2004).

Before the year 2004 ended, he was finally given a chance to direct his first two films via film grants from Cinemalaya and Cinema One Originals. The result are the black comedy “Lasponggols (Last Take, Last Shot)” and the mockumentary “Ang Anak Ni Brocka (Lino Brocka’s Son)”. Aside from these, he also wrote Topel Lee’s Cinema One entry “Dilim” and acted for other indie film festivals finalists like Mike Daganalan’s “Isnats,” Ron Bryant’s “Baryoke,” and Jon Red’s “Anak Ng Tinapa”.

Sanchez is also an accomplished music video director. He recently won Best Director plum for this year’s Awit Awards for Sugarfree’s “Hari Ng Sablay”. His next video, Hale’s “The Day You Said Goodnight” has been spending four months already in the number one spot of MTV and MYX countdowns. His third video Kyla’s “Till They Take My Heart Away” is also faring well in the charts. He was also assistant director to Bamboo’s “Hallelujah” video.

He considers his stint at the actual film shoots of his filmmaker friends and mentors Erik Matti and Jon Red his best film schools. His indie stint has freed him as an artist and has helped him in making films that will free others as well.

FILMOGRAPHY
Director, “Ang Anak Ni Brocka” (2005)
Director, “Lasponggols” (2005)
Scriptwriter, “Dilim” (2005)
Actor, “Isnats” (2005)
Actor, “Baryoke” (2005)
Actor, “Anak Ng Tinapa” (2005)
Actor, “Boso” (2005)
Actor, “ASTIGmatism” (2004)
Actor, “Nak Ng!” (2004)
Actor, “Sa Aking Pagkakagising Mula Sa Kamulatan” (2004)
Actor. “Barong Brothers” (2004)
Scriptwriter, “Prosti” (2003)
Scriptwriter, “Bertud Ng Putik” (2003)
Script Reader, Seiko Films (2003)
Scriptwriter/ Actor, “Kilabot at Kembot” (2002)
Actor, “Dos Ekis” (2001)
Scriptwriter, “Alas-Dose” (2000)
Script Reader, Viva Films (1999)

MUSIC VIDEOS
Director, The Brockas’ “Action!” (2005)
Director, The Brockas’ “Olats” (2005)
Director, Kyla’s “Til They Take My Heart Away” (2005)
Assistant Director, Bamboo’s “Hallelujah”
Director, Hale’s “The Day You Said Goodnight” (2005)
Director, Sugarfree’s “Hari Ng Sablay” (2004, Awit Awards Best Music Video)
Actor, Gloc 9’s “Christmas Rapper” (2004)

TV WORKS
Actor, “DetekKids” (2003)
Actor, “Hirayamanawari” (2003)
Scriptwriter, “Darating Ang Umaga” (2003)
Scriptwriter, “Erik Matti’s Kagat Ng Dilm” (2001)

ADVERTISING
Director, "Iya Sa Akean/ Dito Sa Aklan" (2004)
Assistant Director, "DAR-Obet" (2003)
Copywriter, Reality Entertainment (2003)
Copywriter, “Tsismis” Epilepsy TV Ad (2002, Bronze Ad Congress)
Copywriter, “Kim” Epilepsy TV Ad (2002, Bronze Ad Congress)
Copywriter, “Nagagamot Ang Epilepsy” Epilepsy TV Ad (2002)
Copywriter, “Kisay” Epilepsy Radio Ad (2002)

MY FILMS

2005-08-25T07:00:00.000-07:00

MGA KATARANTADUHAN KO
a.k.a. SIGFREID BARROS-SANCHEZ’S FILMS

“ANG ANAK NI BROCKA”

Cast: Nonie Buencamino, Roence Santos, Shamaine Centenera-Buencamino, Soliman Cruz, Raul Morit, Rapunzel Hernandez, Bombi Plata, Ickay Eusebio, Adrian Ramirez, Ronald Tupas, Miguel Pancho, Gina Alajar, Phillip Salvador, Bembol Roco, Jaclyn Jose, Jeffrey Quizon, Angie Ferro, Joonee Gamboa, Nanding Josef, Soxie Topacio, Menggie Cobarrubias, Archie Adamos, Aurora Yumul, Geoff Eigenmann, Kris Lanot-Lacaba, Sarah Medina, Paolo O’Hara.

Crew: Mara Benitez, director of photography; Sig Sanchez, Rica Eusebio, Caloy Santos, Jr., production designers; Manie Magbanua, Jr., Emerson Torres, Wenz Clavaeria, editors; Allan Hilado, Nestor Fuentes, sound designers; Racquel Zaballero Sanchez, line producer; Rica Eusebio, production manager; Caloy Santos, Jr., assistant director; Bong Rosario, Juliet Perez, Caloy Santos, Jr., music.

SYNOPSIS
Was it possible that while filming one of his obras, “Bayan Ko, Kapit Sa Patalim,” twenty years ago that the late, great, internationally-renowned Filipino auteur Lino Brocka sired a son? What if that boy suddenly surfaces and starts going around looking for his identity? Would you believe he is the son of Lino Brocka? Is there really a son of Lino Brocka?
This is what a group of TV journalists from an investigative show of a sub-par TV station will actually prove after accidentally stumbling upon the scoop about a twenty-year old kid who says he is the son of Brocka. Armed with their video cameras that become part of the story by following the group, the journalists go around to search for clues. They go to San Jose, Nueva Ecija where Direk Lino grew up, to UP where he went to school, to Rajah Sulayman Theater where he honed his directing skills, to film sets where he spent his life, to gay bars which he frequent, to the streets where he marched, and the squatters area where he shot most of his films. However, each time they arrive at these spots, the son of Brocka, “Onil,” is always three steps ahead of them leaving them with people telling their close encounters with the boy.
“Ang Anak Ni Brocka” is a mockumentary that delves deeper into the life of the National Artist for Film. It features not only Lino Brocka as a respected person but also exposes his flaws that he is not a superhero or a saint as what others would like to paint him. The film also opens a can of worms regarding his mysterious death by car accident in 1991.
The film also features interviews with Direk Lino’s family members, friends, associates, actors and actresses he groomed, including surprise cameos of his so-called “sons and daughters” like Gina Alajar, Phillip Salvador, Bembol Roco, Jackyn Jose, Menggie Cobarrubias, Soxie Topacio, Chanda Romero, Allan Paule, Timothy Diwa, Francis Magalona, Joonee Gamboa, and others.
“Ang Anak Ni Brocka” was shown last July 30-31 at the SM Megamall as part of the Cinema One Originals Digital Film Festival.

“LASPONGGOLS”

Cast: Jeffrey Quizon, Dwight Gaston, Danny Javier, Boboy Garovillo, Jim Paredes, Joel Torre, Ronnie Lazaro, Roence Santos, Soliman Cruz, Shamaine Centenera-Buencamino, Raul Morit, Pete Lacaba, Marra PL. Lanot, Bombi Plata, Sasi Casas, Rapunzel Hernandez, Monet dela Cruz, Ickay Eusebio, Hector Macaso, Jon Red, Topel Lee, Rox Lee, Khavn dela Cruz, Randy Punsal, Kris Lanot Lacaba, Anne Magadia, EJ Salcedo, Ogi Sugatan.

Crew: Odyssey Flores, director of photography; Donald Russ Camon, production designer; Richard Barnett, Hector Macaso, editors; Allan Hilado, Nestor Fuentes, sound designers; Seymour Barros Sanchez, line producer; Anne Christine Ponce, production manager; Rica Eusebio, Hector Macaso, assistant directors; Waldee Oasan, Khavn dela Cruz, Babes Alejo, Jess Santiago, music.

SYNOPSIS
Lasponggols. Last take. Last shot. Last angle of an entire filmmaking process.
In Sigfreid Barros-Sanchez’s first film “Lasponggols,” two crewmen from a film production company (Jeffrey Quizon as the utility boy “Dido” and Dwight Gaston as the clapper “Raffy”) accidentally end up in a far-flung barrio with the production’s film equipments after a bunch of hoodlums attacked them. To obtain the assistance and hospitality of the villagers and barrio officials, the hapless duo pretend to be known yet unrecognizable Filipino filmmakers Erik Matti and Jon Red out to make a film in their barrio. As a result, the entire village becomes a microcosm of the film industry with almost everyone wanting to be a star and will do anything to become one at all cost or at least earn a few pesos from the duo’s fake movie.
The film is a black comedy of the Philippine movie industry and features the photography of one of Asia’s top young cinematographers Odyssey Flores who gave the picture a “gasera” (local lamp)-lighting night effect reminiscent of Danny Boyle’s “The Beach”. Further, “Lasponggols” also features the return to acting of Boboy Garovillo, Danny Javier, and Jim Paredes (collectively known as the Apo Hiking Society) who strut their comedic wares with independent film veterans Soliman Cruz, Raul Morit, Roence Santos, Shamaine Centenera-Buencamino, Bombi Plata, Sasi Casas, and newcomers Rapunzel Hernandez and Monet dela Cruz. The movie also features special guest appearances from Ronnie Lazaro, Joel Torre, Jon Red, Rox Lee, Khavn dela Cruz, Topel Lee, and literary figures Pete Lacaba, Kris Lanot-Lacaba, and Ms. Marra PL. Lanot.
“Lasponggols” was part of the 1st Cinemalaya Independent Film Festival which was shown last July 12-17, 2005 at the Cultural Centerof the Philippines.

"ANG ANAK NI BROCKA" REVIEW BY BILLY BALBASTRO

2005-08-25T06:59:00.000-07:00

"ANG ANAK NI BROCKA" REVIEW
"Lino Brocka, nakakalimutan na ng movie industry?"
Billy Balbastro, ABANTE

THE Year of the Indies, indeed. As Masahista comes home from its Locarno triumph and Ang Pagdadalaga ni Maximo Oliveros raises funds for its late August stint in Montreal and Mga Pusang Gala is making good at the tills, actor-scriptwriter-director Sigfried Barros- Sanchez, after Lasponggols, comes up once more with Ang Anak ni Brocka. The title alone makes you sit up and take notice. You think you know what to expect at first, but later realize you don't even know what the filmmaker and his film are up to. Yes, it's about time that a film like this -- a pseudo-documentary on Lino Brocka -- must be made. At this time when his clones are inhabiting showbiz and the industry and its people are forgetting him. Sad, noh? Sigfried's "mockumentary" is most welcome and frankly, in spite of its length (more than two hours about a son who never surfaces at all), the film is enjoyable viewing for us. Innovative filmmaking! And now here I wish to thank Sigfried for personally bringing me down memory lane for my Brocka experience which lasted from very early 1960's to his death in May 1991. How long ago was that! The memories are vast and many: from the time I was freshman and PRO of Wilfrido Ma. Gerrero's UP Dramatic Club during the early days at UP of Boots Anson Roa, Jose Ma. Velez and Amelia Perez who became Miss Caltex much later to the time Zenaida Latorre, Boy de Guia, Ched Gonzales did PR jobs for his films, Tinimbang ka Ngunit Kulang, Tatlo, Dalawa, Isa, Lunes, Martes, Miyerkules… Maynila sa Mga Kuko ng Liwanag, Insiang. From the time, he quit UP and joined the Mormons in Hawaii, to the time he worked in Subic and later with filmmaker Eddie Romero (who became a National Artist for Cinema later than him) to the years he made some dozen films with Lea, with Aling Toreng and Mrs. Emilia Blas. Yes, Lea honed Lino -- from Wanted: Perfect Mother with Boots, Dante and Liza Lorena through Santiago, Cadena de Amor and the last Chrysanthemums filmed almost entirely in Japan. All these we missed in Sigfried's piece, which is just a search of the boy, a search in us, in the first place. * * * I have to salute Sigfried's narrative skills to make his core of a story entertaining. Especially to me who knew Brocka in his student days, even before showbiz and PETA claimed him. Ang Anak ni Brocka which was shown in the Cinema One festival late last month made an ingenious use of the struggle for ratings and network war. As its synopsis in capsule says: "It is about a group of investigative journalists from a sub-par TV station who accidentally scores a scoop that a 21-year-old boy is looking around for his identity… he claims to be the son of the late director Lino Brocka, a known gay filmmaker." We appreciate cameo appearances of the stars Brocka made -- Christopher de Leon, Bembol Roco and Phillip Salvador plus Gina Alajar and Joonee Gamboa. The brilliant use of the search for a father and the search of identity along with the current showbiz issues of the day -- ratings, boldies, network war -- makes Ang Anak ni Brocka an engrossing experience. Even though it carries repetitive visuals and faces, information and opinion. I suspect that someone told Sigfried not to "search and interview Boy C. de Guia" who was Lino's best friend and manager for a time. I miss too even a line of information that he was a Constitutional Convention delegate during Cory's time who signed with his blood like a few others. But beyond his films -- if really those investigative journalists of sub-par TV network do their homework -- Lino's legacy to the Filipino nation as well as artists is his amendment of the freedom of speech and of the press in our Constitution. He moved to add "_expression" to the whole provision and we know that "freedom of _expression" goes beyond the press and speech to include painting, sculpture, cinema and even stage plays and shows. In the film's search for Brocka's son and our identity, Sigfried tries to make a search of Brocka's identity too. It would have been better -- and more enjoyable to us who know him well -- to have touched on this. Some people we miss in the movie: If Benn and Bibsy are there with Marra, why not Haydee (Yorac) and Winnie Collas (Monsod) who know Lino too? At UP. Also, Sig's movie missed out on Lino and his case on Kapit Sa Patalim which is now a leading case on the powers and duties of the MTRCB -- to review and classify, not to censor or cut off scenes -- even up to now. When Lino and producer Tony Gonzales of the movie which went to Cannes and selected by the British Film Institute best film in 1985, I remember that Atty. Rene Saguisag and Atty. Haydee Yorac were among his counsels. And he won! I know that my column is winding and long like Sig's Ang Anak ni Brocka. Pero cute naman, di ba? As a columnist, I just want to say after this discourse: Good work and congratulations, Sig! Sana mapanood ito ng lahat. Kelan kaya ipalalabas iyan sa commercial theaters. Abangan.

"LASPONGGOLS" REVIEW BY MARRA PL. LANOT

2005-08-25T06:55:00.000-07:00

"LASPONGGOLS" REVIEW BY MARRA PL. LANOT
Eat My Words NBy Marra PL Lanot
Lasponggols, a Review

Filipino moviemakers complain that the Philippine movie industry is dying. They blame exorbitant taxes, high cost of production, government negligence, and censorship.
Other than the above excuses, however, they refuse to admit that most recent local movies are of bad quality, show emaciated or no imagination, and underestimate the taste and intelligence of the audience. It's often action without action or story, comedy without laughs or story, love story without passion or story, and drama without conflict or story.

Producers and directors may gripe forever. They apparently do not realize that moviegoers, who have grown up together with foreign and local cinema, now try to avoid trash. Entertainment seekers have seen enough of bomba films, but they're looking for a story. They've watched a lot of escapist romances, and they're looking for a story.

Mainstream producers and directors might not be aware that a new breed of Filipino filmmakers has emerged. Thanks to Cinemalaya, the Philippine Independent Film Festival, organized by the Film Development Council of the Philippines.

One very interesting entry was Lasponggols , written and directed by the young Sigfreid Barros Sanchez. He has written scripts for television, for advertising, and for the mainstream movie industry, and megged a music television video. Lasponggols is his directorial debut for a full-length feature film. (Incidentally, it's also this writer's first film appearance as a bit player in said film.)

Lasponggols is about a clapper (Epy Quizon) and a utility boy (Dwight Gaston) who dream of becoming filmmakers. When they toy with the camera, they accidentally see through the lens a drug-dealing incident. The two, bringing with them a unit van containing cameras, film stocks, lights, and other equipment, run for their lives when the gun-toting criminals chase them and kill their companions.

Quizon and Gaston hide in a far-flung barrio and pretend they are movie directors. The whole barrio people flock to the two "directors," audition for roles, and offer their services. Materialism and deceit spread, and the sleepy place jumps alive. It's a harsh look at Filipino culture and mentality, in general, and at the move industry, in particular. Shades of Himala , where fame and fortune invite corruption.

Low production budget manifests itself in poor lighting and inconsistent quality of sound. Also, some scenes are extended, which makes the film quite long.

Technical flaws aside, however, Lasponggols is stamped by good acting, especially by Epy Quizon and Dwight Gaston. Countless throwaway lines spike the film, but the message is not lost on the audience -- which is the lack of respect and compensation for the "little people" in the movie industry. Only truth and understanding can save humanity.

Sanchez rivets on his idea, his vision, and doesn't let go, does not forget his focus. Although the film may be described as a film of ideas, some cinematic touches are memorable. For instance, the videoke scene in a barrio, the close-up shots of some characters, which are so expressive even in silence, the night takes which augur ominous occurrences, and the scenes of people from all walks of life.

Gripping is the feel of the film. For the first time in the history of Philippine cinema, a whole feature film is devoted to the real experiences, heartaches, and aspirations of almost-invisible workers of the movie industry. It's not just an ordinary advocacy thing from an outsider looking in. The soul of Lasponggols comes from the very life of its filmmakers.

It's a brave work in that it boldly digs into the root problems of filmmaking without bowing to sacred cows. In fact, allusions are irreverently made to the VIPs of the industry. Despite the critical glimpse, however, the moviegoer in the end shares with the director his idea of salvation. That is, individual and social change is possible in this world.

If only everyone were like director Sigfreid Barros Sanchez, who has the heart of a child, the enthusiasm and energy of an activist, and the compassion of a human being, this world may be a better place. As scriptwriter Ricky Lee said, Lasponggols is the true spirit of an indeed film.
Indie? Indie for indigent, 'indi matapos-tapos, and, yes, independent, free and liberating. High five for the whole cast and crew of Lasponggols ! (For comments, write to marrapatricia@yahoo.com)

A CHILD OF THE MOVIES PAYS TRIBUTE TO BROCKA

2005-08-25T06:51:00.000-07:00

FROM THE MANILA TIMES
Wednesday, August 24, 2005

‘Anak ni Brocka’
A child of the movies pays tribute to Brocka
By Dennis Ladaw

ARGUABLY, Lino Brocka was and still is the most prolific Filipino filmmaker in the country. Nearly 15 years after his death, nobody else has achieved the same kind of prominence he still enjoys.

Thus, it’s surprising that none of his peers have gone out to pay tribute to the man and his accomplishments. It had to take an indie filmmaker to pay a worthy tribute to the man who put Philippine cinema on the world map.

Writer/director Sigfried Barros Sanchez is barely 30. He was only 16 when Brocka was killed in a car accident in 1991. He was born a year after Brocka made his breakthrough film, Tinimbang ka Nguni’t Kulang. Yet Sanchez is the man who went out to make Anak ni Brocka.

Anak ni Brocka is part documentary and part fiction. In the film, Sanchez creates a scenario where a 20-year-old young man has been telling everyone that his father was Brocka. It’s an unlikely story but an intriguing one. The great director was openly gay and the idea of his having fathered a child has his closest friends rolling over the floor.

In the film, a fictional TV investigative news staff pick up on this “rumor” and in searching for this “younger Brocka,” they inadvertently get to investigate the life and times of the late director. Shades of The Blair Witch Project abound as Sanchez’s crew obtain sound bytes from the Filipino man in the street. Their reactions are hilarious while the comments from actors who worked with Brocka are more insightful.

Sanchez said he wrote Anak ni Brocka in 1998 when he attended Ricky Lee’s famous scriptwriting workshop. He recalls, “During one of the breaks, I started teasing Ricky Lee. I said, ‘You have so many possessions in your home. Who are you going leave all that to when you pass on?’ Ricky answered, ‘Don’t give me that. It’s not a problem for me. Lino Brocka never had a child, so why should I have one?’”

Sanchez refused to get Lee off the hook. He continued, ‘But Brocka has a son. I know he has a son and I’m going to find him!”

Lee didn’t find the joke funny, and neither did Sanchez’s classmates. They egged him on. Lee said, “So you say he has a son. Then go look for the boy and bring him to us!”

Sanchez admits he wasn’t familiar with the works of Brocka at that point. He was compelled to rent and borrow VHS copies of the director’s works, if only to familiarize himself with the man. Watching his films converted Sanchez, and Brocka quickly became one of his favorite directors. He wrote Anak ni Brocka and made it his class project. After finishing the workshop, he pitched the script to some of Brocka’s contemporaries, including Joel Lamangan. “None of them showed any interest in the script. They found it too weird,” he said.

Life & Times asked Sanchez if this indifference was perhaps brought about by the fact that Brocka was a vocal critic of the Marcos administration—Marcos coddled many of the leading players in the movie industry. “It’s a possibility,” he said.

Cinema One, the Filipino movie cable channel of ABS-CBN liked Sanchez’s idea and offered to finance the project. He hired a cast composed primarily of stage actors to play the motley TV crew and several name stars who had worked with Brocka. Some of them like Chanda Romero appear in the interviews while others like Bembol Roco and Gina Alajar play brief roles. Sanchez also gets some interesting quotes from Brocka’s old friends, including UP classmates Behn Cervantes and Bobby Malay and fellow artists like Jun Lanot.

Anak ni Brocka is not flawless. The fictional drama that happens to the news crew tends to bog down the film and takes the focus out of the story’s main subject. Also, the cameo appearance of Bembol Roco as a corrupt government official is awkward since Sanchez repeatedly inserts clips of Roco in Maynila: Sa Kuko ng Liwanag. Also, noted actors like Gina Alajar and Angie Ferro are on hand as working class people being interviewed by the TV reporters. Yet their scenes seem phony when compared with the brilliant footage of the real slum people discussing Brocka.
Nevertheless, Anak ni Brocka is a fitting tribute to a great artist. It’s also a priceless document that preserves a brief but shining moment in Philippine cinema. Sanchez would do Brocka proud.
Anak ni Brocka will be screened at the Cultural Center of the Philippines in September.

NEWCOMER DOES SHOWBIZ SATIRE

2005-05-04T18:44:00.000-07:00

Newcomer does show-biz satire
5/2/2005 1:35:28 PM
BY DENNIS LADAW, The Manila Times

Independent film maker Sigfreid Sanchez isn’t exactly a household name yet, but it’s hard not to notice him at movie premieres and gala events. Even if he’s dressed like a Bohemian, he has a commanding presence. He stands six feet four, weighs 230 lbs, and wears a long beard. As the warm and self-effacing Sanchez jokes, “If you have to look for me in a crowded place, just watch out for somebody who looks like an Iraqi. That would be me!”

Sanchez lives and breathes cinema. He edits, writes scripts, makes short films and music videos, and he even acted in Jon Red’s current film, Boso. Right now, he’s busy polishing his first full-length movie titled Lasponggols. It’s a comedy he wrote about the movie business. It was just among the three scripts he penned that made it on the list of finalists in the new indie film competition dubbed Cinemalaya.

Said contest was established by the Cultural Center of the Philippines to give independent filmmakers the opportunity to make their dream films into actual films. Submitted scripts that won the approval of the judges get to be made through funding from Cinemalaya.

Sanchez’s Lasponggols is set in a sleepy rural town where two crewmen (a clapper and a utility boy played by Jeffrey Quizon and Dwight Gaston) from a film production company take refuge after being attacked by a bunch of hoodlums. To obtain the assistance and hospitality of the villagers and barangay officials, the hapless duo pretend to be famous directors out to make a film in their barrio. As a result, the entire village starts worshipping them like gods with almost everyone wanting to be a star or at least earn a buck from this faux movie. The contretemps plays like John Huston’s The Man Who Would be King (1975) meets Mel Brooks’s The Producers (1968), but spiced with the unique Filipino humor Sanchez has much of.

It’s set in a barrio with just two crewmen posing as directors but the setting and the turn of events is a sort of microcosm of what the Philippine movie industry is today. “How the people react and behave mirror the things that actually happen in show biz,” he explains.

With Lasponggols, Sanchez also wants to shed light on the trials of “the little people” who toil in the movie business. “These are the crewman, we call the “lasponggols.” They always have to arrive ahead of everyone on the set early in the morning to set up the equipment, and they have to pack all these up when all the stars and directors have gone home late at night.

“Jeffrey Quizon and Dwight Gaston play these crewmen—they’re underpaid and when no movies are being made, they have to look for the odd job to survive.”

Only 29 years of age, Sanchez is a Political Science graduate of the University of the East. He would have been a basketball player but his passion for making films overshadowed his ambition to be a revered cager. He attended various film lectures at the University of the Philippines Film Center and took part in Ricky Lee’s famous screenwriting workshop. After college he did copywriting work for advertising agencies and landed a script-reading job at Viva Films. “I had to read the scripts that were submitted to Viva by various writers. After finishing, I’d make a report on the script. A lot of the writers hated me, because the comments I made eventually led to rejection. After all, many of the scripts stole much from Hollywood films,” he recalls.

Finally, his boss suggested that perhaps it was time he wrote his own scripts, which he gladly did. Many of them saw production and this was how he made several friends in the film industry, most especially with fellow indie filmmakers like Jon Red.

Despite the big break he got with Cinemalaya, Sanchez still looks and behaves like an artist than an entertainment personality. As he himself notes in Tagalog, “Like so many other people, I’m starving and the money doesn’t come in regularly. My family’s tired of the kind of life I’ve chosen and they’re ready to ship me off to the US. But I want my ideas and scripts to be my legacy and I’m doing it even it means having to sell my sense of humor at the right price.” (It actually sounds funnier in Tagalog.)

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HALE "THE DAY YOU SAID GOODNIGHT" VIDEO

2005-04-27T01:26:00.000-07:00

kindly watch my newest video Hale's "The Day You Said Goodnight" set to premiere this weekend or early next week. the song is now being played in the airwaves. hope you'll like the vid. it's my homage to my guru and friend, erik matti. it's the "korean" version of "scorpio nights 1 and 2". special thanks to good friend pepper marcelo for acting and neighbor liezl so for the cutie poses. salamat din sa banda. hope you'll like our storytelling. thanks for supporting the "hari ng sablay" vid which earned us an awit awards nomination for best music video. mula sa aming dalawa ni topel at ng buong core 24, matsalah!

ako,
s

QUESTIONS FROM MABUHAY MAGAZINE

2005-04-27T01:23:00.000-07:00

1. what the movie is about, what inspires/inspired it

I have two films. One is "Lasponggols" for Cinemalaya and the other is "Ang Anak Ni Brocka" for Cinema One Originals, both indie film festivals this year. I also wrote Topel Lee's Cinema One entry "Dilim".

LASPONGGOLS, a black comedy, is about two of the smallest people in the film industry, a utility boy named Dido (Epi Quizon) and a clapper (Dwight Gaston) who accidentally ran off with the film equipments when bonnet-clad goons killed their companions on their way home from afilm shoot in Iloccos Norte, leaving just the two of them alive. In panic, they speed off and ended up in a far-flung barrio where there is no electricity by 6 in the evening and people have little knowledge of the film industry. When confronted for their identities, the two pretended to be directors Erik Matti and Jon Red who will shoot their next film in the barrio, Barrio San Roque. Immediately, the once sleepy barrio comes to life and it becomes a microcosm of the local film industry itself. We'll see mothers selling their flesh so that their kids can become actors, local lasses likewise selling their bodies, politicians who want to be action stars, racketeers out to get a slice of the pie, pretenders in the field of production design and writing, and producers who want their films to have some flesh. The film also stars Buboy Garovillo (as the barrio captain who wants to be an action star, his racketeer wife Roence Santos, the gay prodcution designer pretender Soliman Cruz, the stage mother Shamaine Centenera-Buencamino, the blind former cameraman Danny Javier, the eccentric artist Jim Paredes, the village idiot Raul Morit (24 years as an actor in the indie film scene!), the old utility boy Pete Lacaba, and the moralista Marra Lanot. They are joined by cameo appearances from Joel Torre, Ronnie Lazaro, Bombi Plata, Sasi Casas, Hector Macaso, Ickay Eusebio, Monet dela Cruz, and Rapunzel Hernandez.

The film was inspired by an essay which my scriptwriting professor Ricky Lee wrote in his book "Si Tatang At Iba Pang Mga Himala Ng Ating Panahon". The essay is entitled "Maliliit Na Tao Sa Pelikula" wherein I got my first introduction to the word "lasponggols" which means the last shot of the last shooting day in a film shoot. This is the part of the film process wherein the little people of the industry are somehow "showered" with gifts like T-shirts by the cast of the film their shooting. In earlier days, they also get small bonuses from the producers during this day. This is my tribute to all the little people I have worked with in my six years of working inside the film industry (i'm a screenwriter by profession). It is also somewhat inspired by an animation film that was part of my collections of animated works (i love cartoons and somehow have this Peter Pan-syndrome, hence my email ad). The animation is "The Raod To El Dorado" which was released by Dreamworks. It tells of two loser guys who ended up in El Dorado and pretended to be gods. It is the closest film that has some sort of influence in "Lasponggols".

"Ang Anak Ni Brocka", on the other hand, is a mockumentary. It is about a group of investigative journalists from a sub-par TV station who got a scoop that a twenty-year old boy is looking around for his identity if he really is the son of the famed director Lino Brocka. The group, played by Nonie Buencamino, Roence Santos, Bombi Plata, Raul Morit, Adrian Ramirez, Raph Hernandez, Ronald Tupas, and Hector Macaso, search for the boy who manages to be three steps ahead of them all the time. The group are only able to interview people who have seen the "son of Brocka" and tell them tales of how he looks like and if they believe he really is who he says he is. They go on a journey meeting people whom Lino Brocka was able to mingle with in his years as a young man in San Jose, Nueva Ecija, as a student in UP Diliman, as a theater director, as a TV director, as a filmmaker, as a gay icon, as an activist, as a son, and as a human being, with all his flaws. The boy's journey also becomes their journey that in the end, they too are able to understand who Lino Brocka truly is.

Ang Anak Ni Brocka is the first I ever wrote in my entire life and was the script I finished in able to graduate from the 11th Ricky Lee Scriptwriting Workshop back in 1998.

2. when is it released, where is it released

It is part of the first Cinemalaya Philippine Independent Film Festival that will take place from Julu19-25 at the Cultural Center of the Philippines. It was chosen along with nine others among 300 plus entries.

I am not pretty sure what Cinema One Originals' plans are. There are no concrete explanations except that they will be shown in the cable channel and that there will also be a film festival like that of Cinemalaya.

3 how long it took to make, as well as how long it takes to make an indie film?

"Lasponggols" took me seven days to shoot. With regards to "Ang Anak Ni Brocka", my first shooting date is on April 30 and I plan to finish it in 4-5 days.

4 budget? and how it affects quality and production

Cinemalaya gave us P500,000 to shoot our entries and with "Lasponggols", I exceeded by as much as P200,000 of borrowed money just to finish the film. Shooting outside of Manila (I shot it in my grandparents' home province in Victoria, Tarlac) proved to be costly as film equipments were priced times two everytime a shoot is done outside of Manila. Further, I have to shoot in 3-4 straight days of little rest because we can not afford to rest as the "meter" of the borrowed equipments goes on even if we don't shoot because we have it there in Tarlac and can not return it back and borrow it again as quickly as when a film is shot in Manila. It affects the quality in the sense that you have to rush and you can only use the actors in limited days especially with the Apo Hiking Society.

With Cinema One, they are giving us P600,000 to shoot our film and after coming from "Lasponggols", I sure did learn a great lesson in production management. I'm planning to make this smoother.

5 how do you contact actors?

Most of my actors are friends and people I have worked with in the past. Epi is a good friend and an ex-classmate in the 11th Ricky Lee Scriptwriting Workshop back in 1998 when he was still just Jeffrey, the shy son of Dolphy and not Epi, the heir to Dolphy's throne. He is also the godfather of my son Kubrick and we have worked together in films such as "Astigmatism" and "Boso" as actors for Direk Jon Red. Dwight Gaston is an idol. I always refer to him as "the most underrated actor that ever came out in the 80s". I really love his short role in Scorpio Nights 1. I was able to work with him in some projects, one for a shelved TV show entitled "Exodus" back in 2002 and another for a commercial for a watch and jewelry company. I also pinch-hit for Erik Matti's "Kagat Ng Dilim" during the time when Dwight was not able to write for the show. The Apo Hiking Society were my childhood idols. I really wanted to cast them upon seeing them only once as actors for Mike de Leon's "Kakabakabakaba?". I was introduced to them by another Cinemalaya contestant, Ron Bryant, who once worked for Jim Paredes. Raul Morit is the icon in the indie film scene and I am a very big fan since his "Trip" (Jon Red's short film) days. The rest of the cast, Roence, Sol, Sasi, Hector, Bombi, Raph, etc., are either friends I have accumulated during my 5-year stay in the mainstream film industry or co-workers.

For "Lasponggols" each and everyone of the actors and crew were paid the same amount for their per day services. The reason? It is a film about the little people of the film industry so I was able to convince everyone that the lttlest people on my set gets the same talent fee as the biggest person on the set (both literally and figuratively, hehehehe). I'm very thankful that everyone understood that part of my film. Some of them even returned their talent fees and asked us to just give it to the staff as bonus.

6. any difficulties or differences in making indie films and independent films? is there a difference in atmosphere, creative culture?

The difficulty for a first-time director is the part of managing the shoot and budgeting things at the same time. Despite having a production manager, you still have that obligation to look into the money matters of the production because you also play the role of producer because the grant was given to you. The creative side can be handled smoothly but double it with the financial matters, expect tensions and pressures. I was never prepared for this part. I am very bad with managing financial matters but the shoot has taught me a very great lesson in that department.

On the creative side, the only problem was that I was coming from two different schools of thought in filmmaking, my two mentors the mainstream maverick Erik Matti and the indie or alternative filmmaker in Jon Red. While shooting, the two schools of thought were banging and competing inside my head. I have ths bubbles like "If Jon ould shoot this, what will he do? Or if Erik will compose this shot, what techniques will he put? What elements will they use in terms of design, mood, lighting, camera angle, etc.? But at the end of the day, it will still be you and Erik and Jon's styles will just be there to guide you.

The difference with shooting the indie way is that you have so much FREEDOM. And you can do a lot of things to share this freedom to other people who are living in boxed situations or inside a circle. Indie films have the power to shape things. I am always conscious with that when I'm shooting or writing or doing my films. Kailangan ang pelikula mo kuing saan malaya mong nagagawa ang mga bagay ay makakatulong rin para makapagpalaya ng iba pang mga kaisipan para hindi lamang ikaw ang lumalago ang pag-iisip kundi ang audience mo din. May obligasyon ka laging itaas ang kaisipan nila ng ilang hakbang nang sa gayon ay hindi sila nakatali sa mga dati nang tradisyon at kaugalian na nakikita nila sa mga mainstream films. That's how I define indie films. Films that are free from everything and that can free everyone.

7. what brought you into the scene? who influenced you?

I came from a family of writers. Almost every generation, from both my mother and father's side, we have a history of contribution to the literary world. That's why I write my name with my mother's maiden name also (Sigfreid Barros-Sanchez). Kasi anak din ako ng nanay ko. But i tried to veer away from writing in college because I was growing really tall. I reached 6'4" and was truly into basketball which was the crazed that time in the early 90s. I tried out for the varsity team of my university and studied Political Science on the side.

Then one day, a Humanities professor of mine, Mr. Henry Alvir, asked us to watch short films which were being shown that time alongside Metro Manila Film Festival entires. Two films struck me har. One is Jon Red' "Trip" (where my prof was an actor) and the other is Rox Lee's "Tito's Wedding". It struck me that one can do films even for just 15 minutes and were able to communicate their messages really hard with that short span. It encouraged me to try the same and I left my course and pursued a career in filmmaking as a screenwriter and other odd jobs inside the industry. Anything that can pull me closer to the smell of a 35mm film rolling. Hehehehehe...

Another incident in my life that has taken my attention to the visual language was when I was kicked out for the rest of my life from entering our school library back in second year high school. The pregnant librarian was always pissed at me that he decided to ban me from the library. From second year high school up to when I reached college and left it, I never entered a library again. When I was kicked out of the library, I would just spend my lull hours at home watching old LVN and Sampaguita movies on Channel 9 at 1PM. Perhaps I can even trace my love for films to my days watching old Lito Lapid, Chiquito, Jun Aristorenas, Tito, Vic, and Joey, etc. on Piling-Piling Pelikula on Channel 13 or the "teks" (those card games with movies back in the 80s) I collected in cigarette boxes while growing up. Sadly, my mother has burned all of them when I refused to grow up.

My early influences were neither the Brockas or the Bernals or the De Leons (although Batch 81 was one of the earliest films that really never left my head). My early favorites will always be the Pinoy Action films that featured all the Lapids (Rex, Rey, Lito, Jess) the Aristorenas' (Jun and Robin), the early Dolphys and Chiquitos (complete with Panchito and Tintoy), Tito Vic, and Joey, and the Bugs Bunny cartoons on TV. Funny but I was never a fan of the FPJs, Eraps, and Ramon Revillas. I found them too cool for me. What I really love are the old TV shows then, John en Marsha, Champoy, TODAS, Iskul Bukol, Kulit Bulilit, Chicks To Chicks, Saturday Fun Machine, Froggle Rock (which I remember crying twice), etc. Very simple. In the late 80s, there's the Wonder Years, NAM: Tour of Duty, and China Beach.

When I was in college, I was able to see two films that really struck me hard: Giuseppe Tornatorre's "Cinema Paradiso" and that River Phoenix film "Running On Empty" which both make me cry up to now. I also love "Comrades Almost A Love Story" and works by Zhang Yimou and Wong Kar Wai. I almost named my baby Szhangyimou Karwai. After a long debate and lots of banged telephones from my Mom who was based in the US, I have to settle with Stanlee Kubrick. Local directors who really have a great influence in me include mentors turned good friends Erik Matti, Jon Red, Larry Manda, Mark Querubin, and Rox Lee. Sa wirters, Ricky Lee at Pete Lacaba. Hindi lang mahuhusay mag-isip, mahuhusay din ang mga ugali.

I also get a lot of influences from alternative music, both local and foreign. I'm a sucker for great lyrics worthy to make a film about. At iba 'yung angst nila. Laging isang malaking statement. Minsan dinadaan sa wit pero alam mong sinisipa ka at tinatadyakan. Ganun din siguro mga sinusulat ko na films. Akala mo lang dinadala ka sa isang mahabang trip tapos yun pala tatadyakan ka sa huli at magigising ka sa trip mo at babagsak sa katotohanan. Pangknotdeaths, ika nga ng isang jologs na pangk sa isang tugtugang pinuntahan ko. Ganun din pelikula ko. Jologs. Maaring mali ang grammar pero maaari namang nagsisilbi akong boses ng mga katulad ko na galit na rin at gustong maging kasangkapan ng tunay na pagbabago.

TWO MORE THINGS I WOULD LIKE TO SEE IN PINOY FILMS SOMEDAY (OR NEVER PA RIN)

2005-03-14T00:20:00.000-08:00

idagdag niyo na rin po itong dalwang nakalimutan ko:

11) actors and actresses who are willing to go the indie route. we always have a joke during film casting in the independent scene. when in doubt, indie filmmakers will always cast either ronnie lazaro, joel torre, john arcilla, pen medina, lui manansala, or nonie buencamino. not only are they very good actors, they are also willing to experiment on different roles for a fee that's very, very indie especially when they find out that the filmmaker indeed has a very small budget (or nothing at all). however, these actors are limited for roles or characters that require someone age 40 and above. what is sad is that after them there are only few young actors and actresses who are willing to experiment and try something different from the ones they have been usually getting in the commercial field. among the young actors who have time and again willing lend their support to the indie scene are jeffrey quizon, yul servo, china cojuangco, and julia clarete. after them, wala na. although the indie scene has produced good actors such as tado, soliman cruz, raul morit (24 years acting in indie films!), roence cruz, shamaine centenera, mario magallona, and lately, hector macaso, there are certain roles in indie films that require somebody young who can turn himself into a chameleon and shift from one role to another. problem is, there are very good actors out there but are tied with either their mother studio or the product they are endorsing that makes it hard for them to say yes to an indie filmmaker. plus, their managers who command high talent fees because they can not understand what indie filmmaking is and are used to TV rates or commercial film rates. that's why we can not produce our own gael garcia bernal eventhough there might be someone out there (piolo pascual is one especially when he did "lagarista" but all went kaput when he started doing commercial films and "dreamboy" roles). there's a new indie film out there entitled "sa aking pagkakagising mula sa kamulatan" that features a bratpack-like performance from carlo aquino, ketchup eusebio, archie almenia, and newcomer cholo barreto, who stood out with his fine acting, but it might be a one-shot deal considering these guys were only "borrowed" from their mother studio. mike dagnalan's cinemalaya entry "isnats", meanwhile features fresh finds in jourdan sebastian (that guy in the new coke commercial), bombi plata (that other guy in the new coke commercial), ronald pasion (baby toy in the old san mig light commercial), and others. here's hoping for really new, young, intelligent indie actors to come out soon.

12) new genres to experiment on. filmmaking is not only drama, sex, action, horror, and comedy. i remember when i was pitching for some movie producers before, they were giving me the thumbs-down on most of my concepts because most of them don't fit the genres they were used to producing. one of them is my cinemalaya entry "lasponggols," a black comedy which toured almost three big movie productions and got the same "no" answers from its big bosses. then there's the more cerebral suspense-thriller genre which producers also hate because they feel that Filipino moviegoers don't want to think while they're watching. the problem actually is not that Filipinos don't want to think but more like the case that what these producers have churned before that are under the suspense-thriller genre are very weak in dtorytelling and the audience can already determine who the main antagonist is even not yet halfway through the film. they also don't want intelligent comedies ala woody allen and if you pitch a comedy to them, expect them to look for slapstick scenes and scenes with "funny" car chases that have been the routine since the tito, vic, and joey days (you know how these car chases go. may nagsasabit ng banderitas, may patawid na pilay na biglang mapapatakbo, etc., etc.). intelligent dramas are also not allowed especially if they are too quiet and very visual. what they want are very talky dramas. even a sex film can be very intelligent if only one can think of a really good one ("orgasmo," a film screened in festivals before was good). and why not make a really factual true stories that doesn't feature a police officer or a military man or a politician (or would be politician) or a public enemy number one (although the latter can be the meaning of the first three). why not something about the Luna brothers? i always love to write one. just the research is already a very good trip for a writer. huwag lang ngang madaldal na film o masyadong artsy-fartsy. why not something about a particular era like the 90s or the 80s? why does it always have to be the 70s when most of the film goers now grew up in the 80s and 90s? why not make a film with activists from the 80s and 90s? surely there were activists in the 80s and 90s and up to now. and for the resurrection of action movies, i know a lot of young filmmakers who have very good action concepts and fresh new styles that re not being given the chance because producers see them as very "young". but these filmmakers are the ones with the hip action ideas. we just hope that if they get to enter the scene, they will be armed with fresh action scenes and not those borrowed from other action films like stephen chow's (which is the current feast after the matrix-style). here's hoping that we find our own action style. something "really Pinoy". there are still a lot of stories to write about not only family dramas or love stories or buddy movies. the problem is we are not looking far enough. has anybody ever done a movie about pencils or the typewriter or computer in front of you everyday or the ashtray or your nose hair or even your pubic hair? so many stories. so many genres. i wonder why we keep on seeing the same old ones...

THINGS I WOULD LIKE TO SEE IN THE FILM INDUSTRY IN THE COMING MONTHS (OR NEVER):

2005-03-08T21:43:00.000-08:00

1. Most definitely, there has been a clamor for new films with new stories. Here's hoping that there will really be new ones that will not only show new gimmicks (or borrow, in our case as Filipinos), but most importantly, present films that will elevate the minds of Filipinos, especially those in the B-C-D bracket that there are other ways of telling the story and presenting them so that the next generation will be inspired to create their own ways of presenting a "Filipino" film to the global market and not just copy concepts and styles. Also, here's hope to a really original Filipino film story. 'yung wala talagang kinopya from another film, Hollywood man or Korean or Spanish or British. A film with a very good and original story that is directed in sweeping visuals that can make us all gasp. it's a visual medium after all.

2. Less intervention from the government. We have no one to blame for the high tax and influx of Hollywood movies than the government. Fine, we are doing awful movies back in the 90s and one may say that because of these movies, the industry died. But only if our government was and is very supportive of the arts and knows when to tell when a movie sucks or not, then we could have produced really good movies which quality can equal and even rival those that are produced by our Asian neighbors recently. I'll bet my ass that if the independent digital films from Cinemalaya amd Cinema One vecome hits, the government will find a way to use it then kill it later on. Hell, we might be seeing a Mikey Arroyo digital movie in the coming months!

3. New yet very credible critics. Time was when critics were respected and you can only count with your fingers their number. However, things changed when producers saw critics as people they can buy in order for them to review their films with high grades even if they suck. And nowadays, a filmmaker is judged not because of his work but by the company he keeps. As long as a critic is in his circle of friends, he'll always get a good review eventhough his film is really full of holes. One must realize that not all filmmakers can make an obra each time he or she makes one. He may have a good film last year but his next film may suck this year. And regardless that he is your friend or not, once his film sucks, review his film the way it should be reviewed so he'll know his errors or really know what people think of it. Also, enough of critics giving good reviews because he or she is in the payroll of a movie producer. May we know to distinguish a good critic again from the bad ones. Dalawa singko na lang kasi ang mga kritiko ngayon. Ang iba, pinabili lang talaga ng suka sa tindahan.

4. Less but new faces for award-giving bodies. What we need now are new people who will handle these awards nights. I am sick and tired of watching production numbers that feature the newest young artists of a network that are doing things on the stage that have no relevance in the occassion itself. Enough lip-synching. Enough sexy dances that leave you with nothing. What we have been getting are artists performing on the stage just because their managers can pull a few strings to showcase their "alagas". Performances during awards night have become more like "rakets" for artists rather than a real artistic performance. I have yet to see The Jerks, 25 years in the music industry, being invited like a Santana and perform during the awards night. Or Jess Santiago for his works on the early Brocka films. Or Wuds, another band rocking for 25 years. If these people from the film industry really know their "arts" then they should know whom to give respect. And don't put them in numbers that will make a fool out of them. Make their performances connected with the show's theme. Also, can't we find a really good host for these awards night? I know there's someone out there. And good writers who will write good spiels. We can have a very quiety awards night like the Bafta but still memorable. I guess we have to change whoever has been getting the contracts for these awards nights and replace them with someone with new visions and styles. Although, that company may not be as tested as the old one, he may offer something new that will bring back the 40-below again glued to their sets and find these award-giving bodies entertaining as welll as very educating again.

5. hoping that when our award-giving bodies hand out nominations for production designers, he must have presented an architectural design of his set and the costumes used and explain why he chose to give it with that tone so we'll know if a production designer really is someone who knows production design in telling the story of the film and not just somebody who knows to bluff his way because of chika power. notice why we don't have nominations for art direction here? and even costume? and ever wondered why it is only the production designers (and the production managers) are the ones who can afford to have expensive cars and burloloys sa katawan in this industry when his work is as equal as that of a scriptwriter (ang laging mga kawawa at gutom) or a cinematographer? ever wondered rin why no Hollywood movie wants to shoot here in the Philippines anymore? kasi tuwing nagsu-shoot sila rito, niraraket sila ng mga Pinoy. ever heard of the money that was lost when Brokedown Palace was shooting here and six months after the shoot, the one who was supposed to have lost the money was able to buy a new house and a new car? mahusay man at magling ang mga Pinoy sa pelikula, sa sobrang galing, magaling ring rumaket. Beads lang na props are pegged five times their original price.

6. Which brings us to the raket part. For this inductry to flourish again, enough of the raketeers. may we also able to separate the rotten tomatoes from the good ones. Although it's a tough job, creating a new industry that is separate from the one that existed before will help. After all, these new filmmakers have nothing to be thankful to the old traditions. The reason that indie filmmakers are doing their stuff is because thay are tired of conforming with the old norms. Let the old industry die. Let's all say that it is dead. What is not dead is our passion to tell our story using the visual language. As long as we have stories in our head, Pinoy movies will not be dead but old formulas, traditions, styles, and norms will.

7. New film writers or new and ample spaces to promote new films. The only reason why old formulas are still being used to make a film is because there will always be reporters who will write about these things eventhough the twists and turns have been rehashed. even gimmicks like Actor was smitten by the Actress during the shoot of the film. although gossip sells, reporters and writers must also help new independently-produced films get the same media mileage as that given to commercial films. There are new indie films this month done by indie filmmakers like Rico Ilarde, Khavn dela Cruz, Lav Diaz, Ellen Ongkiko-Marfil, Jon Red, Ditsi Carolino, and Erwin Romulo but they are getting only few reviews and limited spaces in newspapers amd tabloids. We may not even know what these films are. If only reporters and writers will find intersting ways of presenting these filmmakers and their films on paper. Something that will truly capture the interests of the readers. Huwag na sanang umasa pa sa envelopes that will be given to them. Write about them even if the review is bad. Good or bad review is still space given to a new independent film. Rather than giving it to Mystika, Madame Auring, Angelika Jones, or Mahal.

8. New musical scorers who can really put good and right music to a specific film. People who go inside to watcha publicized hip film go out of the moviehouses with the feeling taht they were duped because the score is not hip enoiugh for this generation. Or a drama that sounds very traditional. Our film scores don't even have an identity. Not unlike scores done for films like "Il Postino" (used nowadays for a detergent commercial) or "Cinema Paradiso". Ramdam mo 'yung puso at tamang timpla. Scorers must really research their stuff and really use thier music to tell the film's story. Hoping for scorers who have the knowledge about underground bands that came out in the 80s like Dean's December, Urban Bandits, Violent Playground, Identity Crisis, Ethnic Faces, etc. and the 90s like Bad Omen, Biofeedback, Mindrape, Sonnet 58, Half Life Half Death, etc. Here's hoping also that some of our underground and alternative bands and singers from this generation will joyfully lend their music to emerging independent filmmakers and be part of the revolution. Here's hoping also that we finally get a very good film soundtrack release (for the first time perhaps) that can be as cool as the soundtracks of Judgment Night, Spawn, The Wedding SInger, etc.

9. Very passionate producers who will equal the passion of a very passionate filmmaker's. "Minsan Pa" is a very big gamble. eventhough the producers were also thinking that somehow they can recoup their investments, producing a film that has no old formulas from the old cinema is really something very revolutionary. eventhough there is the element of then-sweethearts jomari yllana and ara mina in the film, that film still stands on its own with or without ara mina or the real-life love connections. here's hoping for other new passionate producers. there are many passionate filmmakers out there. what we need now are passionate producers, too. with the advent of new filmmakers, let there be new producers who will not have the culture and discipline of the old producers.

10. digital filmmakers who will get the chance to tell their stories using the 35mm format. film is not the enemy. it will never be. the enemy is the system that makes you turn to digital filmmaking in order to tell your story. high tax, old norms in the industry, star system, producers who think they are gods, envelopmental journalism, unsupportive government, these are the enemies of every filmmakers. nothing gives you more fulfillment than shooting using the 35mm format. it has ad ifferent approach and discipline than shooting using the digital format. some say it is the so-called "soul" of the 35mm. in shooting a film, everyone becomes more involved. everyone is a storyteller. the cinematographer properly lits your set according ti his way of telling the story and frames it and captures it the way he lits it on film. the efficient production designer designs his set according to the lighting of the cinematographer and tells his own story, too using his design. even acting comes out with more soul. and editing. the way an editor plays a music in his head as he views the footages on the Moviola. nothing beats that. i just hope digital filmmakers will get to experience the process then they can go back to digital filmmaking again afterwards. for now, with all the tax issues and lack of government support, we can also use the digital format in bringing a story on how we can all appreciate the 35mm format again and bring its old glory back.

CINEMALAYA "ISNATS" PHOTOS

2005-03-08T21:35:00.000-08:00

photos taken at the set of Mike Dagnalan's Cinemalaya entry "Isnats". to be shown with "Lasponggols" on July along with eight more promising independent digital films. support the Pinoy indie movement bago makaisip ang gobyerno ng paraan para patayin ito. o kaya pagkakitaan rin nila. hehehehehe.

THE SCRIPT OF "ANG ANAK NI BROCKA"

2005-02-21T23:54:00.000-08:00

i am sharing this script to people whom i hope understands the struggle. as you read along, sumabit sana kayo at umangkas sa biyaheng ito. sana maging anak din kayo ni brocka...
“ang anak ni brocka”
mula sa konsepto at panulat ni SIGFREID BARROS-SANCHEZ
para sa direksyon ni SIGFREID BARROS-SANCHEZ

THE MAIN CHARACTERS

TONY SERRANO, late 30s, (Nonie Buencamino), veteran reporter ng “SEMI-DOKYU”. Very professional.

ROENCE, 30s, (Roence Cruz), executive producer ng “SEMI-DOKYU,” isang bagong tele-magazine show. Very strict yet motherly. Go-getter pero intact ang morals.

RAUL, early 40s, (Raul Morit), researcher/writer ng “SEMI-DOKYU”. Down to earth pero malalim din kung pagsasalitain. Parang si Abner ng The Correspondents.

RAPH HERNANDEZ, 20s, (Rapunzel Hernandez), bagong reporter ng “SEMI-DOKYU”. Starts out as a pretty face pero matures as the group matures, too.

BOMBI, late 20s, (Bombi Plata), segment producer ng “SEMI-DOKYU”. Closet gay, chika power more than talent.

ICKAY, late 20s, (Ickay Eusebio), segment producer ng “SEMI-DOKYU”. Very strong character.

HECTOR, early 30s, (Hector Macaso), researcher/ writer ng “SEMI-DOKYU”. Underachieving.

JOURDAN, early 30s, (Jourdan Sebastian), researcher/ writer ng “SEMI-DOKYU”.

RONALD, 30s, (Ronald Tupas), researcher/writer ng “SEMI-DOKYU”.

THE CAMEO APPEARANCES

TWEETY ROBLES, 40s, (Shamaine Centenera), top reporter ng “PUNTO,” ang no.1 tele-magazine show ng isang top network. Will stop at nothing to get her story and determined to eat the competition alive.

ANGELA, 40s, (Hilda Koronel/ Chanda Romero/ Malu Barry), ex-Japayuki and junkie. Medyo pasaway na nanay ni Onil na nagsabing naanakan siya ni Lino Brocka.

CECILIA, 40s, (Gina Alajar/ Amy Austira), tiyahin ni Onil. NGO worker, feminist.

CORING, 30s, (Epi Quizon), gay. May-ari ng isang parlor.

ALING NILA, late 50s, (Cecille Guidote-Alvarez), naglilinis sa Rajah Sulayman Theater.

LINO, late 50s, (Philip Salvador), Porno movie director.

BROTHER ROD, late 40s, (Bembol Roco), barangay chairman and charismatic group leader.

CONGRESSMAN GUATLO, late 40s, (Christopher de Leon), corrupt politician.

TATA TIAGO, 60s, (Joonee Gamboa/ Mario O’Hara) tatay ni Ka Rene.

MANG PILO, 60s, (Augie Salvador/ Jess Santiago), taga-iskwater. Dating taga-pelikula. Location hunter.

MORET, 30s, (for audition), babaeng lukaret na pagala-gala sa daan.

MICHAEL, 30s, (Mike Daganalan), kasamahan ni Tweety Robles.

THE SCREENPLAY

SCENE 1. INT. CONFERENCE ROOM. DAY.
BRAINSTORMING sa loob ng isang conference room ng isang maliit na TV network para sa palabas nila na “SEMI-DOKYU,” ang bago’t matapang na investigative tele-magazine show. Nakaupo sa paligid ng isang malaking lamesa ang buong staff na kinabibilangan ng mga reporters ng palabas na sina TONY SERRANO at RAPH HERNANDEZ, ang mga segment producers na sina ICKAY, at BOMBI, at ang mga researcher/writers na sina RAUL, JOURDAN at RONALD.

Nasa harapan nila ang executive producer na si ROENCE who seems to be pressuring the staff for their next story.

RAUL
Anak?

ROENCE
Oo, anak! Manganak kayo! Bigyan niyo ulit ako ng bago at kakaibang istorya! Kagabi, suwerte tayo. Naungusan natin ng one percent ang programa sa kabila. Pumalo ng fourty-two percent ang “SEMI-DOKYU” natin tungkol sa mga film editors na unti-unting nawawalan na ng trabaho dahil sa digital films. Maganda ang feedback sa “Moviola”. Damang-dama nila ang puso at pulso. Congratulations, JOURDAN, ICKAY.

JOURDAN and ICKAY humbly nod as the group applauds them.

BOMBI
Ma’am ROENCE, ‘yung istorya natin last week tungkol sa buhay-ilalim at buhay-ibabaw ng Cubao? Nag-rate ba?

ROENCE
Naka-thirty eight percent. Ok na. Fourty-percent pumalo ‘yung “Punto”. That preceded our roll. Ibig sabihin, dalawang linggo na nating pinangangatog ang tuhod ng kabilang programa.

Magpapalakpakan ang grupo.

JOURDAN
Pihado ngayon nagsisisi na si Tweety kung bakit lumipat siya.
(turns to RAPH)
At mukhang swerte rin ang bagong co-anchor natin.

RAPH
Swerte ka diyan! It has nothing to do with me or luck. Hard work ng bawat isa kaya tayo ngayon nangunguna.

TONY
(Calms them down)
Tama. Pero masyado pang maaga para magsaya. Kailangan nating ipakita na kaya nating i-maintain ang lead natin sa ratings game. Pihadong gagawa ng paraan ang kabila para mabawi nila ang audience na nawala sa kanila. One-percent is not the safest lead in this business.

ROENCE
Kaya nga kailangan natin ng istorya. Mga bagong istorya. That separates us from the competition. Fresh at walang takot na mga istorya. May naka-imbak pa tayo na isa pero after that, wala na. ICKAY, what do you have?

ICKAY
(Looking at her notes)
May fina-follow-up ako. Tungkol dun sa mga gumagawa ng Betamax porno movies noong ‘80s. Hinihintay ko lang ‘yung source ko. Ipapakilala daw niya ‘yung isa sa mga dating nagdi-direk ng mga ganitong pelikula.

BOMBI
Tamang-tama pala du’n sa isang istorya ko. May nakilala kasi ako. Dating nag-aartista sa ganyang mga pelikula.

TONY
Good! Pwedeng pag-isahin na.

ROENCE
JOURDAN, ano’ng meron ka?

JOURDAN
Music naman sana. I’m doing this piece on this ‘90s Pinoy rock music bible. ‘Yung Rock & Rhythm. What happens to the staff after ten years na nawala sila.

TONY
A, oo, naaalala ko pa ‘yang songmag na ‘yan! Maganda ‘yan! Baka pwedeng ituhog mo na rin ang dying business ng songhits. Kung bakit wala nang bumibili ng songhits.

ROENCE
And, RONALD?

RONALD
Istorya ko ‘yung naka-imbak natin na isa. May follow-up ako du’n na interviews sa mga baguhang director ng Philippine cinema.

ROENCE
Then, that leaves us with HECTOR.
(Notices HECTOR is not around)
Teka, nasan na pala si HECTOR? RAUL, asan na ‘yung partner mo?

RAUL
Umuwi kahapon sa Nueva Ecija, Ma’am. Pero nagpasabi na hahabol daw siya ngayon.

Door opens. Si HECTOR.

RAUL
O, ayan na po pala…

HECTOR
Good afternoon, pipol. Sorry late ako.

ROENCE
Kailan ka ba naging maaga? Siguraduhin mo lang hindi mo ni-recycle sa basurahan ang palusot mo.

HECTOR
(Magpapatawa)
Pwede ba ‘yung “may tumawid kasi na giraffe sa kalsada”?

ROENCE
Aba! Bago ‘yan, a! Huwag mong sabihin na ‘yan na rin ang istoryang ipi-pitch mo?

HECTOR
A, hindi, Ma’am. Meron akong mas maganda. At pihado ko eto ang kauna-unahan kong istorya na magugulat kayo.

BOMBI
(Magpapasaring)
Nagulat din naman kami du’n sa iba. It so happened lang nga, hanggang gulat lang talaga.

Tawanan ang grupo.

TONY
Aber! Pakinggan nga natin kung ano’ng meron ka.

HECTOR
Umuwi ako kahapon sa amin. Sa San Jose, sa Nueva Ecija. Hulaan niyo kung ano?

ICKAY
Don’t tell me. May mga dinosaur naman sa Nueva Ecija?

HECTOR
Hindi! Isang araw bago ako dumating do’n, may dumating rin na tao. May hinahanap. Tinatanong ‘yung mga matatandang taga-roon. Pati ‘yung Tatay ko tinanong.

RONALD
Dalawang klaseng tao lang ‘yan. Pulis o buntis? Pero malabong naka-buntis ka kaya malamang pulis.

HECTOR
Hindi rin! Hindi ako ang hinahanap! Pero mabibigla kayo sa istorya niya. Mabibigla kayo sa identity niya. At mas lalo kayong mabibigla kung sino ang sinasabi niyang ama daw niya. Ang claim ng taong ‘to, anak daw siya ng isang sikat na taong taga-pelikula.

RAUL
Sino? Si Richard ba? Si Aga? Si Dagul? O si Mura?

HECTOR
Si Brocka.

ICKAY
Brocka? “The” Lino Brocka?

HECTOR
Yup. Anak ng nasirang Direk Lino Brocka.

TONY
Imposible! Walang anak si Lino Brocka!

BOMBI
Oo nga. That’s blasphemy.

HECTOR
E, bakit naman, BOMBI?

BOMBI
Dahil bakla si Lino Brocka.

HECTOR
E bakit si Ogie Diaz? Si Jun Encarnacion? Si Tita Swarding? Bakla din sila, di ba? Pero may mga anak sila.

BOMBI
Pero hindi ang isang katulad ni Lino Brocka. Lalo na kung ngayon lang magpapakita ang taong ‘yan na nagke-claim na anak siya. Mukhang palpak na naman ang istorya mo, Hek, a. Kuryente ka na naman yata.

HECTOR
E paano kung this time hindi?

RAUL
Oo nga naman.

ROENCE
Then we might have stumbled into the biggest story of the year. “Ang Anak Ni Lino Brocka”. Who’s in favor that we do a story on this?

Magtataas ng kamay sina RAUL, HECTOR, RAPH, RONALD, at isang cameraman na malalaman lang natin as ROENCE looks at the camera and counts him.

ROENCE
At sino’ng hindi pabor?

Magtataas ng kamay sina TONY, BOMBI, JOURDAN, ICKAY, at isa pang cameraman.

ROENCE
To break the tie, I say we do a story on this. Astig! Ang ganda! Nakikini-kinita ko na: “Ang Anak ni Brocka”: Meron nga ba o wala?

SCENE 2. MONTAGE. OPENING CREDITS.
Interview sa iba’t ibang tao. Mga ordinaryong tao gaya ng mga nagtitinda sa palengke, tambay sa kanto, nagtitinda ng diyaryo, nagpapautang na Arabo, guro, pari, at iba pa, interspersed with mga taong nakasama o nakasalamuha ni Lino Brocka during his days. People like Ricky Lee, Pete Lacaba, Direk Mel Chionglo, Behn Cervantes, Boy Roque, Dr. Bien Lumbera, etc. Lahat sila nagsasabi ng “Wala” sa screen. The montage ends with Behn Cervantes telling it straight sa camera: “Kanino? Kay Philip?!”

SCENE 3. EXT. SAN JOSE, NUEVA ECIJA. DAY.
CHARGEN: San Jose, Nueva Ecija. Mag-iinterview sina HECTOR, RAUL, RAPH, at RONALD bilang isang grupo. Ang iba ay nagsasagawa ng kanilang separate interviews sa Maynila.

Some of those who will be interviewed are members of Lino Brocka’s family from his mother’s side (Ortiz). Some are classmates from Nueva Ecija North High School where Brocka graduated in 1956. Some of them are clueless about this person na nagsasabing anak siya ni Lino Brocka. But they have many wonderful stories about Lino Brocka. Among the many real people interviewed na taga-San Jose, may mai-interview sila na isang grupo ng mga matatanda who will tell them na may nagpunta nga doon na nagsasabing anak siya ni Lino Brocka.

MATANDA 1
May nagpunta nga dito, dalawa sila. May hinahanap ‘yung isa sa kanila. Itinatanong saan daw nakatira ang pamilya ni Direk Lino Brocka. Parang basketball player ang pangalan nung nagtatanong.
(Turns to the guy beside him)
Jordan ba ‘yon? Kobe? Shaquille?

MATANDA 2
“Onil”. ‘Yun ang pakilala niya, “Onil”. Nag-iwan ng number ‘yung kasama niya.
(Pulls out something from his wallet)
Eto. Kontakin daw dito kapag mapagawi raw dito ‘yung kapatid ni Lino Brocka, si Danilo.

Hands the contact number to the camera.

SCENE 4B.INT. BAHAY NINA TABLOID. DAY.
Ini-interview ng mga staff na sina ICKAY, BOMBI, at JOURDAN si TABLOID, 20s, sa bahay nito. Nasa background ang mga magulang ni Tabloid. CHARGEN: TABLOID ALMARIO.

TABLOID
Nakilala ko siya diyan sa bagong video shop sa may kanto. Anak siya nung may-ari. ‘Yun nga, anak daw kay Lino Brocka.

CUT TO:
Flashback. POV ni Onil ang camera. Nakatingin siya kay Tabloid habang iniaabot sa kanya ang mga VCD na rerentahan nito. Ganito natin makikita althoughout the movie ang flashback ayon sa mga nagkukuwentong nakilala nila ang nagsasabing “anak” ni Lino Brocka.

CUT BACK TO:
Present time. Balik sa interview kay Tabloid.

TABLOID
Angelino. ‘Yun ang totoong pangalan niya. Magdadalawang buwan pa lang sila diyan. Ex-Japayuki ‘ata ‘yung Nanay. Nagpasama sa ‘kin sa Nueva Ecija. Wala naman akong ginagawa kaya sinamahan ko na.

JOURDAN
Kilala mo ba si Lino Brocka?

TABLOID
Personally, siyempre hindi. Bata pa ako. Pero alam ko direktor siya dati sa pelikula. May mga clippings ang nanay ko sa kanya. Nagtatrabaho kasi ang mga magulang ko dati sa isang tabloid, du’n sila nagkakilala kaya Tabloid din ang ipinangalan nila sa ‘kin. Taga-clip ng mga istorya sa library ang Nanay. Reporter naman ang Tatay.

ICKAY
(Off cam. Camera turns to Tabloid’s mother.)
May mga clippings pa po ba kayo?

TABLOID’S MOTHER
Hiningi niya. Ng anak ni Lino Brocka. Ibinigay ko lahat sa kanya.

CUT TO:
Flashback. Kamay ng nanay ni Tabloid na iniaabot ang mga clippings niya tungkol kay Lino Brocka.

CUT BACK TO:
Present time. Na kay Tabloid muli ang kamera.

BOMBI
(Off-cam. Balik ang camera kay Tabloid)
Sinabi niya ba sa ‘yo kung paano siya naging anak ni Lino Brocka?

TABLOID
Nabuntis daw ‘yung Nanay niya nung nagsu-shooting ng pelikula si Lino Brocka.

JOURDAN
Anong pelikula?

TABLOID
Hindi niya nasabi kung ano.

BOMBI
Sigurado ba siyang si Direk Lino Brocka nga ang nakabuntis sa Nanay niya?

TABLOID
‘Yun ang sabi niya.

ICKAY
Ilang taon na ba ‘tong sinasabi mong anak ni Lino Brocka?

TABLOID
Mga beinte-anyos siguro. Mga ka-edad ko.

ICKAY
Beinte-anyos at hindi niya kilala kung sino si Lino Brocka?

TABLOID’S MOTHER
Bakit, hija? Sa tingin niyo ba, sa panahon ngayon, ilang beinte anyos-pababa na kabataan pa ba ang nakakakilala kay Lino Brocka?

SCENE 5. MONTAGE.
Ini-interview ang iba’t ibang kabataang nasa edad beinte-anyos pababa kung kakilala nila si Lino Brocka. Ang mga kabataan ay mixture ng mga kabataang nag-aaral at mga kabataang tambay na lamang o laman na lamang ng kalsada. Kukunin natin ang mga reaksyon nila. Tatlong tanong lang ang sasagutin ng bawat isa: “Kilala niyo ba si Lino Brocka?” “Anong paborito niyong pelikula niya?” at “Gaano niyo siya kakilala?”. Boses ni JOURDAN ang maririnig nating nagtatanong.

SCENE 6. EXT. ANGELA’S VIDEO SHOP. DAY.
Nasa tapat ng Angela’s Video Shop sa may Vito Cruz ang grupo nina BOMBI, ICKAY, at JOURDAN. Sarado ang Video Shop. Sa tapat, may makikita silang isang pamilya --- mag-asawang may tatlong anak na bata at isang kasambahay nila. Masayang kumakanta ang mga ito.

SCENE 7. INT. CONFERENCE ROOM. NIGHT.
Nakaupo doon sina HECTOR, RAUL, RAPH, at RONALD na nagdi-discuss ng notes nila nang dumating si ROENCE na may buhat-buhat na isang kahon. Ibabagsak niya ito sa harapan ng grupo.

RAUL
(peeks inside)
Ano ‘to, Ma’am?

ROENCE
Huwag mong sabihin sa ‘kin na ngayon ka lang nakakita ng Betamax tapes. Mas matanda ka pa sa ‘kin, unggoy ka!

RAUL
(Tatawa)
Ang ibig kong sabihin, ano’ng laman ng mga ‘to?

ROENCE
Mga pelikula ni Lino Brocka. Hiniram ko sa archives ng network. Magre-research kayo ‘ka ko para sa istorya niyo.

HECTOR
(Makikikalkal na rin)
Panonoorin namin lahat ‘to?

ROENCE
‘Yun ang description ng trabaho mo, di ba? Researcher-slash-writer. Kaya, obligado ka.

RAPH
Anu-ano bang mga pelikula ‘to?
(looks inside and gets one tape)
“Insiang”?

HECTOR
(Magpapatawa)
Pihado, tungkol ‘yan sa bagyo.

RAPH
(Gets one again)
“Bona”?

RONALD
Tungkol sa gatas ng bata.

RAPH
“Tinimbang Ka Ngunit Kulang”?

HECTOR
Tungkol sa pandaraya ng mga tindera sa palengke.

RAPH
“Cain at Abel”?

RONALD
Gay movie. Parang “Esteba’t Adan”.

RAPH
“Hot Property”?

HECTOR
Bahay ng mga AFP at PNP generals.

RAPH
“Miguelito Ang Batang Rebelde”?

RONALD
Tungkol kay First Gentleman.

RAUL
(Gets one tape)
Eto. Alam ko ‘to. Tungkol sa marijuana ‘to.

ROENCE
(gets the tape)
Patingin nga. “Orapronobis”? Marijuana?

RAUL
Oo, Ma’am. ‘Yun ang scientific name ng ganja: “Sativa Orapronobis”.

ROENCE
“Cannabis,” tanga!

RAUL
Alam ko. Sinusubukan ko lang kayo.

Tawanan sila.

ROENCE
Hay, naku! Wala tayong matatapos dito. Mabuti pa, simulan niyo nang panoorin ang mga ‘yan nang makausad-usad na kayo.

ROENCE puts a tape inside the player and starts to watch the films.

SCENE 8. MONTAGE. NIGHT.
Series of dissolves of movie clips ng mga pelikula ni Lino Brocka. His earliest films that may include “Wanted: Perfect Mother,” “Santiago,” “Tubog Sa Ginto,” “Now,” “Lumuha Pati Mga Anghel,” “Cadena de Amor,” “Stardoom,” “Villa Miranda,” “Cherry Blossoms,” “Tinimbang Ka Ngunit Kulang,”Tatlo, Dalawa, Isa,” and “Maynila Sa Mga Kuko Ng Liwanag.”

DISSOLVED TO:
SCENE 9. INT. ROOM. NIGHT.
Binubuklat ni TONY ang isang libro, Mario Hernando’s “Lino Brocka: The Artist and His Times”. Inililista niya ang ilang titulo ng mga pelikula ni Lino Brocka sa isang papel nang biglang pumasok si ROENCE.

TONY
…“Bayan Ko: Kapit Sa Patalim,” “Adultery: Aida Macaraeg Case No. 7892,” “Akin Ang Iyong Katawan,” “Experience,” “Miguelito Ang Batang Rebelde,” “White Slavery,” “Ano Ang Kulay Ng Mukha Ng Diyos”…

ROENCE
Ano’ng ginagawa mo, TONY?

TONY
Nililista ko lahat ng pelikulang ginawa ni Lino Brocka mula nineteen eighty-four to nineteen eighty-five.

ROENCE
Para sa?

TONY
Para malaman natin ang katauhan ng “anak” ni Lino Brocka.

ROENCE
Ha? I don’t get it…

TONY
Simple lang. Kung nasa edad beinte o beinte-uno anyos ang lalaking nagsasabing anak siya ni Lino Brocka, isa sa set ng pitong pelikula na ‘to nabuntis ang Nanay niya. All we have to do is interviewhin ang mga dating staff ni Lino Brocka noong panahon na ‘to at malalaman natin kung alin ang posibleng pelikula na may nabuntis siya.

SCENE 10. MONTAGE. DAY.
Series of interviews kina Pete Lacaba, Jeric Soriano, Joey Luna, Ricky Lee, Butch Dalisay, Carmi Martin, Rez Cortez, Dido dela Paz, Menggie Cobarrubias, Mother Lily, Snooky, Aga Muhlach, Sarsi Emmanuelle, at Augusto Salvador. Ang tanong na sasagutin: “Posible po kaya na may nabuntis si Lino Brocka habang ginagawa niyo noon ang pelikula niyo sa kanya?”

SCENE 11. INT. CONFERENCE ROOM. DAY.
Nagmi-meeting muli ang buong grupo.

ROENCE
(To BOMBI and ICKAY)
Ano’ng developments?

BOMBI
Wala pa ring tao sa bahay nila. Ang balita namin sa katabing bahay, umuwi raw sa probinsya ‘yung ina. ‘Yung Onil naman, mukhang hindi rin umuuwi sa kanila.

JOURDAN
Susubukan ko ulit na tumambay do’n sa lugar nila. Baka may makuha akong impormasyon sa ibang tao du’n na nakasalamuha niya.

ROENCE
Good! ICKAY?

ICKAY
Papunta ako sa U.P. mamaya. Magtatanong na ako ng ibang mga tao ro’n na pwedeng maging resource persons tungkol sa college years ni Lino Brocka. Baka may pagkakahawig sila ng anak niya sa ganoong edad.

SCENE 12. MONTAGE.
Nagsasalita ang ilang mga nakasama ni Lino Brocka noong estudyante pa lang siya sa U.P. gaya nina Joonee Gamboa, Behn Cervantes, Bien Lumbera, Nestor Torre, etc. They will try to recall the student days of the “provinciano” Lino Brocka. Some very funny anecdotes.

SCENE 13. INT. CORING’S BEAUTY PARLOR. DAY.
Sinisilip-silip ng kamera ang loob ng beauty parlor ng baklang si CORING. Nakaupo doon at sineservice-an si BENITO, 40s, isang baklang patago. Pine-pedicure-an siya ni TIYA BEBANG, 40s, ang assistant ni Coring. May litrato ng isang lalaking nakabihis-marino sa isang tabi.

BENITO
(Gay tone)
Dahan-dahan, Bebang, ha?

BEBANG
Hay, naku, Benito! Sa tagal mo nang nagpapalinis ng kuko dito, kailan ba kita nasugatan?

BENITO
Ikaw naman! Nagpapaalala lang. Wala namang masama. Di ba, Coring?

Papasok sina JOURDAN at BOMBI.

CORING
Yes?

JOURDAN
Itatanong lang sana namin kung kakilala niyo ‘yung mag-inang nakatira diyan sa may video shop sa kanto?

CORING
Ah! ‘Yung bagong lipat? Oo. Nagpa-service ‘yung mag-ina dito mga four days ago. Di ba, Bebang?

BEBANG
Oo! Ang pagkakarinig ko, a-attend ata ng reunion ‘yung si Aling Lala sa probinsya nila kaya nagpaganda.

JOURDAN
E ‘yung anak? Ano’ng Ipinagawa?

CORING
Nagpagupit sa akin ‘yung bata. Pero nakakatawa. Kasi may pinagaya siya na igupit ko raw sa kanya.

BOMBI
Anong gupit?

CUT TO:
Flashback. POV ni Onil. Habang iniaabot ang isang litrato kay Coring.

CUT BACK TO:
Present day. Ipinapakita naman pabalik ni Coring ang litrato.

CORING
Eto, naiwan niya.

Shows a photo of Lino Brocka. Pagmamasdan itong mabuti ng dalawa.

CORING
Ginawa ko ngang kamukha niya. Pareho kasi silang kulot ang buhok at naka-salamin. Sasabihin mo nga na mag-ama sila kung hindi lang nga kilalang bakla si Lino Brocka.

Biglang may lalabas na bata sa loob ng isang kuwarto. Umiiyak ito. Kukunin ito ni Coring at bubuhatin.

CORING
O, tahan na. Tahan. Dito ka na kay Papa mong Mama.

Biglang may papasok na binatilyo sa parlor. Si SANTI, anak ni Benito

SANTI
Dad, tapos ka na?

BENITO
(Boses lalaki)
Patapos na, Santi. Hintayin mo na lang ako sa kotse, susunod na ako.

SCENE 14. INT. KOTSE. DAY.
Nasa loob ng sasakyan sina RAUL, HECTOR, RONALD, at RAPH. RAPH is reading a newspaper.

RONALD
Kung anak ka ni Lino Brocka, saang lugar ka pupunta?

RAUL
Tama naman ‘yung ginawa natin na sa Nueva Ecija muna pumunta. Nagkataon lang nga na nakaalis na ‘yung bata bago pa tayo nakarating du’n.

HECTOR
Saan pa ba pwede ‘yung pumunta?

RAPH
Subukan natin sa Fort Santiago.

HECTOR
Anak ni Lino Brocka ang hinahanap natin hindi si Kikritski Gorzavoh.

RAPH
Ha? Sino naman si Kikritski Gorzavoh?

HECTOR
Anak daw ni Jose Rizal sa Europe.

RAPH
E sino namang nagsabi sa ‘yo na anak ni Rizal ang pupuntahan natin sa Fort Santiago?

HECTOR
E dun mo gustong pumunta tayo, di ba?

RAPH
Kasi baka makakuha tayo ng sagot du’n tungkol sa anak ni Lino Brocka. Eto, o.
(Shows a newspaper story)
May play daw na ipinalabas sa Rajah Sulayman nung isang gabi. ‘Yung “Misererenobis”. Ayon dito, gagawin daw dapat na pelikula ‘yon ni Lino Brocka. Malay natin, baka napagawi du’n ‘yung bata.

CUT TO:
Trapik. Isa sa mga maiipit ang sasakyan nila. May mga pulubing magsusulputan upang samantalahin ang trapik sa kalsada.

Isang babae na may pasan-pasan na nanay sa likuran nito ang gagala sa harapan nila. May isang batang babae rin na pulubi. Sesenyas sila na hindi sila magbibigay. Mabibigla sila nang may titigil sa harapan nila na isang babaeng baliw. Si MORET. Buntis ito. Kakatok ito sa bintana nila. Pagbubuksan ito ni RAUL dahil ayaw tumabi at GO na.

RAUL
Pssst! Moret! Tumabi ka! GO na!

Hindi ito aalis. Sa halip ay magsasalita na para bang kakausapin sila.

MORET
Kilala niyo ba ang Tatay ng anak ko? Nakita niyo ba ang Tatay ng anak ko?

Matatahimik lamang sila.

SCENE 15. EXT. RAJAH SULAYMAN THEATER. DAY.
Sumisilip-silip ang grupo sa loob ng Rajah Sulayman. Wala silang makitang tao maliban sa isang matandang babaeng naglilinis sa loob, si ALING NILA. Lalapit ito sa kanila.

ALING NILA
May hinahanap po ba sila?

RAPH
A, e, ipapalabas pa po ba ‘yung “Misererenobis” mamayang gabi?

ALING NILA
Ang pagkakaalam ko po ay panghuli na po ‘yung kagabi. Bakit po ba?

RAPH
May hinahanap po kasi kaming tao, a… Aling…

ALING NILA
Nila po. Aling Nila.

RAPH
Aling Nila…

ALING NILA
E, mahigit tatlumpung taon na ho akong naglilinis dito, baka matulungan ko po kayo.

RONALD
Kung ganun ho e kilala niyo ho si Direk Lino Brocka?

ALING NILA
Oo, a! Andito na ako nung ipalabas ‘yung unang play na idinirek niya. Ano ba’ng title nun… a… “Cargoes”! ‘Yun nga! ‘Yun ang unang play niya.

RAPH
Laking PETA ho pala si Direk Lino Brocka…

ALING NILA
A, oo. Si Direk ang tumayong ina ng PETA nu’ng Dekada 70. Pag walang pera ang PETA, maghahanap siya. Siya rin ang nagpa-uso na gumamit ng mga artista sa pelikula sa mga stage plays. Inilapit niya sa masa ang teatro na dati-rati’y iilang elitista lamang at mga kamag-anak ng mga nagsisiganap ang nakakapanood. Kung di dahil kay Direk no’n, baka namatay na ang PETA.

RAPH
Sinu-sino ho ba’ng malalapit kay Direk Lino Brocka nu’ng mga panahon na ‘yun?

ALING NILA
Sina Direk Mario O’Hara, Direk Soxy Topacio, Direk Behn Cervantes, Direk Manny Castaneda, at iba pang matatagal na sa PETA. Pwede niyong tanungin sila.

RONALD
E, Aling Nila, may itatanong pa po kami sana.

ALING NILA
Ano ‘yon?

RONALD
Naniniwala ho ba kayong may anak si Lino Brocka.

ALING NILA
(Seseryoso ang mukha)
Nagpapatawa ka ba o gumagawa ng intriga?

SCENE 16. MONTAGE.
Series of interviews with PETA people at iba pang mga taong nakasama ni Lino Brocka noong nasa teatro pa siya. We’ll get glimpses of how Lino Brocka was during his theater days. His ascend from mere tagatapon ng ihi ng mga artista hanggang sa mag-direk siya.

SCENE 17. INT. CONFERENCE ROOM. NIGHT.
Nagmi-meeting muli ang grupo.

TONY
Ok, Roence, ano’ng meron tayo, so far?

ROENCE
Not much. Ang alam lang natin, beinte hanggang beinte-uno anyos na lalaki, kulot din ang buhok, may-antipara, at pareho ngayon ang gupit kay Lino Brocka.

JOURDAN
Pero at least alam na natin na may nag-eexist nga talaga na taong sinasabing anak siya ni Lino Brocka. Ibig sabihin, may anak nga.

TONY
Ang tanong lang nga, nasa’n siya?

BOMBI
Why don’t we ask ourselves, sa’n ka nga ba pupunta kung anak ka ni Lino Brocka?

ICKAY
Or better, kung ikaw mismo si Lino Brocka, san ka namin makikita?

TONY
Me sagot ako diyan.

ICKAY
Saan?

TONY
Ano ba’ng laging naa-associate sa pangalan ni Lino Brocka? Anyone?
(Walang makakasagot)
Answer? Slum area. Ang lugar kung saan ayon sa mga makakata at aktibista ay mas makikita natin ang tunay na mukha ng bansa. Ang mukha ng karamihang pelikula ni Lino Brocka.

SCENE 18. EXT. SLUM AREAS. DAY/ NIGHT.
Iba-ibang mga eskinita, pasilyo, kalye, tambakan ng basura, estero, at slum areas sa Maynila. Papsukin ito ng kamera. Gagalugarin. Makikita natin na halos walang ipinagkaiba ang mga tanawin na ito sa mga tanawin na napanood natin sa mga pelikula ni Lino Brocka.

TONY
(Voice over)
…“Tatlo, Dalawa, Isa,” “Maynila Sa Mga Kuko Ng Liwanag,” “Insiang,” “Jaguar,” “Bona,” “Kapit Sa Patalim: Bayan Ko,” “Ano Ang Kulay Ng Mukha Ng Diyos,” “Pasan Ko Ang Daigdig,” “Macho Dancer,” “Sa Kabila Ng Lahat.” Lahat ‘yan halos lumibot ang istorya sa isang lugar na kahit ano’ng gawin natin ay salamin pa rin ng takbo ng ating ekonomiya.

ROENCE
Thanks but no thanks sa “mahuhusay” na lider ng ating bansa…

TONY
Well, siguro nga, tama. Kung may New York City sila sa Amerika o mga villages sa Italy, mga romantic places sa France, o mga pyramid naman sa Ginza, tayo may mga makikipot na pasilyo, mapapanghing eskinita, mga esterong nakakasuka, at mala-bundok na mga tambakan ng basura. Nakakahiya man sigurong i-accept pero ‘yun pa rin ang hinahanap ng international market sa ating mga pelikula. Bukod sa globally-accepted na istorya, hinahanap nila ang proudly, Philippine-made: Iskwater’s area.

SCENE 19A. INT./EXT. TAPAT NG RIVAL NETWORK. DAY.
Nakatayo sa tabi ng isang poste ng Meralco si JOURDAN. Ang porma ng pagkakatayo niya doon ay porma ng tayo ni Bembol Roco sa Misericordia sa pelikulang “Maynila Sa Mga Kuko Ng Liwanag”. Ang POV ng camera ay POV ng camera ng kabilang network na nakatingin sa kanya from atop, afar.

TWEETY ROBLES
(Off-cam)
Mike, sandali nga.

MIKE
(Off-cam)
Yes, Ma’am?

TWEETY ROBLES
(Off-cam)
Taga-kabila ‘yun, di ba? Writer ng programa sa kabila.

MIKE
(Off-cam)
Oo nga, Ma’am, ‘no. Baka ho lilipat na? O kaya napirata?

TWEETY ROBLES
(Off-cam)
Kung napirata ‘yan, dapat alam natin, di ba? Pwera na lang kung may inaabangan ‘yan na istorya.

MIKE
(Off-cam)
Ano naman hong istorya?

TWEETY ROBLES
(Off-cam)
‘Yun ang kailangan nating malaman.

CUT TO:
SCENE 19B. EXT. TAPAT NG RIVAL NETWORK. DAY.
POV naman ngayon ng camera nina JOURDAN na papalapit sa kanya. Si BOMBI at si ICKAY na papalapit sa kanya.

BOMBI
Ano, JOURDAN? Ano’ng balita?

JOURDAN
Wala e. Nagsu-shooting pa raw si Christopher de Leon at si Bembol Roco ng telenovela nila. Mukhang ayaw pa-interview ng mga tao diyan sa kabila.

Biglang may tatabi sa kanila na isang fan na may hawak-hawak na litrato ng idol niyang si Joe Galvez na baguhang teen star. Mukhang die-hard fan ang babae. Bibigyan natin siya ng pangalan. Si MONA.

SCENE 20. MONTAGE.
Nagtatanong ang crew sa iba’t ibang tao sa slum area kung may nakita silang lalaking edad beinte hanggang beinte-uno anyos, kulot ang buhok, naka-salamin, at nagsasabing anak siya ni Lino Brocka. Iba-ibang tao ang napagtanungan nila pero iisa ang karaniwang sagot: “Wala”.

SCENE 21. EXT. PARADAHAN NG JEEP. DAY.
May mapagtatanungan silang dalawang siga sa isang tabi, sa paradahan ng mga jeepney driver na hinuhuthutan nila ng pera. Ito sina BOGART at TURKO. Nasa di-kalayuan ang isa pang lalaki, si FIDEL na mas mukhang weekling sa tatlo.

BOGART
Turko, anak daw ni Lino Brocka, may kilala ka?

TURKO
Ano? Anak ni Booba? Nagbunga pala ‘yung kumakalat na sex video niya.

RAPH
Brocka ho, hindi Booba. Anak ho ni Lino Brocka.

We see Fidel sa background getting a little excited sa hinahanap ng grupo.

TURKO
Ah, Lino Brocka ba? Di ba bakla ‘yun? Paano magkakaanak ‘yun?

RAPH
Di bale na lang ho. Salamat ho.

Camera moves away. As the group walks away, Fidel runs to them secretly and calls them sa isang tabi.

FIDEL
Pssst! Psst!
(Lalapit sa kanya ang grupo)
Alam ko kung sa’n niyo siya makikita.

SCENE 21. EXT. BAHAY NI CECILIA. DAY.
Naglalakad sila sa loob ng isang eskinita sa isang squatter’s area. May isang dalagang naglalaba sa isang tabi. May mga bata namang naglalaro sa isang gilid. Ang isa sa kanila ay tumutula pa. Mapapatingin dito si Raph.

BATA 1
Ang mga ulila ay kaawa-awa.
Gulanit ang damit.
Nasaan ka, ama ko?
Bakit mo kami iniwanan?
Kawawa ang buhay namin…

Matatapos ang tula. Magba-bow ang bata at magpapalakpakan ang mga kalaro niya. Mangingiti si Raph. Titigil sila sa tapat ng isang bahay. Tatawag si Fidel.

FIDEL
Aling Cecil? Aling Cecil?

Magbubukas ang pinto at makikita natin si ALING CECIL.

ALING CECIL
O, Fidel,bakit?

FIDEL
May naghahanap ho du’n sa pamangkin niyo.

Titingnan sila ni Aling Cecil sabay titingin sa paligid. Huli siyang titingin sa kamera at saka papasukin ang mga bisita.

ALING CECIL
Tuloy kayo…

SCENE 22. INT. BAHAY NI CECILIA. DAY.
Interview kay Cecilia. May CHARGEN sa screen: CECILIA MANALASTAS, NGO worker.

ALING CECIL
Pamangkin ko siya pero parang malayong kamag-anak na. ‘Yung Mama niya, pinsan ng pinsan kong taga-Aklan kaya parang hindi na rin namin kaanu-ano. Nung dalaga si Mama niya, si Lala, sa amin tumira ‘yan. Du’n sa lumang bahay namin sa may Guadalcanal sa Sta. Mesa. Nag-aral sandali dito sa Maynila tapos nu’ng biglang nabuntis tumigil na.

RAPH
Sino hong nakabuntis sa kanya? Totoo ho bang si Lino Brocka?

ALING CECIL
(Pauses and looks at them)
Alam niyo na rin pala ang istoryang ‘yan.

HECTOR
Totoo ho ba?

ALING CECIL
Hanggang ngayon, tuwing naririnig ko o naaalala ang istoryang ‘yan, hindi pa rin ako makapaniwala. Ilang beses kong itinanong kay Lala pero ‘yan ang pinagpipilitan niya. Na ang ama ng kanyang dinadalang bata noon ay walang iba kundi ang director na si Lino Brocka.

RAUL
Paano ho nangyari ‘yon? Meron ho ba siyang pruweba?

ALING CECIL
Sa bahay namin nag-shooting ang “Kapit Sa Patalim, Bayan Ko.” ‘Yung bahay na ginamit nina Philip Salvador at Gina Alajar. Du’n ‘yon sa amin, sa Sta. Mesa. Isang shooting day nila, umulan ng malakas kaya naipit ang crew. Nakauwi ang mga artista pero sinamahan ni Direk ‘yung mga crew hanggang dumating ‘yung sundo nila. Siguro, pagod na din, kaya natulog muna si Direk sa isang kuwarto sa bahay namin para magpahinga. Ewan ko pero biglang nawala si Lala. May pagka-lukaret din kasi ‘yung babaeng ‘yon at parang nakakawala sa hawla nung makapunta rito sa Maynila. Pagbalik niya sa kuwarto namin, hayun nagkuwento na. Nakatalik daw niya si Lino Brocka.

RAPH
Naniwala naman ho kayo sa kanya?

ALING CECIL
Siyempre hindi ha! Pero nung lumaki ang tiyan niya at walang ibang isinasagot kundi anak ni Lino Brocka ang nasa sinapupunan niya, pinabayaan na lang namin. Kasi kahit sino naman walang naniniwala. Bumalik ‘yan ng Aklan. Du’n na nanganak. Ang nakakatawa, pati pangalan ng anak niya, pinangatawanan talaga. “Angelino” pa ang napiling ipangalan sa bata. Pinaghalong pangalan niya na Angela at, obviously, pangalan ni Lino Brocka. Pero pagkapanganak, nag-Japan na. Sumusulat-sulat paminsan-minsan. Nu’ng una nagpapadala pa ng litrato ng bata. Tapos hindi na. Kaya nga nabigla ako three days ago nang may kumatok sa pintuan ko. Si Angelino. Ang anak ni Lala. Ang anak niyang sinasabing anak din ni Lino Brocka.

HECTOR
At naniniwala na ho kayo?

ALING CECIL
Kapag makikita niyo ang hitsura niya, maniniwala na rin kayo na anak siya talaga. Kamukhang-kamukha. Parang pinagbiyak na bunga.

RAPH
Asan na ho siya?

ALING CECIL
Nagkasalisihan lang kayo. Tatlong araw nandito pero umalis din kaninang umaga.

HECTOR
Sinabi ho ba kung sa’n pupunta?

ALING CECIL
Hindi sinabi. Pero sabi ko sa kanya, kung meron talagang masasabing anak ni Lino Brocka, ‘yun e walang iba kundi ang mga artistang nagsimula sa kamay niya. ‘Yung mga artistang unang lumabas at nahubog sa mga pelikula ni Direk Brocka.

SCENE 23. MONTAGE.
Series of interviews with actors and actresses na unang hinawakan ni Lino Brocka ang mga career bago naging mga kilalang artista ngayon. Interviews include those with Jaclyn Jose, Alan Paule, Timothy Diwa, Lorenzo Mara, William Lorenzo, Apa Ongpin, Rody Vera, Boy Roque, even Joel Torre and Ronnie Lazaro whose acting careers both started in a Lino Brocka set.

SCENE 24. INT. CONFERENCE ROOM. NIGHT.
ICKAY barges inside the conference room looking excited. He is met by ROENCE, TONY, BOMBI, and JOURDAN.

ICKAY
Guess what?

BOMBI
Nakita mo na ang anak ni Brocka?

ICKAY
Hindi pa pero meron akong nakuhang istorya na kasing kontrobersyal ng anak ni Brocka.

JOURDAN
Huwag mong sabihin, may anak din si Ishmael Bernal? O si Mike de Leon kaya?

ICKAY
Hindi. Patawa naman ‘to, o. Connected pa rin kay Lino Brocka. Guess kung sino’ng sikat na artista ang naka-relasyon niya?

ROENCE
Well, marami akong naririnig na balita. Halos lahat ng mga naging paborito niyang ginamit na artista sa mga pelikula niya ay naka-relasyon “daw” niya.

TONY
Oo nga. Hindi na sikreto ‘yan sa industriya.

ICKAY
Pero Hollywood actor ‘tong sinasabi kong naka-relasyon niya.

BOMBI
Sikat na Hollywood actor?

ICKAY
Kilalang-kilala.

BOMBI
Ha? Sino?

SCENE 25. MONTAGE.
Interviews with different personalities who know the story. Sina Behn Cervantes, Mel Chionglo, Joonee Gamboa, Ricky Lee, atbp. Hindi natin masyadong matukoy sa simula kung sino’ng artista ang tinutukoy nila. All we’ll know is part siya ng cast ng “Apocalypse Now” ni Francis Ford Coppola na Lino Brocka tried to contact when he was here filming the movie. Panay hapyaw ang mga sagot. Bahala na ang audience hulaan kung sino siya.

SCENE 26. MONTAGE.
Ipapakita ang mga snippets ng mga pelikula ni Lino Brocka na ginawa niya after the making of “Apocalypse Now” or after 1975. Films like “Lunes, Martes, Miyerkules, Huwebes, Biyernes, Sabado,” “Insiang,” “Tahan Na, Empoy, Tahan,” “Tadhana: Ito Ang Lahing Pilipino,” “Inay,” “Mananayaw,” “Ang Tatay Kong Nanay,” “Gumising Ka, Maruja,” “Hayop Sa Hayop,” “Rubia Servios,” “Init,” “Ina, Kapatid, Anak,” “Jaguar,” “Ina Ka Ng Anak Mo,” “Nakaw na Pag-ibig,” “Angela Markado,” at “Bona”.

TONY
(Voice-over)
Ewan ko kung ako lang ang nakakakita, ha. Pero hindi niyo ba napapansin? Sa mga panahon na ‘to, parang naghahanap na rin ng sariling identity niya ang kanyang mga pelikula?

SCENE 27. INT./EXT. RIVAL NETWORK. DAY.
Nakatayo na naman sa tapat ng rival network si BOMBI. Pinagmamasdan muli siya mula sa itaas na office nina TWEETY at Michael. May dadaan sa tapat niya na isang security guard na hahawiin siya dahil may paparadang isang kotse sa tapat niya. Sipsip ang sikyu sa lalaking lalabas sa kotse. Parang si Poldo Miranda sa “Jaguar”.

Cut inside kina TWEETY at Mike.

TWEETY ROBLES
May balita ka na, Mike?

MIKE
Ang balita sa itaas, Ma’am, nagpapa-set daw ng meeting kina Christopher de Leon at kay Bembol Roco.

TWEETY ROBLES
Bakit daw?

MIKE
Hindi klaro masyado. Pero ang pagkakarinig ko po du’n sa insider natin sa kabila, may kinalaman daw kay Lino Brocka.

TWEETY ROBLES
Kay Lino Brocka? Bakit? Birthday ba? Death anniversary? Any significant dates we missed out ba?

MIKE
Ni-research ko nga po e. April 3, 1939 ipinanganak si Lino Brocka. May 21, 1991 naman namatay.

TWEETY ROBLES
They must be up to something na di natin alam. At kung anuman ‘yun, kailangan natin silang maunahan.

SCENE 28. INT. CONFERENCE ROOM. DAY.
Nag-uusap muli ang grupo. Si ROENCE muli ang namumuno sa kanila.

ROENCE
Angelino dela Cruz. May pangalan na tayo. Pero wala pa tayong footage o kaya ay litrato.

TONY
He could be any of those 20-21 year old na mga binata na makakasalubong niyo.

CUT TO:
SCENE 29. MONTAGE.
Interview ng iba’t ibang kabataan answering the question: “Ikaw ba ang anak ni Lino Brocka?” What we will see on the screen are real reactions of real people.

CUT BACK TO:
SCENE 30. INT. CONFERENCE ROOM. DAY.
Balik sa diskusyon ng grupo.

RAUL
Babalik ako, Ma’am, sa Tondo baka sakaling bumalik siya du’n sa tiyahin niya. Magmamatyag-matyag muna ako.
(Points to the camera)
Isasama ko ho muna ‘tong si Sig baka sakaling matsambahan namin ‘yung tao. Ttitimbre na lang ho ako sa inyo kapag sure na kami. Text-text na lang.

ICKAY
Ako, pass muna ako. Ifa-follow-up ko lang muna ‘yung istorya ko tungkol du’n sa mga gumagawa noon ng porno films sa Betamax. Para kahit paano may naka-imbak tayo kahit isa sakaling tumagal tayo sa paghahagilap niyang anak ni Brocka.

ROENCE
Very good. Ikaw, BOMBI, ano’ng balak mo?

BOMBI
May mga naisip akong tanungin na tao tungkol kay Lino Brocka. May mga lugar din ako na gustong pasukin baka sakaling may mga makita akong makakadagdag sa ating istorya. Kung okey lang sa inyo sana.

TONY
Basta sa ikagaganda ng istoya. Ano ba’ng balak mo?

BOMBI
Gusto ko sanang tingnan ang mundo ng kanyang pagiging bakla.

CUT TO:
SCENE 31. MONTAGE.
Interview sa mga karaniwang bakla sa kalye tungkol sa kanilang kaalaman tungkol kay Lino Brocka. Juxtaposed with interviews with well-known gay people sa loob at labas ng industriya. Some of them will give anecdotes on Lino Brocka bilang bakla. Ipapakita na he is also not as perfect, hindi dahil bakla siya, kundi dahil may mga nakaaway din siya sa pagiging bakla niya.

CUT TO:
SCENE 32. INT. GAY BAR. NIGHT.
Ang huling interview ay kay MAMA CHARLIE, 50, manager ng isang gay bar. Si BOMBI ang nag-iinterview sa kanya. While interviewing Mama Charlie ay may mga makikita tayo sa background na mga nagsasayaw na macho dancers.

MAMA CHARLIE
Bakla nga si Lino Brocka pero siya ‘yung tipo ng bakla na kapag lalaki ka, mag-iisip ka kung sino sa inyo ang mas bakla. Dahil matapang siya. Matapang ang mga pelikula niya. Mas may titi at mas may bayag kesa du’n sa ginagawa na pelikula ng mga mas lalaki sa kanya. Ako? Mas vaklush siguro ako sa kanya. Kaya nga dito na nag-thuderbird ang lola niyo sa trabaho na ‘to.
(Tatawa. Lilingon sa papasok na parokyano. Si Benito at si Coring)
So, pa’no? Maiwan ko muna kayo at may mga nagdadatingan na na mga parokyano.

BOMBI
Sige po. Salamat po, Mama Charlie.

Tatayo si Mama Charlie at maiiwan si BOMBI at ang cameraman. Makikita nating nakatingin si BOMBI sa mga nagsasayaw sa harapan. Magpa-pan ang camera sa entablado at magpa-pan pabalik kay BOMBI na mukhang interesadong-interesado sa nakikita nito.

SCENE 33. INT. KOTSE. NIGHT.
Nasa loob ng kotse si RAUL habang tinatanaw ang squatter’s area sa di-kalayuan. Haharap siya sa kamera.

RAUL
May anak ka ba, pare?

CAMERAMAN 1
Meron. Tatlong barako. Ikaw?

RAUL
Wala. Di na ako nag-asawa. Di na rin nga ako nag-anak. Sa panahon ngayon, tama na ‘yung sarili ko na lang ‘yung nahihirapan kesa may mga anak ka na idinadamay mo sa kahirapan ng buhay. Ang hirap e. Baka paglaki nila, manisi pa at mag-drama kung bakit binuhay mo pa sila.

Biglang mapapadaan sa tapat nila ang babaeng baliw na si Moret kasama ang isang lalaking ketongin. Hinahaplos-haplos ng lalaking ketongin ang tiyan ni Moret.

RAUL
(To the camera)
Patayin mo muna ‘yan. Sayang sa baterya. Mag-iisang bote muna ako sa tindahan. Sama ka?

SCENE 34. EXT. TULAY SA ESTERO. NIGHT.
POV ni Onil, ang anak ni Brocka. Maglalakad si RAUL sa madilim na tulay sa may estero. May makakasalubong siya na isang babae na may buhat-buhat na labahin sa kanyang ulo. May nakasunod na lalaki dito. Lalampas ito kay RAUL. Aalis si Onil at maglalakad palayo.

SCENE 35. EXT. TINDAHAN NIT TATA TIAGO. NIGHT.
Lalapit si RAUL sa tindahan and will instruct the cameraman.

RAUL
(To the camera)
‘Yan, pare. “On” mo ‘yang camera. Baka may ma-interview tayo dito.

Bibili si RAUL ng beer at yosi sa may tindahan. Nakaupo ang isang matanda sa loob na nanonood ng TV, si TATA TIAGO, late 50s. Isang babaeng apo niya ang nagtitinda. May mga nakatambay na sa tindahan na nag-iinuman din. Isa sa mga ito si MANG PILO, 60s. Mapapansin nito ang kamerang nakasunod kay RAUL.

MANG PILO
Taga-media ba kayo?

RAUL
Taga-channel 22 ho. Du’n ho sa programang “SEMI-DOKYU”.

MANG PILO
A, oo! Taga du’n ba kayo? Ano ba’ng kinukuhanan niyo?

RAUL
Nag-iinterview-interview ho kami ng mga tao.

MANG PILO
Tungkol saan ba at baka makatulong kami dito?

RAUL
Tungkol ho kay Lino Brocka.

MANG PILO
Si Direk Lino Brocka? Aba, nauuso na naman ata si Direk, a! Kani-kanina lang me binatilyo dito na nagtanong din tungkol sa kanya. Nakipag-inuman nga sa amin.

CUT TO:
Flashback. POV ni Onil na nakipag-toast ng iniinom kina Mang Pilo.

CUT BACK TO:
Present time. POV naman ng camera nina RAUL.

RAUL
(Looks around)
Ho? Nasa’n na ho?

MANG PILO
May dala-dalang bag. Umalis na. Kasamahan niyo ba?

RAUL
Hindi ho. Inaabangan nga ho namin para ma-interbyu. Ano hong sinabi sa inyo?

MANG PILO
Natatawa nga ako kasi mukhang mas nalasing agad kesa sa amin.

RAUL
Bakit naman ho?

MANG PILO
Akalain mo bang tanungin ba naman kami kung alam ba raw namin kung may anak si Lino Brocka.

RAUL
Ano hong sabi niyo?

MANG PILO
Siyempre, wala. Pero nu’ng nakadalawang shot pa ‘yung bata, humirit na naman. Akalain mo bang sabihin sa harapan namin, paano raw kung sabihin niyang siya ang anak ni Lino Brocka.

RAUL
Tumawa ho kayo?

MANG PILO
Naweirdohan ako, ang sabihin mo. Parang nakita ko na ‘to, sabi ko du’n sa binatilyo.

RAUL
Bakit ho?

MANG PILO
Dahil naghahanap din ng Tatay niya si Lino Brocka nu’ng makilala ko siya.

RAUL
Kilala niyo si Lino Brocka?

MANG PILO
Isang beses ko lang siya nakita. Binata pa ako nu’n. Matagal na panahon na.

SCENE 36. INT. CONFERENCE ROOM./ TV SET. DAY.
Nakatingin ang grupo sa footage ni RAUL na shinoot nung gabi. Nagsasalita sa screen si Mang Pilo.

MANG PILO
(On the TV screen)
Tubong-Sorsogon ako. May bangkang de motor ako noon. Mga 1975 o 1976 ‘yun siguro. May dalawang lalaking umupa noon ng bangka ko. May hinahanap ang isa sa kanila, si Direk Lino Brocka. Hindi ko pa siya nu’n kilala. Wala pa kasing kuryente noon masyado sa aming probinsya. Sabi niya, natatandaan niya, isa sa mga islang nakapaligid do’n sa Pilar siya ipinanganak at nagkaisip. Ang natatandaan daw niya, may lagoon daw, magandang-magandang lagoon. Tatlong araw kaming paikut-ikot sa mga isla sa paligid pero di namin mahanap ‘yung sinasabi niya. Pero matigas ang kapit niya sa paniniwalang makikita at makikita niya ang kanyang hinahanap.

RAUL
(Off-cam)
Nakita niyo naman ho?

MANG PILO
Oo. Sa ikatlong gabi, kung saan halos suko na kami, biglang napatayo sa bangka si Direk Brocka. Tuwang-tuwa. Halos magtatatalon sa bangka. Hindi siya nag-aksaya ng oras nang makababa. Tanong siya nang tanong, “Kilala niyo po si Regino Brocka? Kilala niyo po si Regino Brocka?” Walang matandang nandoon ang hindi nakakakilala sa kanyang ama. Lahat ng papuri narinig niya. Pinakamagaling gumawa ng bangka, pinakamaaasahang mangangalakal ng kagamitang pambarko, pinakamahusay na kuwentista, pinakamatalino sa larangan ng pulitika. Lahat ng pinaka.

RAUL
(Off-cam. Natatawa)
Para ho palang bida sa pelikula.

MANG PILO
Pwede mong sabihing ganu’n na nga. Pero tao pa rin ang ama ni Lino Brocka. Hindi ito santo, hindi ito superman, tinatablan pa rin ito ng bala. Kasi, hindi na siya pinatawad ng mga konserbatibong mga taga-roon sa pinakamabigat na kasalanan niya. Nang iwan nito ang una niyang asawa at anim na anak upang sumama sa isang labinlimang-taon na dalaga. Ang ina ni Lino Brocka. Bago sila bumalik ng Maynila, nakipagkita muna si Direk sa unang asawa ng tatay niya at sa mga kapatid niya rito. Siguro, ‘yun ang dahilan kung kaya kahit masakit ang nalaman niya, masaya siya nung sumakay pabalik sa bangka. Dahil nabuo ang personalidad niya.

RAUL
(Off-cam)
Salamat po, ‘Tay. Ano nga po pala ang pangalan nila?

MANG PILO
Pilo. Mang Pilo. Pilo Madiaga.

CUT TO:
Nakatingin pa rin ang grupo sa TV set nila kahit tapos na ang interview. Hindi sila makapagsalita. Babasagin lamang ni ROENCE ang katahimikan nila.

ROENCE
Okey ‘to. Magandang teaser story natin ‘to. Si Lino Brocka at ang anak niya na parehong naghahanap ng identity nila.

TONY
Pero dapat, ROENCE, huwag nga nating gawin na parang santo o superhero sila.

ROENCE
What do you mean?

TONY
Kailangang malaman rin natin ang flaws ni Lino Brocka. Para kung saka-sakaling mahanap natin ‘yung anak niya, hindi rin tayo nag-eexpect na parang bida ‘yung binata sa pelikula.

CUT TO:
SCENE 37. MONTAGE.
Interviews sa iba’t ibang mga taong nakaaway o kaya ay may masamang bagay na masasabi sa pag-uugali ni Lino Brocka. They will answer the question, “Ano ang pinakamasamang ugali ni Lino Brocka?” Mare-reveal ang ilang fights he had with people who were once close to him like Mel Chionglo, Behn Cervantes, Joonee Gamboa, Laurice Guillen, Mario O’Hara, Mike de Leon, etc. Kumbakit ang ilan sa mga ito ay hindi rin nagpunta noon sa burol niya. We will also try to get interviews with Manoling Morato, Ismael Mathay, Imelda Marcos and Cory Aquino, mga taong nakabangga din niya.

SCENE 38. INT. KOTSE. DAY.
Nag-uusap sa loob sina RAUL, HECTOR, RAPH, at RONALD. Camera pans to each of them.

RAPH
Lahat pala halos kinaaway niya. Mga kaibigan, mga kasamahan, mga Marcos, pati mga Cojuangco at Aquino. Hindi mo maintindihan. Pro-Cory siya tapos nag-anti-Cory siya.

RAUL
Eto rin kasi ‘yung mga panahon na napabalitang komunista na daw siya. Nakulong siya, di ba?

RAPH
‘Ba! Ewan ko! Bata pa ako!

RAUL
(Alaskadong matatawa)
O, sige na, ako na ang matanda! Basta natatandaan ko noon, (clears throat) nu’ng “bata” pa ako, nahuli ‘yan sa Cubao. Alam ko kasi laking-Cubao ako. Narinig ko sa mga tiyuhin ko. Nahuli daw si Lino Brocka at pinaratangang komunista. Sumama at sumuporta daw kasi du’n sa mga nag-strike na jeepney drivers ng Cubao at nanawagan daw ng “himagsikan”.

HECTOR
Gano’n ba? Kung gano’n, alam ko na kung saan pa ang mga dapat nating puntahan na baka-sakaling pinuntahan din ng anak niya.

RAPH
Saan?

HECTOR
Maghahanap tayo ng mga strike, welga, piketlaytn, at mga kilos-protesta. Malay niyo nandoon ‘yung anak ni Brocka, aktibista na rin pala.

RAPH
Ako, may naisip ako isa pang maganda.

HECTOR
(Magbibiro)
Ano namang mas gaganda pa sa ‘yo?

RAPH
He! Tumigil ka nga! Ang gusto kong sabihin, mag-iinterview ako ng mga nakasama niyang aktibista, ‘yung mga aktib pa at ‘yung mga hindi na at ilang nakalimutan na rin siya.

SCENE 39. MONTAGE.
Interviews with people na mga nakasama niya sa kulungan nung makulong siya gaya nina Boy Roque, Howie Severino, Behn Cervantes, at ilang mga nabubuhay pang mga jeepney drivers sa Cubao. Mag-iinterview din sa mga miyembro ng Concerned Artists of the Philippines, ang grupong binuo niya.

INTERCUT WITH:
SCENE 40. MONTAGE.
Scene 39 will be intercut with footages of piketlayns, strikes, rallies, and violent dispersals.

SCENE 41A. EXT. SLUM AREA. DAY.
Nagre-report ng news story niya si TWEETY ROBLES.

TWEETY
Nandito tayo ngayon sa Tondo kung saan may iilang nakabarikada na mga residente upang tutulan ang gagawing demolisyon sa lugar nila.

CUT TO:
SCENE 42. EXT. SLUM AREA. DAY.
Ini-interview si Cecilia. CHARGEN: CECILIA MANALASTAS, residente.

ALING CECIL
Paano naman ang trabaho namin dito? Ang pag-aaral ng mga bata? Malaki ang magiging adjustments ng bawat isa kapag na-relocate sila. May pabahay man, hindi naman mababayaran kasi wala ngang sigurado kaagad na trabaho sa lilipatan na lugar.

CUT BACK TO:
SCENE 41B. EXT. SLUM AREA. DAY.
Balik kay Tweety Robles.

TWEETY
Gayunpaman, nakapanayam din natin kanina ang barangay chairman ng lugar na ito na si Brother Rod Contra na mukhang pabor naman pala sa gagawing demolisyon.

CUT TO:
SCENE 42. INT. BARANGAY HALL. DAY.
Ini-interview si Barangay Chairman/ Brother Rod. CHARGEN: BRO. ROD CONTRA, Barangay Chairman. Napaka-banal ng hitsura niya. Very charismatic.

BROTHER ROD
Alam niyo, kapatid, wala namang masama sa demolisyon na gagawin. Hulog pa nga ng langit at kaloob ng Diyos dahil makapagbubukas ito ng maraming benipisyo at trabaho sa mga naririto. Kapag naipatayo na ang bagong project na flyover ni Congressman, malaki ang posibilidad na isusunod na rin ‘yung proyektong mall ni Mr. Yap dito. Sobra-sobra sa blessings, di ba?

CUT TO:
SCENE 43. INT. OFFICE NI CONGRESSMAN GUATLO. DAY.
Si Congressman naman ang ini-interview. CHARGEN: CONGRESSMAN ALFRED GUATLO.

CONGRESSMAN GUATLO
Ire-relocate naman sila sa Sta. Rosa, sa Laguna. Sa Cavite naman ‘yung iba. Iskwater sila kaya naturalmente paaalisin sila dahil hindi sa kanila ang lupang kinatitirikan ng bahay nila. Mas marami ngang makikinabang na tao kapag na-debelop na ang lugar na ‘to. Kami na nga ang tumutulong para mapabuti ang kalagayan nila, kami pa ang tinitira ng ilan sa kanila. Kunsabagay, kung makikita niyo, iilan lang talaga ang nagpo-protesta.

CUT BACK TO:

SCENE 41B. EXT. SLUM AREA. DAY.
Balik kay Tweety Robles.
TWEETY
Sinabi rin ni Congressman Guatlo na hindi lahat ng mga naka-barikada ay mga residente ng lugar na ito kundi may mga taga-ibang lugar rin at mga miyembro ng miltanteng grupo na nakikisawsaw sa gulo. Para sa iba pang karagdagang balita, abangan mamaya ang mga report sa nangungunang “Blangko”. At bukas ng gabi ang isang eksklusib na report sa kaganapang ito sa “Punto”. Ako po si Tweety Robles, magandang araw po.

MIKE
(Off-cam)
And, Cut!!!

Mamamatay ang camera. Bubukas muli after a few seconds We will now see Mike talking to Tweety.

MIKE
May good news ako, Ma’am, sa ‘yo.

TWEEY
Ano?

MIKE
Mukhang alam ko na po kung ano ‘yung nilulutong eksklusib report ng mga taga-“SEMI-DOKYU”.

TWEETY
Ano nga?

MIKE
May nakausap ho akong dalawang lalaki du’n sa paradahan ng jeep sa kanto. May nagpunta raw dito na mga taga-“SEMI-DOKYU”. At guess kung sino ang hinahanap nila?

Hindi na magsasalita si Tweety. Pikang-pika na ito sa suspense.

MIKE
Ang anak daw ni Lino Brocka!

TWEETY
(Medyo sasama ang mukha)
Yeah, right! ‘Yun ang scoop nila? Ano naman ang susunod? Manananggal? Aliens? UFO? I’m beginning to respect pa naman ‘yang bagong show ng ex-partner ko.

MIKE
E paano kung totoo?

TWEETY
E di gumawa tayo ng pangsalo to prove na hindi totoo.

SCENE 43. INT. CONFERENCE ROOM. NIGHT.
Tinitingnan ni TONY ang litrato ng mga anak niya. Pinagmamasdan niya ang mga ito nang biglang pumasok si Roence at Raph. Mabibigla ito.

ROENCE
Oooops! Sorry! Did we bother you?

TONY
Hindi, hindi. Okey lang. Tinitingnan ko lang ‘tong litrato ng mga bata.

ROENCE
Oo nga pala. Kamusta sila?

TONY
After the annulment, medyo naninibago sila sa setup namin ng Mommy nila. Pero ganyan talaga. Kesa araw-araw nilang nakikitang parang me gera. Nami-miss ko lang nga. Mas dumami kasi assignments at trabaho. Mas kumonti naman ang oras ko sa mga anak ko.

ROENCE
After ng istorya nating ‘to, mag-aadvance taping tayo para makabawi ka naman sa mga bata. Ako rin nga, hindi ko natututukan lately si Tala.

TONY
Etong si Raph ang swerte. Dalaga pa. Walang asawa. Walang problema.

RAPH
Minsan nga nag-iisip-isip na din ako na gusto ko na ring may inuuwiang bata. Panghagod sa problema. Pero kapag nakakarinig naman ako ng mga ganyang istorya, parang ayoko na kasi dahil sa ganitong klaseng trabaho natin, hindi rin pala ako magiging mahusay na ina.

TONY
Naiisip ko tuloy, paano nga kaya kung etong binatang ‘tong hinahanap natin e anak nga talaga ni Lino Brocka? Kung buhay pa siya, paano niya kaya tatanggapin ang balitang may anak siya? Anong klaseng ama kaya siya? Magiging pabaya din kaya siya dahil sa klase ng trabaho niya?

ROENCE
Pero, ikaw, personally, naniniwala ka ba?

TONY
Na may anak siya? Di ba nga nagtaas ako ng kamay du’n sa mga hindi naniniwala?

ROENCE
E kamusta ngayon? Naniniwala ka na ba?

TONY
Kailangan kong maniwala dahil ipaglalaban ko ang istoryang ‘yan bukas sa harap ng kamera.

ROENCE
Ikaw, Raph?

RAPH
Lumaki akong hindi ko rin nakikilala kung sino ang tunay kong ama ko kaya alam niyo na kung bakit gano’n na lang simpatya ko dito sa lalaking ‘to.

TONY
E ikaw?

ROENCE
C’mon. Kahit ‘yung programa sa kabila, kapag narinig nila ang istoryang ito, kakagatin nila.

SCENE 44. MONTAGE.
Montage ng mga pelikula ni Brocka from 1981-1985 gaya ng “Burgis,” “Kontrobersyal,” “Hello, Young Lovers,” “Binata Si Mister, Dalaga Si Misis,” “Caught In The Act,” “Px,” “In Dis Korner,” “Palipat-lipat, Papalit-palit,” “Mother Dear,” “Cain at Abel,” “Strangers In Paradise,” “Hot Property,” “Bayan Ko: Kapit Sa Patalim,” “Adultery,” “Akin Ang Iyong Katawan,” “Experience,” “Miuelito: Ang Batang Rebelde,” “White Slavery,” up to “Ano Ang Kulay Ng Mukha Ng Diyos.”

SCENE 45. INT. EDITING ROOM. DAY.
Nag-eedit sa loob sina Roence, RONALD, at Hector. They are viewing footages of interviews with young digital film directors like Jon Red, Erik Matti, Khavn dela Cruz, etc. regarding digital filmmaking. One of them will tell something about how useful the medium would have been during the time of Lino Brocka.

ROENCE
Maganda ‘tong naka-imbak natin na istorya tungkol sa digital cinema. Tamang-tama. Idudugsong natin dito ‘yung istorya ng anak ni Lino Brocka. Itu-two part natin habang hindi pa natin nakikita at nai-interview ‘yung anak ni Brocka. Patikim muna, kumbaga.

Bilang papasok si Tony. Masama ang mukha nito.

TONY SERRANO
Shit!

ROENCE
O, bakit? Ano’ng problema?

TONY SERRANO
Hindi niyo pa ba alam ‘yung balita?

ROENCE
Hindi pa. Ano ba?

TONY SERRANO
Mukhang may nag-leak sa kabila. Mamayang gabi, may istorya din sila tungkol kay Lino Brocka.

RONALD
Anak ng tutsa!

TONY SERRANO
Anak ng tutsa talaga!

RONALD
Alam na rin kaya nila ‘yung tungkol sa anak ni Brocka?

TONY SERRANO
Baka. Mukhang mahusay ‘yung espiya nila.

ROENCE
Mahusay man ang espiya, puso pa rin ng istorya ang magiging batayan ng ratings mamaya.

CUT TO:
SCENE 46. INT. STUDIO. RIVAL TV NETWORK. NIGHT.
Tweety is reporting her story sa kanyang palabas na “Punto”.

TWEETY ROBLES
Direk Lino Brocka. Haligi ng industriya mula Dekada 70 hanggang Dekada 80. Sino nga ba talaga siya? Bakit tinaguriang malaking kawalan siya sa mundo ng pelikula? Kamusta kaya siya ngayon kung nabubuhay pa siya? Halika’t silipin nating muli si Lino Brocka sa mata ng mga nakakakilala sa kanya.

INTERCUT WITH:
SCENE 47. INT. STUDIO. SEMI-DOKYU. NIGHT.
Tweety’s report and intro intercuts with Tony’s delivering his own intro on his Brocka story.

TONY SERRANO
Lino Brocka. Direktor sa teatro, sa TV, at sa pelikula. Artista ng bayan, bakla, at aktibista. Anak, ama, at ina. Kaibigan, kaaway, kakampi ng mga wala. Gaano nga ba natin kakilala si Direk Lino Brocka? Kakilala pa ba natin siya? May mga bagay pa ba tayong hindi alam sa kanya?

CUT TO:
SCENE 47. MONTAGE.
Interviews ng dalawang channels sa iba’t ibang tao regarding with how people see Lino Brocka’s works and the legacy he left behind. They will comment on his styles and his working attitude. May interview din with his brother DANILO BROCKA. Sa huli, mag-iiwan pareho ng tanong sina Tweety Robles at Tony Serrano. Intercut sa bawat isa.

TWEETY ROBLES
Ngayong mas nakilala natin si Direk Lino Brocka…

TONY SERRANO
Ngayong mas nahubaran natin ang pagkatao niya…

TWEETY ROBLES
Maniniwala ka ba…

TONY SERRANO
Matatanggap mo ba…

TWEETY ROBLES
Ang posibilidad…

TONY SERRANO
Ang realidad…

TWEETY ROBLES
Na maaaring isang ama…

TONY SERRANO
Na maaaring may anak…

TWEETY ROBLES/ TONY SERRANO
Si Lino Brocka.

TWEETY ROBLES
Sundan ang susunod na ulat…

TONY SERRANO
Ng eksklusibong istoryang ito…

TWEETY ROBLES
Sa susunod na linggo…

TONY SERRANO
Dito lamang sa pinagkakatiwalaan niyo…

TWEETY ROBLES/ TONY SERRANO
(In chorus)
“Punto”! / “Semi-Dokyu”

Screen turns to black.

DISSOLVED TO:
SCENE 48. INT. CONFERENCE ROOM. DAY.
Na-uusap muli ang buong grupo. Masayang-masaya sila. Naghihiyawan. Naungusan kasi nila sa ratings ang “Punto”.

ROENCE
Fourty-eight to fourty-one. Congratulations, everyone! For a while, akala ko padadapain tayo. Binulaga tayo ng report nina Tweety na ipinangtapat sa Brocka story natin.

TONY SERRANO
Oo nga. Akala ko may pasasabugin sila. Nakakuha sila ng exclusive interview sa kapatid ni Lino Brocka pero buti at pahapyaw ang sagot niya tungkol du’n sa isyu kung may anak ‘yung kapatid niya.

RAPH
Pero may padaplis na sa dulo, ha. Ibig sabihin, alam na talaga nila sa kabila ang tungkol sa anak ni Brocka.

TONY SERRANO
Which should keep us on our toes. Kilala ko si Tweety. Simula na ng gera ito para sa kanya. Gapangan na. Sulutan na ng istorya at mga sources. At pihado, kun ang stand natin sa istoryang ito ay may anak nga si Lino Brocka, gagawa ‘yan ng move to prove na patunayang wala.

ICKAY
Kung gano’n, we have less than a week to come up with something.

TONY SERRANO
Exactly. Suyurin na natin ang dapat suyurin.

CUT TO:
SCENE 49. MONTAGE.
Iba’t ibang interviews pa sa iba’t ibang mga tao. Maging mga hindi nakasama o nakatrabaho ni Lino Brocka but has something to say about him. Series of dissolves ng iba’t ibang mukha, kilala at di-kilala.

DISSOLVED TO:
SCENE 50. INT. BAR. NIGHT.
Maaaring sa Saguijo sa Makati o sa Big Sky Mind sa Quezon City. Tumutugtog ang bandang “The Brockas” na binubuo nina Rox Lee, Lav Diaz, Khavn dela Cruz, Earl Drilon, at Norman Wilwayco. Nanonood sina RONALD, JOURDAN, RAPH, BOMBI, at ICKAY.

RONALD
Maglalabin-limang taon nang patay si Lino Brocka pero kung tutuusin parang may iba’t ibang homage na ibinibigay lately sa alaala niya. May banda na na ipinangalan sa kanya at mga Awards na na ipinangalan in his honor. Baka susunod niyan, merchandising figure na rin siya gaya ni Che Guevarra. Makikita na rin natin siya sa mag T-shirts, stickers, posters, panyo, at kung anu-ano pa.

RAPH
Nakakatawa pero hindi malabong mangyari ‘yan. Pinoy pa! Hindi naman masama, di ba? At least Pinoy naman ang nakatatak sa damit mo at hindi pangalan o mukha ng banyaga. Everyone will aspire to be a Brocka.

ICKAY
Pero, iisa lang ang Lino Brocka. Napatunayan na ‘yan ng ibang direktor na pilit nanggagaya sa istilo niya. At kung makikita na nga natin ang anak niya, malamang, pagdirekin mo man ‘yan ng pelikula, hindi mo masasabing ala-Lino Brocka ang magagawa niya.

BOMBI
Last year nga may napanood ako na pelikula. Gawa ng isang pamangkin daw niya na taga-Amerika. Gay man ang tema, magkaiba pa rin ang istilo nila. Nagkataon lang na pareho silang bakla.

RAPH
Bakla rin kaya ang anak ni Lino Brocka?

BOMBI
‘Ba! Malay ko? Nasa’n ba siya?

JOURDAN
Oo nga. Nilibot na natin ang mundo ng teatro, TV, pelikula, maiinit na kalsada, mga welga, mga iskwater at eskinita, pero wala! Walang anak ni Lino Brocka! Nasaan ba talaga ‘tong anak ni Lino Brocka? Sa’n ba natin siya makikita?

Camera pans to each of their faces who all register blankexpressions as they have no clue. Ickay breaks the silence.

ICKAY
Baka naman talagang wala…

SCENE 51. EXT. SLUM AREA. DAY.
Darating sina Raul. Kasama niya si Tony at si Hector sa slum area. Marami nang taong nakabarikada.Sasalubungin sila ni Felipe. Nasa di-kalayuan si Tweety Robles. Magkakatinginan sila ni Tony, ang dati nitong ka-partner sa programang iniwanan niya.

FELIPE
Buti ho dumating kayo. Pero umalis muna ho siya. Pinaalis muna ni Aling Cecil at baka pag-initan daw siya.

TONY SERRANO
Sino’ng sinasabi mo?

FELIPE
Ang anak ho ni Lino Brocka.

RAUL
Nandito siya?

FELIPE
Bumalik ho siya nung ilang araw na hindi kayo nagawi dito. Siya ho ang nagpatapang ng loob ng mga taga-rito.

TONY SERRANO
E ano ba’ng ginawa niya?

FELIPE
Pagbalik niya ho rito, ibang-iba na siya. Pati pananalita. Siya ho ang naghikayat sa iba na sumama sa barikada. ‘Yung mga dati hong naduduwag at ayaw sumama, ‘yung mga dating nakatulala lang at nakatunganga, nawala ho ‘yung takot nu’ng nang malaman nilang anak ni Lino Brocka ang kumakausap sa kanila.

TONY SERRANO
Naniwala sila? Napaniwala sila?

FELIPE
Totoo daw sabi ni Tata Tiago. Wala raw ho duda. Siya daw ay anak ni Lino Brocka.

CUT TO:
SCENE 52. INT. TINDAHAN NI TATA TIAGO. DAY.
Ini-interview si Tata Tiago. CHARGEN: TATA TIAGO, 70.

TATA TIAGO
Dati akong utility boy sa pelikula. Nagtrabaho ako ng matagal sa set ni Direk Lino Brocka. Nung mamamatay siya, bihira nang may kumukuha sa akin kaya dito na rin ako at nag-alaga sa mga apo ko. Iniwan kasi sila sa akin ng anak kong si Danton at ng asawa nito.

TONY SERRANO
Bakit? Nasaan ho ang anak niyo at ang asawa nito?

TATA TIAGO
Patay na ‘yung manugang ko. Si Danton, sabihin na nating nasa mataas na uri ng pakikibaka.

RAUL
Sigurado ho ba talaga kayong anak nga siya niLino Brocka. Nandito ho ako nu’ng isang gabi pero parang di ko kayo nakakitaan na interesado kayo sa taong ito.

TATA TIAGO
Dahil sa simula, hindi rin ako naniniwala na anak siya. Nakita ko ‘yung bata nung unang dumating ‘yan dito sa squatter’s area. Wala, sabi ko. Imposibleng anak ni Direk. Maaaring kamukha pero mahina. Madaling peke-in ang hitsura ni Direk Lino Brocka at sabihing anak ka niya pero mahirap peke-in ang ugali niya at ang mga bagay na malapit sa puso niya. Maraming nakaaway si Direk nung panahon niya pero madalas dahil ‘yon sa pagtatanggol niya ng mga maliliit na tao sa likod ng kamera at sa mga karaniwang taong sa tingin niya ay hindi pantay ang karapatan sa iba.

TONY SERRANO
(Off-cam)
At ang anak niya?

CUT TO:
POV ni Onil. Makikita nating papalapit siya sa barikada at sa Tita Cecil niya na nagsasalita megaphone. Kukunin nito ang megaphone sa Tita Cecil niya at magsasalita. Makikita natin ang mga tao sa harapan niya. Parang nabuhayan sila. Sa pagbaba ng megaphone ay makikita nating nagliwanag lahat sa kanila. Sa isang tabi ay papalakpak si Tata Tiago at itataas ang kamao nito sabay mamumuno sa pag-chant ng “Brocka! Brocka!”.

CUT BACK TO:
Tata Tiago being interviewed.

TATA TIAGO
Nakita niya ang sarili niya. Pinahanga ako ng bata. Pinatunayan niyang anak nga siya ni Lino Brocka.

SCENE 53. INT. BARANGAY HALL. DAY.
Interview naman kay Bro. Rod Contra ng grupo nina Tweety Robles. May chargen muli.

BRO. ROD
Anak ni Brocka? Kapatid, ginagamit lang ‘yan ng mga grupong nakikisawsaw diyan para palakasin ang loob ng mga nakabarikada. Mabababa lamang ang pag-iisip at mahihina ang pananalig ng mga taong nagsasabing may anak si Lino Brocka. Wala! Walang anak si Brocka! Anak ng Diyos ang paniwalaan natin at hindi ang anak ni Brocka.

SCENE 54. INT. OFFICE NI CONGRESSMAN GUATLO. DAY.
Interview sa Congressman. May chargen rin. Galit na ito.

CONGRESSMAN GUATLO
Eto lang ang masasabi ko. Walang makakaharang sa proyekto kong ‘to. Wala akong pakialam kesyo anak ka pa ng kung sinong direktor sa pelikula o direktor sa punenarya. Ako ngayon ang may kontrol dito. Aksyon ko ‘to. Ako rin ang magsasabi kung kailan ako magka-“Cut!” sa proyektong ‘to.

SCENE 55.EXT. SLUM AREA.DAY.
Magkikita muli si Tweety at si Tony. Lalapitan ni Tony ang dating kasamahan.

TONY SERRANO
Kamusta?

TWEETY ROBLES
Okey ako. Nakapag-adjust na after one year na lumipat ako. Ikaw?

TONY SERRANO
Eto. Okey din. Me bagong partner ako at me bagong programa.

TWEETY ROBLES
Napanood ko nga. Goodluck sa inyo. Sana mapatunayan niyo ngang tama ang ang tinutumbok niyo sa istorya niyo.

TONY SERRANO
Pesonally, ano sa tingin mo?

TWEETY ROBLES
Kilala mo ako. I’m in this lang for the ride. Pagkatapos nito, sasakay naman ako sa bagong istoryang maluluto at mauuso. Pero hangga’t hot commodity ngayon si Lino Brocka at itong sinasabi niyong anak niya, dito muna ako. ‘Yun ang pagkakaiba natin. Masyado kang emotionally-involved sa mga istorya. Kaya sa programa natin noon hindi tayo magkasundo

TONY SERRANO
Siguro dahil bukod sa mamamahayag ako, magulang rin ako. Kaya‘yung mga istorya ko, hindi lang basta hanapbuhay ang pag-trato ko. Buhay na rin. May pawis, may puso, may kaluluwa, at may dugo.

Matatahimik si Tweety. Magkakatinginan sila ni Tony. Biglang lalapit si Mike sa kanila at may ibubulong kay Tweety. Bibilog ang mata ni Tweety sa maririnig. Excited ito.

TWEETY ROBLES
Mali ka pa rin, Tony. Etong ginagawa nating ‘to, karera pa rin ‘to. Negosyo. Ang mababagal ang makinarya,ang puro kaluluwa ang pinapagana at walang pera, umuuwing talo. Exccuse me, I have more important things to do.

SCENE 56. EXT. STATION NINA TONY. NIGHT.
POV ni Onil.Makikita niyan daratin ang sasakyan nina Tony Serrano at Raul. Makikita rin niyang lalabas ang mga ito at papasok sa loob ng istasyon.

SCENE 57A. INT. CONFERENCE ROOM.NIGHT.
POV ng kamera nina Tony. Papasok sila sa loob ng conference room. Everyone’s inside. Lahat sila naka-glue ang mga mata sa TV. They are looking at Tweety Robles’ report.

ROENCE
Buti dumating ka. Tamang-tama.

Hihila ng upuan si Tony at titingnan ang nasa TV.

CUT TO:
SCENE 58. INT. TV SET./ RIVAL TV NETWORK. NIGHT.
Nagre-report si Tweety Robles sa TV screen.

TWEETY ROBLES
Anak ni Brocka. Meron nga ba? Mag-iisang linggo na nang iwan tayo ng katanungang ‘yan ng isang programa mula sa kabilang istasyon. Marami ang nabigla, natawa, nagtanong, naintriga, at nagtaka. Pero, meron nga ba? O baka naman isa lamang itong istorya na inimbento at ginawa para, sa ngalan ng integridad, ay kumita at tumaas ang ratings nila. Para sagutin kung totoo nga nakapanayam po natin si Angela dela Cruz, ina ng binatang nagsasabing anak siya ni Lino Brocka.

CUT TO:
Angela o Aling Lala. CHARGEN: ANGELA DELA CRUZ, 40.

ANGELA DELA CRUZ
(Natatawa-tawa)
Ako ho ang ina ng batang sinasabing anak siya ni Lino Brocka. Totoo hong sinabi ko sa kanya na ang ama niya ay walang iba kundi ang batikang direktor na si Lino Brocka. Pero sinabi ko lang naman ho sa kanya ‘yun kasi nangungulit siya. Tanong ho siya ng tanong tungkol sa katauhan niya at tungkol sa tunay niyang ama kaya sinabi ko ho sa kanya na anak siya ni Lino Brocka para tumigil na. Hindi ko naman ho aakalaing seseryosohin niya nung iwan ko siya. Totoo hong nabuntis ako nung panahong nagsu-shooting ng pelikula si Direk Lino Brocka sa Sta. Mesa pero hindi ho si Direk ang ama ng bata. Tauhan niya ho sa pelikula. Tinanong ko ho siya.

CUT TO:
Flashback. Silhouette ng dalawang tao sa ilalim ng isang bahay.

YOUNG ANGELA
Ano ulit ang pangalan mo?

LINO
Lino.

YOUNG ANGELA
Lino ano?

Bubulong ito kay Angela at sabay tatawa ang dalaga.

CUT BACK TO:
Present time. Nagsasalita pa rin si Angela.

ANGELA DELA CRUZ
Nagkataong magkapangalan sila ni Direk Brocka.

TWEETY ROBLES
Sigurado ho ba kayo sa sinasabi niyo?

ANGELA DELA CRUZ
Ako ang ina niya. Kapag sinabi kong hindi siya anak ni Lino Brocka, hindi siya anak ni Lino Brocka.

TWEETY ROBLES
Maraming salamat po, Ms. Angela.
(Looks at the screen)
At para pa po sa kaganapan ng ibang balita, tumutok lamang po kayo mas pinagkakatiwalaan at mas kapani-paniwala. Dahil dito sa “Blangko”, hindi iniimbento ang mga balita.

CUT BACK TO:
SCENE 57B. INT. CONFERENCE ROOM. NIGHT.
Nakatingin lamang sila sa TV. Si tony parang hindi pa rin makapaniwala.

TONY SERRANO
(Tatayo)
Malaki ang duda ko. Binayaran nila ‘yan para magsalita.

ROENCE
Actually, Tony, nagsasabi ng totoo ‘yung babae. Hindi nga anak ni Lino Brocka ang anak niya at anak ng iba.

TONY SERRANO
Ano’ng ibig mong sabihin?

ROENCE
(Turns to Ickay)
Ickay…

ICKAY
Di ba may ginagawa akong istorya tungkol sa mga Pinoy porno films noong Dekada 80?
(Takes out her tape at isasaksak ito)
Sorry, Tony, pero eto…

CUT TO:
SCENE 59A. INT. TV SCREEN. BAHAY NI LINO. DAY.
Parang putahan ang bahay. May mga lumang Betamax tapes sa paligid. Iang lalaking nasa edad 50 ang nakaupo sa isang gilid at nakasuot ng isang mukhang basahan na bathrobe. Eto na si Lino, ang lalaking nakatalik ni Angela.

LINO
Nagpi-P.A.-P.A. ako noon sa mga set nina Direk Ishma, Direk Mario O’Hara, Direk Mel Chionglo, at ni Direk Brocka. You can call me a frustrated filmmaker, kumbaga. Naghihintay ako ng break ko nung biglang nauso uli ang bomba. Lala Montelibano, Coca Nicolas, Pepsi Paloma, ewan ko kung kilala niyo pa sila. Pati mga porno na lahat-lahat talaga makikita mo na. ’Yung sa huli, du’n ako nakagawa ng sarili kong mga pelikula. Kahit hanggang Betamax lang nga. Konting puhunan pero okey ang kita. ‘Yung mga ginagamit naming mga artista mga taga-probinsya na mahigpit ang mga pangangailangan sa pelikula.

CUT TO:
SCENE 59B. INT. LABAS NG CONFERENCE ROOM. NIGHT.
POV ni Onil. Nakatingin siya sa pinapanood ng mga tao sa loob mula sa siwang ng pintuang nakalimutang isarado ng maigi nina Tony. Nakikinig siya.

CUT BACK TO:
SCENE 59C. INT. TV SCREEN. BAHAY NI LINO. NIGHT.
Tuloy naman sa panonood ang mga nasa loob.

ICKAY
(Off-screen)
Maiba ho ako. Natatandaan niyo ho ba kung anong pelikula ni Lino Brocka ang napasama kayo?

LINO
Kung di ako nagkakamali, “Strangers In Paradise,” “Hot Property,” at ‘yung “Kapit Sa Patralim, Bayan Ko.” Hindi ko malilimutan ‘yung huli. (Ngingiti) May nabiktima ako doong dalaga. Probinsiyana. Tanung ng tanong kung paano kami gumagawa ng pelikula kaya sinamantala ko na. Pag ganito kasi, kahit sa mga shooting sa probinsya, hindi na pinapatagal ‘yan at tinutuka na. Banatan mo lang ng “Huwag kang mag-alala, hija, pasisikatin kita…” (Tatawa)

ICKAY
Natatandaan niyo pa po ‘yung pangalan nu’ng babae?

LINO
Oo. May kapangalan siyang boldstar kaya hindi ko malilimutan. “Lala”.

CUT BACK TO:
SCENE 59D. INT. LABAS NG CONFERENCE ROOM. NIGHT.
Balik sa POV ni Onil. Mabibigla siya sa maririnig niya.

ONIL
(Malakas na pabulong)
Putang-ina…

Maririnig siya nina Tony sa loob at mapapalingon sila. Makikita nila ang mukha ng binata.

TONY SERRANO
Siya! Ang anak ni Brocka!

Tatakbo si Onil. Malalaglag niya ang salamin niya at maaapakan ito ni Tony na makaka-sidetrack sa kanila. Hahabulin siya ni Tony. Habulan sila pababa. Intercut ang POV ni Onil at POV ng kamera ng grupo nina Tony.

SCENE 60. EXT. TAPAT NG TV NETWORK. NIGHT.
Lilinga sa paligid si Tony. Hindi niya makikita. May makikita siya sa di-kalayuan na sasakay ng taxi. He will instruct Raul to get their car.

TONY SERRANO
Ayun siya!

Sasakay sila sa sasakyan at susundan ang taxi.

SCENE 61. INT. KOTSE NINA RAUL/TONY. NIGHT.
Tuloy sa paghabol sina Tony. Hindi nila alam kung alin ang hinahabol nila. Mapapadaan sila sa tapat ng area na pinagkamatayan ni Lino Brocka sa East Avenue. Nang biglang tumawid si Moret at napa-preno sila bago niola ito mabangga. Hawak-hawak na niya ang bagong luwal nito na sanggol. Lalabas sina Tony at Raul. Lilinga-linga sila.

MORET
Tingnan niyo, o. Tingnan niyo ang anak ko. Lalaki ‘to. Ano ang gusto niyong ipangalan ko sa kanya?

Matagal na nakatingin sina Raul at Tony sa kanya bago may magsasalita sa kanila na isa para basagin ang katahimikan.

TONY SERRANO
Brocka…

Aalis si Moret na parang walang nangyari at kakausapin nito ang anak niya.

MORET
Brocka… Brocka… Baby Brocka…

SCENE 62. INT. CONFERENCE ROOM. NIGHT.
Makakabalik na si Tony sa conference room. Wala na ang ibang kasamahan niya maliban kay Roence.

TONY SERRANO
Asan na sila?

ROENCE
Nag-cover ‘yung iba. Hindi mo ba narinig ‘yung balita? Nasunog ‘yung squatter’s area na pinuntahan niyo kanina. Wipe-out totally ‘yung area. Mukhang matutuloy rin ang proyekto ni Congressman Guatlo.

TONY SERRANO
Ha? Putang-ina talaga! E ‘yung iba?

ROENCE
Pinauwi ko muna. Pinatitigil na sa itaas ‘yung istorya ng anak ni Brocka. Kinausap na kami kanina. May mga bagong istorya pa na ginawa ‘yung iba kaya ‘yun na lang ang aayusin natin for now in replacement sa istorya ng anak ni Brocka.

TONY SERRANO
Ha? Hindi pwede. Ituloy natin ang istorya.

ROENCE
Wala na tayong magagawa, Tony. Napahiya na ang network. Nanalo this time ‘yung kabila. Pero babawi tayo sa susunod. May mga gera pa. May mga istorya pang mas magaganda. Du’n tayo kailangan ngayong maghanda. Umuwi ka muna. Magpahinga ka. Take the weekend off kasama ang mga bata.

Titingin si Tony kay Roence. Tatapikin siya sa balikat ni Roence.

ROENCE
It’s ok, Tony. Ganyan talaga…

Hindi na magsasalita si Tony. Naiintindihan niya na.

SCENE 63. MONTAGE.
Music plays as we see montage ng iba’t ibang interviews ng grupo nina Tony mula sa mga nakilala ni Lino Brocka nu’ng estudyante pa lang siya hanggang sa pumasok siya sa teatro, sa TV, sa pelikula, maging sa mundo ng pagiging bakla niya at aktibista. May makikita rin tayong mga litrato niya mula bata hanggang nung mamatay siya.

INTERCUT WITH:
SCENE 64. MONTAGE.
The montage above will intercut with montage of the different members of the “Semi-Dokyu” show. Parang POV ni Onil ito. Parang pinagmamasdan niya ang growth ng bawat isa.

A. Si Hector together with his father sa Nueva Ecija.
B. Si Ickay kasama ang mga kaibigan sa U.P.
C. Si Ronald na masayang nakikipag-usap kay Aling Nila sa Rajah Sulayman Theater.
D. Si Jourdan habang nakikihalubilo sa mga acting workshops.
E. Si Raph habang nakikisaya sa mga bata sa squatter’s area.
F. Si Bombi na parang nahanap ang sarili niya sa loob ng gay bar.
G. Si Raul habang kasamang nakikipagmartsa sa mga aktibista sa kalsada.
H. Si Roence habang nag-aakting-aktingan kasma ang anak na si Tala.
I. Si Tweety Robles na binabati ng mga taong nakapaligid sa kanya pero parang kulang pa rin ang buhay niya.
J. Palabas sa TV ng mga huling pelikula ni Lino Brocka gaya ng “Napakasakit, Kuya Eddie,” “Maging Akin Ka Lamang,” “Pasan Ko Ang Daigdig,” “Tatlong Mukha Ng Pag-ibig (Ang Silid),” “Macho Dancer,” “Kailan Mahuhugasan Ang Kasalanan,” “Orapronobis,” “Babangon Ako’t Dudurugin Kita,” “Natutulog Pa Ang Diyos,” “Kung Tapos Na Ang Kailanman,” “Gumapang Ka Sa Lusak,” “Hahamakin Lahat,” “How Are The Kids (Oca),” “Biktima,” “Ama, Bakit Mo Ako Pinabayaan,” “Sa Kabila Ng Lahat,” “Kislap Sa Dilim,” at “Makiusap Sa Diyos.”
K. Finally, si Tony habang hinahaplos ang buhok ng dalawang anak niya na nakatulog sa mga hita niya habang nanonood ng TV. Mamasdan niya ang dalawang bata, hahalikan ang mga ito sa ulo, at mangingiti siya.

Montage ends. Fade to black.

SCENE 65. EXT. HIMLAYANG PILIPINO. PUNTOD NI LINO BROCKA. DAY.
Papalapit ang camera sa puntod ni Lino Brocka. Nandoon sina Raph, Bombi, Roence, Ickay, Jourdan, Ronald, Hector, at Raul, nakatayo sila sa harapan ng puntod, offering flowers and prayers. Mapapalingon sila sa direksyon ng camera na papalapit sa kanila. Ngingiti sila. Si Tony.

TONY SERRANO
(Natatawa-tawa)
Pupunta rin pala kayo dito. Nagsabay-sabay na sana tayo.

ROENCE
Buti rin at nandito ka. At least kumpleto tayo.

TONY SERRANO
Nagbibigay-galang lang. Kahit paano, sa dalawang linggong hinanap natin ang anak ni Brocka, pakiramdam ko, parang sumakay ako sa isang biyahe na pagbaba ko ay mas nakilala ko ang sarili ko.

RAPH
‘Yun rin ang pakiramdam ng bawat isa sa amin kaya rin kami napapunta rito.

BOMBI
Kamusta na kaya siya? Ang anak ni Brocka.

RAUL
Sana katulad natin, hindi man siya ang anak ni Brocka, namulat din sana siya.

TONY SERRANO
Sana nga. Sana…

HECTOR
Pasensya na, ha. Akala ko makakaisa na akong magandang istorya. Palpak na naman pala.

ROENCE
(Magpapatawa)
Okey lang. Sanay na naman kami.
(Magtatawanan. Haharap sa camera si Roence.)
O, Sig, kuhanan mo nga kaming lahat ng isang shot sa harapan ng puntod ni Lino Brocka.

CAMERAMAN 1
(Off-cam)
Naku, Ma’am. Teka lang po. Mapuputol na ang baterya ko. Sandali lang at kukunin ko sa sasakyan ang reserba.

Screen turns to black.

CUT TO:
Pagbukas muli ng screen ay POV na ni Onil ang ating makikita. Papalapit siya sa puntod ni Lino Brocka.

TONY SERRANO
Patawarin sana tayo ng kaluluwa ni Direk Lino Brocka kung medyo nabastos natin ang pangalan niya sa pag-aakalang may anak nga siya…

ONIL
(Off-cam)
Totoo naman, di ba? May anak naman siya talaga.

Lilingon sa kanya ang grupo at mabibigla. Mapapa-gasp ang iba at magbubulungang “Ang anak ni Brocka.”

TONY SERRANO
Huh?

ONIL
(Off-cam pero nararamdaman mong nangingiti-ngiti)
Kayo mismo ang nagpatunay, hindi kayo naniniwala? Ano ba kayo? May anak si Lino Brocka! At ang anak niya ay walang iba kundi ako, ikaw, tayo, at iba pa.

HECTOR
Hindi ko makuha…

ROENCE
(Bubulong kay Hector)
Hector, takbuhin mo si Sig dali at sabihin mo ‘yung kamera. Bilis…
(Hector follows)

ONIL
Hindi ko rin makuha sa simula pero gaya niyo, nakaramdam rin ako ng malaking pagbabago sa sarili ko pagkatapos ng biyaheng dinaanan ko para alamin ang tunay kong pagkatao. Nasaktan din ako nung malaman ko ang totoo. Na hindi ako anak ni Lino Brocka sa pisikal na aspeto. Pero naisip ko, pare-pareho tayo, nakita natin, naamoy natin, nalanghap, natin, natikman, napakinggan, nayakap, naramdaman, at naintindihan ang mga bagay na tiningnan, tinikman, pinakinggan, niyakap, at pinakiramdaman ni Lino Brocka. Mga bagay na malalapit sa puso niya. At dahil diyan, walang duda na tayo at ang iba pang mga katulad natin na dadaan din sa ating pinagdaanan at maiintindihan ang kanyang mga ipinaglalaban ay karapat-dapat na tawaging mga anak ni Brocka.

Magtitinginan sila at mapapangiti sa isa’t isa.

TONY SERRANO
Tama ka. Mga anak nga tayo ni Brocka. Maraming, maraming salamat. Ngayon mas mabibigyan na namin ng mukha ang aming istorya. May mukha na ang anak ni Brocka.

Kakamayan siya ng bawat isa. Siya namang paparating sina Hector at Sig. Medyo natuturete sila sa pag-aayos ng kamera.

ROENCE
Sig, itutok mo na ang kamera at ipakilala na natin sa kanila ang tunay na anak ni Brocka. Rolling ka?

SIG
Rolling!

ROENCE
And… 5,4, 3, 2, and áng Anak Ni Brocka! Action!

Itututok ni Sig ang camera pero bago pa mag-ON at makita natin ang mukha ng lalaking kaharap nila, biglang magfa-flash sa camera ang iba’t ibang mukha ng mga tao, bata at matanda, lalaki, babae, tomboy, at bakla, may ipin at wala. Lahat sila, anak ni Brocka. Screen fades to black.

TONY SERRANO
(Voice-over)
Ikaw? Anak ka rin ba ni Brocka?

MUSIC PLAYS.

CLOSING CREDITS.

END.

MULA SA ISANG NAGMAMARUNONG SA FILMMAKING (hehehehe)

2005-02-10T23:32:00.000-08:00

hahahahahahahha. sisihin niyo siguro ang pagsusulat ko sa tinatapos kong revision ng script ng cinema one entry ko na "Ang Anak Ni Brocka". for the past three weeks kasi ay nagsusulat ako mula alas-11 ng gabi (pwera na lang kung may dobol overtime ulit ang Ginebra-Talk N' Text at di ko naabutan ng maaga ang American Idol sa Star Channel) hanggang alas-sais o alas-otso ng umaga. minsan nakatunganga lang ako sa screen ng computer dahil pakiramdam ko nagagasgas na ang utak ko kakaisip, hindi lang ng tungkol sa script ko kundi pati na rin kung paano ko bubuhayin ang pamilya ko sa pamamagitan lamang ng mga konsepto at angst sa buhay ko. magigising ka kasi bigla na kinukulit ka na wala na namang gatas at wala na namang bigas. o, gaya ng sinasabi mo nga, tubig na inumin na binibili na rin (hindi naman tayo ganito nung bata tayo. umiinom naman tayo sa gripo).

kaya madalas mahaba akong magsulat ay dahil pagkagising ko sa tanghali, gaya nito, mga alas-dose o ala-una, ay ito ang ginagawa kong panghasa sa utak ko. dito ako kumukuha ng drive para magsulat at tapusin ang mga script na dapat kong tapusin. subukan niyong wala akong ginagawa at mapapansin niyo na wala rin akong ini-email na ganito kahaba. minsan, one liner lang na walang katuturan. kung hindi email ang panggising ko sa utak ko at mga daliri na gagamitin na pandutdot sa computer, nagpapatugtog ako ng malakas na rock music sabay hawak sa dijembe tom-toms ko at sasabayan ng palo ang beat. pampractice pa rin ng mga daliri. isa pa, andaming mapupulot na kwento sa rock music na hindi pa nagagawan ng istorya. mas may angst kasi ang mga lyrics nila, mas may bayag, mas experimental, at mas out of this world.

naniniwala ako lagi na "there are other ways of telling the story". na hindi natin ginagawa o ine-explore dito sa Pilipinas. mahilig tayo, hihintayin muna nating gumawa 'yung iba ng kakaibang istilo tapos gagayahin na rin natin at ang nakakalungkot ay sasabihin at ipagmamalaking tayo ang nagpasimula nito. "Memento" pabaligtad nagkuwento. "Celebration" digital na walang ilawan. "Traffic" documentary style kaya 100% handheld. "Dogville" sa entablado lang at walang exisiting na mga bahay pero nadala tayo. hindi ko rin sinasabing wala nang saysay ang gawa ng mga masters na sina kurosawa, scorsese, godard, wong kar wai, o zhang yimou. lagi pa rin nila tayong binibigla sa kanilang mga istilo kapag naglalabas sila ng pelikula. they never ran out of different ways to tell their story. "2046" iba pa rin. "house of flying daggers" iba rin. 'yung "aviator" pihado may bagong isitilo na isisingit si scorsese either sa shots or editing.

kaya ko inilagay sa listahan ko ang "ASTIGmatism" ay dahil nangahas siyang magkuwento sa ibang porma na binali halos lahat ng tradisyon natin at pormula. Ang kamera ang naging mata ni Robin Padilla. Tapos ibinagay ang title kasi may astigmatism 'yung karakter niya. Kaya lumalabo at lumilinaw ang screen. Du'n pa lang, iba na. astig na. sino'ng may bayag ang sasabak sa ganung eksperimentasyon? Siguro sa ngayon, sasabihin nating eksperimentasyon. pero kapag ganito ang naging takbo ng mga digital na pelikula natin, which is finding ways to use the digital camera as a medium to really tell the story at hindi 'yung kabaligtaran, baka hindi na natin siya masabing eksperimentasyon kundi inobasyon ng mga Pilipino. 'yung mga pelikula ni lav diaz, against conventions din. sabi ko nga, sino ang nasa tamang utak na gagawa ng limang oras na pelikula tapos sususndan ng labing-isang oras mahigit na pelikula? wala. si matti naman, laging taliwas din sa uso. "pedro penduko 2" at "gagamboy" ay hindi pangkaraniwang superhero-comedy films itinataas niya ng mga ilang hakbang ang mga pelikula natin. in terms of his highly-criticized storytelling and his framing of his shots that makes us gasp most of the time.

which brings us to writers na mga nagsisuko. o mga filmmakers. oo nga, nakakaburat ang mga compromises sa loob ng industriya. pero hindi ako naniniwalang hindi mo kayang labanan sila pabalik kahit sa pamamagitan ng iyong istorya. you still have that obligation to the audience na itaas kahit isang hakbang o kahit kalahating hakbang ang kaisipan nila. maglagay ka o magsingit ng ilang mga inobasyon sa istorya mo kahit paunti-unti muna. ang balak kasi ng karamihan ay sampung hakbang kaagad ang isasaksak nila sa utak ng masa. e masa nga. kaya hindi mo ipipilit ng isang buo para hindi nila iluwa o isuka. nakakalimutan kasi natin madalas ang audience. sila ang mga ninanakawan natin ng mga istorya. sa kanila tayo dapat magsilbi hindi sa sarili nating interes o sa interes ng mga producer o sa crush mo o sa karelasyon mo na ginamit mo ang pangalan sa script mo. sabi nung mga cultural orgs dati sa eskwelahan namin, art daw ay "mula sa masa, para sa masa". pero hindi ibig sabihin na pabobobohin mo sila dahil 'yun ang nasa isip mo na level lang na kaya nila. itaas mo ang kaisipan nila. palayin mo sila. that's one of our obligation to them. because no one's doing anything, magsimula tayong palayain ang mga kaisipan nila.

siguro masasabi kong marami na akong napagdaanang sakit ng ulo sa anim na taon ko sa industriya. sabi ng iba, malala pa nga. nakulong na ako dahil ipinaglaban ko ang tama sa mga isinulat ko, hinamon na ako ng barilan ng isang producer, nangolekta na ako ng mahigit isang taon ng TF ko, nabalahura na rin ako, ninakawan ng konsepto, ipinangalan sa iba ang pinaghirapang trabaho, nagutom, nilayasan ng pamilya kasi wala na akong mapakain sa kanila, nabaon sa utang dahil mas art ang tingin sa pelikula kesa raket, naputulan ng kuryente kamakailan lang habang tina-type ko ang script ko, nag-one day script ako in a freezing cold city habang may mga umaaligid sa 'yo na mga de-baril na goons, ilang beses na ring dapat ay GO na ang project mo at shooting na sanakinabukasan pero mashe-shelve din pala at di ka mababayaran, at ang pinakamasakit sa lahat, muntikan nang mamatay ang anak mo at wala kang maibayad sa ospital kasi sabi ng producer sa 'yo wala ka pang cheke sa kanya. pang telenobela na ang kwento ko pero ako, tanga, andito pa rin at hindi sumusuko. ni ayaw ko ngang gawing tele-nobela ang istorya ko. pero sa halip, ang galit ko at paghihiganti ko ay idinaan ko sa pagsusulat ko. ang produkto? "LASPONGGOLS". I made a black comedy of the film industry at lahat ng masasama at masasaya na rin na experience ko. pantadyak ko pabalik. sa poster nga na ginagawa namin ng pelikula, may nilagay akong warning: SOME SCENES AND DIALOGUES IN THIS FILM ARE NOT SUITABLE FOR MEMBERS OF THE FILM INDUSTRY. THEY MIGHT SEE THEMSELVES IN ANY OF THE CHARACTERS. A CLAPPER OR A UTILITY BOY'S GUIDANCE IS ADVISED. I always felt that black comedy is one genre na hindi natin ine-explore sa Pinas. kasi bihira ang nakaka-pull off nito. nagiging masyadong social commentary kasi 'yung iba. i tried to make mine more like "Pixar-like" characters na hinaluan ng malaking impluwensya sa akin ng MAD Magazine. sana ma-pull off namin. pero kahit tawa lang ay okey na ako. para na rin 'yung trophy o medal sa leeg ko at ng mga kasama kong artista at crew.

nalulungkot ako kapag sinasabing "bobo" ang industriya. ang nakakalungkot kasi ay gusto mong tanungin kung nasaan sila na dapat sana ay nagpapatalino sa industriyang sinasabi nating bobo. nasa advertising agency ang iba, nasa TV naman ang iba pa, ang mga nag-give up na talaga ay nasa mga call centers at nagbebenta ng produkto at pagdating ng gabi ay nasa starbucks at seattle's best, nagyoyosi ng sangkatutak, umiinom ng kape, at pag-uwi ng bahay ay pare-pareho nang may mga diarrhea. bakit hindi sila gumagawa ng pelikula? kahit pampersonal na pelikula. bakit di sila nangangahas na mag-shoot kahit video ng mga sinasabi nilang obra nila? kung sa tingin nila maganda ang istorya nila at ayaw nilang ipasok sa bulok na sistema ng industriya, e bakit binubulok naman nila ang mga istorya nila? pera? pag-ibig? pamilya? isang magandang kultura na lagi kong binabalikan ay ang kultura ng recto. may sarili siyang kultura na iba sa diliman o katipunan o vito cruz. sa recto, gagawa sila ng mga sariling tapes nila, sariling mga damit, sariling mga concerts, sariling mga disenyo sa katawan nila. at buhay sila. walang pakialam sa quality. ang importante, marinig sila, mapakinggan. at ako, bumibili ako ng mga fanzines na likha ng mga tao na ito, mga tapes, mga patches, mga kung anu-ano para makita ko at mapakinggan ang mga bagay na gusto nilang iparinig o ipakita. at nakakatuwa kasi natututo ako sa kanila. mahigit 15 taon na akong pabalik-balik sa mga bilihan sa rekto, sa tandem, sa cartimar, sa iba-ibang pasilyo. at hindi ako nagsasawa mula noon hanggang ngayon. basta pagkatapos ay kakain ako ng lumpia sa globe o hihigop ng sabaw sa ma mon luk (libre sabaw kahit siopao lang bilhin mo), solb na ang buong maghapon kong kakalakad dito. nung nasa doroteo jose pa 'yung popular bookstore, madalas 'yun ang last stop ng "trip" ko tapos sasakay na ako ng lrt papuntang vito cruz.

ako, ang bottomline pa rin ay isang magandang istorya. tapos ikukuwento mo sa isang istilo na hindi pa nagagawa o kaya ay sampal sa mga exisiting na istilo. 'yun, astig na astig 'yun. malaki ang posibilidad na internationally ay mapansin ka o mapalingon sila muli sa ating bansa. if you look at what the koreans are doing right now, nakakainggit sila. antatapang ng mga gawa nila. lahat ng genre, action, comedy, love story, horror, etc., may mga bago silang ino-offer. "Old Boy," "Sympathy For Mr. Vengeance" na ang bida ay halos sa patapos na ng pelikula lalabas, at iba pa. kakaiba talaga. anti-tradition. nagtataka ako bakit madalas takot tayo. akala ko kasi lahat tayo ay mula sa lahi ni andres bonifacio, a-putol a-ulo, a-di a-takbo.

ang eksperimentasyon din sa pagsusulat ay parang isang malaking joke. ako, lahat halos ng mga konsepto ko, nagsimula lahat sa joke. kasi, kung nagsisimula kang magpatawa, mas kakaiba ang lumalabas sa iyo. pinakaimposibleng mga istorya. pero kung susuriin mo, kung aatras ka muna sandali, aba! pwede naman palang gawing pelikula. tinawanan noon nila si george lucas nung nagpi-pitch siya ng star wars. si speilberg rin tungkol sa kanyang jaws at sa mga aliens niya gaya ni e.t. ang wachowski brothers rin walang makaintindi. lalo na kay kubrick. o 'yung istilo ni wong kar wai sa "chungking express". o ni kurosawa na may iba-ibang bersyon ang isang istorya. o si scorsese na iba-iba ang nagmamay-ari ng voice-over ng pelikula.kapag pinitch mo ang mga ito sa mga producers dito, pihado tatawanan ka. lalo at parang tingin nila e niloloko mo sila. pero kung may bayag ka (not a sexist notion, figure of speech), hindi ka susuko at gagawin mo ang pelikula mo dahil naniniwala ka. hanggang makahanap ka ng magpipinansya. o makalikom ka ng pera para ikaw mismo ang magpinansya. ang sarap kasi na ang treatment mo sa mga concepts mo e nakakatawa kahit na seryoso ka para sa tuwing humaharap ka sa producer ay akala mo ay nang-uunggoy ka. pero kapag sinakyan nila ay mas masya dahil magagawa mo na ang pelikula mo, naka-unggoy ka pa. tawa ka na lang ng tawa kapag tumatakbo na sa screen ang pelikula. ganun siguro pakiramdam ko kapag tumatakbo na 'yung "lasponggols" at 'yung "ang anak ni brocka". lalo na kung matutuloy ko pang gawin 'yung "ang mga kidnaper ni ronnie lazaro" at 'yung "likido" na balita ko ay bubuhayin muli ng viva. ang sarap ng pakiramdam na naka-isa ka. hehehehehehe... walang masama sa drama pero sana makaisip naman tayo ng ibang approach sa mga madadaldal na drama natin. wala na kasi siyang ipinagkaiba sa tele-nobela. ang pelikula ay hindi TV at ang TV ay hindi pelikula. sana malaman natin ang mga pagkakaiba. at hindi ibig sabihin na magaling mag-direk sa TV ay magaling na ring mag-direk sa pelikula and vice-versa. ito ang isa nating biggest misconception kasi. magkaiba ang kultura ng dalawa. magakaiba rin ang pamamaraan ng pagkukuwento. kaya mas maraming lente sa pelikula kasi 'yung mga lenteng 'yon helps the director in telling his story using the visual language. pati mga ilaw.

hay, naku. ang dada ko na naman. salamat at nakapag-practice na naman ng mga daliri. hehehehehe. pasensya na sa iba kung nabuburat na rin kayo sa mga pinagsususulat ko. pakiramdam ko na rin kasi sa sarili ko ay nagmamarunong na ako. eto, personal ko lang na mga angst at kalokohan 'to. kumbaga, ginagawa kong journal ang mga email ko. tanga kasi akong magpasok ng mga nasa utak ko sa journal na ginawa sa akin ng dalawang kaibigan ko. bahala na kayo kung lulunukin niyo ito o iluluwa. hindi ko rin sinasabing magaganda ang mga pelikulang nilikha ko at lilikhain ko. wala ako sa lugar para sabihin 'yon. pero kapag lumaki ang mga anak ko at pinanood nila ang mga pelikula ko at lumapit sila sa akin at tinapik ang balikat ko sabay sabing nagustuhan nila o malaki ang impluwensya sa kanila ng mga nilikha ko, siguro sasabihin ko na mahusay nga ang mga pelikula ko. fuck the critics. your kids and the next generation will judge you better.

again, my apologies to people na medyo nabangga. walang intensyon. ritwal ko lang 'to sa araw-araw na bagong gising ako.

salamat po, ma'am gina.

ako,
s