On this week’s Flashback Fridays is a photo from Won’t Last A Day Without You‘s mascot scene.
Ah yes… the mascot scene.
This was part of the montage where, after Andrew threatens to report George to the KBP, George is forced to help Andrew get back with Melissa. The purpose of which is to provide the com part of the Rom-Com, and narratively, to drive home the point of how Andrew, despite his charms, is blatantly clueless about what it is like to romance a woman. His girlfriend, no less!
The moment I read this sequence on the script revision, I was really disappointed. If I were being completely honest, I just felt that this kind of scene was tired and cliché. That we were going to make a character don a costume was not all bad, per se. In the same way that a leading lady hopping on to the male consort, piggy back style, is not all bad. That, or a character running after his love interest as he or she leaves aboard a departing bus.
Such a scene, like “the mascot scene”, is most certainly not bad in itself. In fact, they’re usually really effective in delivering the comedy and romance that audiences not only expect, but crave for in the genre.
What made it bad, and what disappointed me about it is how, when taken in the context of the past films made by Star Cinema, it just came off as, like I said, tired. Old. Rehashed. Thus, clichéd. In the same way that those Korean scenes are tired and clichéd.
The first time I remember seeing “the mascot scene” was in Direk Joyce Bernal’s Til There Was You, when Judy Ann’s character put on a costume for a children’s party. Part of the many odd jobs she took on to make ends meet. It was certainly hilarious, and surprising, and even poignant! Well done, surely.
The next time I saw it, it was a little closer to home. In the penultimate sequence of Direk Cathy Garcia’s You Are the One, Sam Milby’s Will Derby drove through the Manila traffic in a desperate attempt to stop Toni Gonzaga’s Sally Malasmas. Simultaneously, he wondered how to get her to forgive him after he practically pushed her away. He drove by a lechon stall (rotisserie) and a bulb lit up. As the film closed, we saw Will dresse in a pink (like the one below) pig (although below’s is a bear) costume, asking Sally to forgive him, and hoping to convince her by virtue of his “pagpapakababoy” right then.
A third time I remember seeing “the mascot scene” was in Direk Ruel Bayani’s Paano Na Kaya? Yet again, a little bit close to WLADWY as it also starred Gerald Anderson. Thankfully, it wasn’t him who was wearing the costume, but the lovely Kim Chiu.
So yeah, I was well aware of how many times Star Cinema has resorted to this. Making it worse is the fact that it was used in one of my films (though I wash my hands off it. I didn’t write the mascot scene in You Are The One, and wouldn’t have allowed it printed on any paper if I had a say in it), and that it was used in another film where one of my lead stars was a part of.
It was disappointing because this was precisely why critics tended to feel like mainstream cinema is lazy and a sell out, and times like that, I shared that sentiment. I, too, agreed that there must have been another way to make the audiences feel kilig, without resorting to the same old recycled sequences. As a writer, I’ve always challenged myself that way. It’s hard enough to churn out love stories or romantic comedies with a fresh perspective or a new message to impart. We don’t help our case when we do it with the same, familiar gestures. As writers & filmmakers, we have to take it upon ourselves to innovate the genre.
Unfortunately, being the new director that I was, I was sort of bullied into shooting the scene anyway. I guess I didn’t have the confidence to demand a rewrite (and not when we were already behind schedule) when all of the bosses have unanimously agreed that this “mascot scene” was necessary and perfect the way it was. It just proves how challenging and frustrating it is to work in mainstream cinema sometimes.
In the end, I did my best to keep the scene without making it look and feel tired. Thankfully, there was enough in the written script to use so the scene remained relevant and not merely functional. I tried to make myself like the scene, tried to enjoy it myself, so the audiences would also find appreciation for the scene’s reinvention or re-imagining. Whether through the blocking, the element of surprise, the farcical mounting and its awkward resolution, I blindly hoped for success.
Truth be told, this turned out to be one of the most fun scenes we shot. Sarah was really game in putting on the costume. Lots of credit to her because that damn thing really smelled! We were laughing all day while we were doing that sequence. The awkwardness of making prim and conservative Sa walk around with this ginormous, heavy costume created a light atmosphere. She couldn’t help her giggles as she kept getting off balance. It was so infectious that even Ge couldn’t help but goof around while she was in it. In fact, the final cut of this scene that made it to the movie, where Sarah almost fell over as Gerald rushed and dragged her towards the ladder was as real as it could ever be.
In the end, I think we did succeed. The levity of the moment seeped through and I’ve had many people tell me it’s one of their most remembered and enjoyed scene in the movie.
So anyways, below is a BTS photo of us shooting my mascot scene. Sa was already wearing the Carebear costume while I gave her & Ge final instructions before taking the shot.
If anything, at least I got to do my own version of this “classic” Pinoy rom-com eksena… “the Mascot Scene” 🙂
It was supposed to be “Flashback Wednesdays” when I first thought about instigating this ‘project’ for my #philminginthePhilippinesblog two days ago. I’ve tweeted it already when a friend pointed out that it’d be better sounding if it were “Flashback Fridays”. I can’t believe I missed that one! Yeah, of course it’s better alliterative that way!
So it’s now “Flashback Fridays”. Since I’ve always liked taking tons of pictures of everything I do (I probably got that from my mom who still does it, to this day), I decided to reminisce on past productions I worked on by tweeting behind-the-scenes photos, stills or even videos.
My maiden Flashback Friday photo comes from my first ever publicity photo shoot as a director on my biggest project to date, Won’t Last A Day Without You. Here’s the dish about this picture.
T’was about a month or so before our playdate. We were rushing the remaining sequences in the radio booth, our main location. To get their job done with little interruption, promo went to our location at the Semicon building along Marcos Highway to shoot the publicity photos for use in the poster and other PR purposes. I previously saw the promo’s peg for the poster and found it cute.
I didn’t think there would be any issue about it until I heard my staff and some people from promo talking about their anxiety about possible objections coming from Mommy D, Sa’s mom. I found out that in the past, Mommy D had been reputed to be super conservative. Since this photo required Ge to pose like he was stealing a kiss from Sa, a hair line away from touching skin, they all expected Mommy D to automatically disallow it.
Surprisingly, they got that shot without any objection. The promo people emerged from the shoot with wide smiles saying even they were surprised that Ge’s face came as close as it did to Sa’s. It’s the photo that eventually made it to the poster. I’m quite happy as it was distinctive and original, at least as far as I know (kudos to Sir Roxy, Mico & the entire team!). And even though Mommy D took me to one side at one point to confide and sumbong her displeasure over the photo shoot sched being sprung on them on short notice, preventing them time from getting a preferred stylist, make up artist and better costumes, in the end, it was a very good day.
Even for me, who was never that comfortable having my picture taken while other people watched. I had fun, despite the awkwardness, nervousness and humiliatingly frigid expressions. Who could blame me when I’s beside this effortlessly charming lass and towering hunk!?! No disrespect to my colleagues, but I really felt like a PA beside Sarah & Gerald, ika nga 🙂 The photographer and promo people teased me for giving them the same smile and pose in all the pictures, while Sa & Ge, being the veterans that they were, managed to have fun and play around. The chemistry was palpable even then. The chemistry was always there. It was nice to see them just be at ease and fool around with each other, like real genuine friends. I found it in me to enjoy it eventually. Their energy and ebullience was infectious. Prior to me joining them, the two even managed to ‘interview’ me for the Sasa & Gege show.
Enjoy our first ever #FlashbackFriday photo. One of WLADWY photos that never made it out – Ge fooling around, at Sa’s & my expense!
Working in film and television here in the Philippines, or perhaps in the particular network and film company I belong to, it is not uncommon to hear about people talk about the most important thing one needs to get by. Some would say it’s hard work. I’ve heard others say it’s pakisama (good personal relations). Some even say it’s all ‘chika‘ (the appearance of good personal relations). I’ve come to realize that for me, that thing is respect.
I take it further to conclude that it is ‘respect’ you need as currency to succeed and survive with your wits about you. The best way for you to secure the space and opportunity to express your creativity is to be respectful every time, and in every way. Respect is where all all virtues spring, in my mind.
If you respect your own artistry, you strive for excellence, to be the best in the role you play. You are critical not only of your colleagues but most importantly, of yourself. You improve, you innovate.
If you respect the craft, you are diligent and prepared. You look back at the history of this industry, learn from it, and seek to elevate its standards.
If you respect your co-workers, you are efficient, punctual and professional. You collaborate with your colleagues. You show humility when they know better, embrace their criticisms, and take their suggestions even at the expense of your ego. You acknowledge their earnestness and good work.
If you respect your employers, you are generous and accommodating of their insights. You make productive use of your time at work and align your creativity with their vision. You embrace their criticisms and dig through it so it helps you and your work get better.
And if after you are given all possible excuses to dispense with it you still manage to hang on to that respect, then that’s when you earn integrity.
It was only very recently that I came to fully realize how paramount this virtue is for me.
Last Sunday, after a very long day in production that started with a pull out at 3AM the day before, we were down to our last sequence for the day. The sun had begun cresting. The lighting and art department had started setting up the next location. My AD and I were already blocking the scene. One of the actors was already on stand by, ridding himself of sleep since his last sequence was taken at 3PM the day before.
Then, my executive producer and our associate producer came to me saying that one of our lead actors was nowhere to be found. He wasn’t picking up his phone either. After various attempts, which included our AP making calls to both the actor’s manager and father (!), they finally got in touch with him and found out that he was already halfway back to Manila. We were on location in a province.
To be honest, I was sort of relieved that we got to pack up a bit earlier. I was bummed that we were going to drop one sequence (I hate it when we don’t get all the work done), but I was exhausted, and an early reprieve was certainly welcome.
What I really felt bad about at the time was making the other actor wait 15 hours for nothing. Because I was afraid he would feel like we didn’t respect him enough simply because he wasn’t as big an actor as the other one – he who had gone missing. The actor knew it wasn’t the production’s fault, but I took responsibility for that. Worse, I found out that this other actor (the one who waited) had a flight to Cebu that he had to cancel because we had scheduled his remaining sequence last. There was nothing else left to do but apologize for the inconvenience and promise that we’ll make it up by trying our best to finish early the next shooting day.
It was only in hindsight that I felt the full impact of that situation. I’m proud to say I always roll with the punches and manage quite well under the worst circumstances. I realized how disrespectful it was to the entire team – the actors, staff and crew. And it was then that I felt really offended.
The second shooting day came. The producers talked to AWOL actor and he went out of his way to speak to me. He apologized and said that he knew it was completely inexcusable and that it was totally wrong of him to have gone without anybody’s leave. I really wasn’t bothered much by it anymore cause there was just so much work to be done and it was simply my nature to focus on the job at hand.
Furthermore, I never really liked creating or nurturing tension on the set. If I allowed myself to wallow in the disappointment and elected to act aloof and distant from my actor, it would’ve only gotten in the way of our communication, consequently affecting both our work. How was I to effectively relay to him my vision and elicit the perfomance I wanted if I was more preoccupied with making him feel guilty or remorseful for what he had done? Not that he didn’t deserve it. In fact, he needed to know and feel how offended I was. But in a film set, it is imperative that you work as a team, be united in vision. Otherwise, the entire process breaks down and you end up producing a material with confused core.
When asked for the reason why he did what he did, AWOL actor told the other staff that it was because he felt sick and couldn’t carry on any further. I was told he did express that to them during production. He even asked his driver to inquire how many sequences were left before that last sequence for the day that included him (we were down to our last three). Then he apparently left to get some breakfast. He told told some other drivers, I think, but fell short of actually telling any one of the staff that he was leaving for good.
That second day went by smoothly and with very few hiccups to speak of. The atmosphere was fun despite being a very emotional episode. I was very happy with all of my actors’ performances, most especially AWOL actors’. We even managed to wrap by 5.40AM when we had aimed for 6AM, and with a lengthy rain delay at that.
Yesterday, a day after wrapping production, I called the actor’s manager to express my disappointment. For the record, that actor did apologize to me, and I have forgiven him. I actually enjoyed working with him and was impressed by his talent and over-all attitude while on the set. He’s a very jolly and amiable person and I really wouldn’t mind working with him again. Whether it was him making up for his transgression, I never knew for sure, but the producers attest to his talent, good reputation, and work ethic – at least prior to that turn of events during the first day.
But I still had to express how deeply offended I was because of what he did. Precisely because this actor wasn’t known to be anything like that. In fact, he was liked by the people in the show. That only lead me to conjure all sorts of reasons why he’d do that in my set. I took it personally. I told the manager, I don’t know if it was because he didn’t know me, or because I was younger than his previous directors that he thought he could get away with it with me.
Whatever it was, I just hope he realizes the consequence of those actions. Not so much for what I thought – I can get over that and I’d like to think that I’m professional enough to work with him again if I had to, without using this as reason for making things difficult for him the next time. I think I’ve proven that during the second day.
Even more important, I hope he realizes the impression he creates on other people. All it takes is one simple, seemingly negligible act of disrespect like this to unravel all those years of hard work and good reputation. I was telling the manager about how even the much senior actors who had been released and was making their way home already that day heard about what happened. Even they were asking the staff if they managed to get hold of AWOL actor. I’ve never been treated that way by any of my actors, and I’ve worked with veteran senior actors as well as younger superstars. None of them ever used my youth as excuse to undermine my authority.
Honestly, it’s not easy to show respect in a stressful and hectic job like ours. That’s why I made an effort to relay all this. Because it hit me that it’s most painful when after all that you do to try and be respectful of others, you still end up getting disrespected like that. There are a million personal stories I can recount about disrespect in our line of work, which is why I feel I have to be most conscious about my own conduct. I must never let the mien of my co-workers and the state of affairs in this industry be an excuse. That’s why like I said, I’ve chosen to move past that and forgive that actor. I chose to not allow this one instance to define his character.
That’s how I’ve come to realize that aside from respect, I must strive for compassion – which is surely much harder to exercise than the former. I am sure time will inevitably come when I will lose control and offend someone in this industry, as this actor had done to me. When that happens, I can only hope that my colleagues will choose to look back and have faith on all my good days when I treated them with the kind of respect we all deserve.
I spent about three crucial, unforgettable life-changing years in London as a result of my decision to take up my Masters there back in 2008. There’s never a day I don’t remember how fun it was, never a day I don’t wonder how my friends are doing.
Even now, I still find myself wondering whether I should just pack up and return there and make good use of my work visa to relive my adventures as a Pinoy student in London. Of course, with the goal of replacing ‘student’ with ‘professional filmmaker’.
I don’t regret being here in Manila. I just can’t help these thoughts whenever there’s a lull at work — times like this. Back in London, there was literally no lull. Life there was much faster, busier, and in many ways, harder. Especially when you’re a foreign student like I was. With everything there being so expensive and… well, foreign… I had to dispense with many of the comforts I am used to here back home. From big things like living in a home that did not require my paying rent, to simple things like having my own car or driver or not having to worry about making up my own bed. Routinary things like commuting, doing the laundry, and having sandwiches for lunch to save on the expense and not because you’re on a strict diet, suddenly get replete with profundity. Yet it’s precisely because of all that that London has grown that close to my heart.
But more than the City itself, the weather, the people, the accent, the lifestyle, the culture, and the thrill of living in a historic but modern capital like London, it is the experience of actually making films there that I miss the most. That, and the friends I made while at LFS.
My Term 4 Unit in the set that George built, Mike lit and I shot.
The entire staff and crew on Wrap Day. I was camera operator that term.
A couple of hours after the previous photo. Somewhere in China Town. Or Soho. The alcohol made me forget.
I’m waxing nostalgic cause I stumbled upon this video while browsing through my alma mater’s website.
This was shot back in December 2012. I didn’t know they’d put it up already. It was a day or two before our graduation ceremony. Some of the alumni were invited back to the school to record testimonials of their experiences while studying at the London Film School. It reminded me of what a blast it was to be a student in London. Wait. Make that, a student making films in London. I really doubt it could get any more fun than that.
I remember writing in the Kwentong Peyups article I contributed to the University of the Philippines’ centennial celebration how I was conscious of representing the Philippines while I was at LFS. It was what pushed me to be at my best.
Oddly, even though I am now back to being a Pinoy filmmaker in the Philippines, one among so many others, I feel like I still carry with me a lot of what I said in that video. Even if I’m no longer a foreigner in the UK, the reversion to being back home revived some of the experiences and emotions I felt while I was in London. That awkward feeling of being an outsider at the beginning. The drive to earn my peers’ respect and earn my place through merit and hard work. Though I’m back to all things familiar, I’m reminded all the more of the values I learned while at LFS. Values of discipline, humility and openness. Perhaps because being a screenwriter making his way to directing mirrored the struggles of an Asian student in a big, western city.
My time in London reminds me of the precious opportunity I was given to represent my country. To build the image of a Pinoy filmmaker in London. Now that I’m back, I’m given an opportunity to represent LFS in Manila.
This week, I shot my second MMK episode to air within one month. A great opportunity that rarely comes from the show for someone who hasn’t even officially signed on for them yet. I say that not with arrogance but with the humility and gratitude for being so privileged.
When we first met for this, it wasn’t even scheduled for airing yet at the time. A couple of creative meetings after (I should remember to blog about the MMK process), we got all set up for the shoot. I was preoccupied with a scriptwriting workshop (which I must again remember to write about!) that I hadn’t notice I haven’t received any confirmation of details regarding the upcoming shoot. The day before the originally scheduled first shooting day, a Wednesday morning, we had another ocular trip. It was only then that I was told we can’t finish the preps on time and that we’ll have to postpone it for Saturday or the following Monday. Because my workshop was going to end that Saturday, I told them Monday was better for me. They agreed to work around my schedule, but with a surprise reminder that we will be airing the following Saturday. Three days after our second day.
That week has come. We just wrapped our second day of shooting at 6 this morning, Thursday. I’m scheduled to edit the episode later tonight. We’re so rushed that our teaser, which aired last Saturday, didn’t have any clip from the actual episode (I haven’t seen it until now). To help speed up the process, I asked production to send me the pre-edit of our first day materials.
It’s the most pressure I’ve ever felt while shooting for MMK. Even more than I felt while shooting my first ever episode (“Make-Up“). I think this is borne out of the little amount of time we had for preparation, and I’ve always believed that half of a film (or episode) is done before the actual production.
Among the challenges included not having seen the main location, where in we were to tape ten sequences. I had to think of my shots on the set. And because it was our last location, I was really exhausted by then, physically and mentally.
One problem that I never encountered in my past TV shoots which became a source of a lot of stress was getting so much behind schedule that I lost daylight for one of the key locations. It was that main location, the main character’s house. And as I mentioned, because it was our last, it left me no more room to make it up.
As a consequence, many of the scenes that were exterior had to be relocated inside. Some that had to be exterior, I had to cheat and shoot night for day. We didn’t have enough equipment to pull off a successful cheat. We tried, but we could only do so much because the location was in the countryside where the surrounding view consisted mostly of open space.
My opening sequence was also sacrificed. It was intended to establish not only the characters’ space but also the underlying milieu that bore impact on the main character’s journey. Because of delays, I lost all opportunity to get a wide shot of it, whether night or day.
I struggled to maintain continuity in the main location and the succeeding sequences that had been shot in other locations during the day.
I can’t say that we successfully solved our problems during production. At least not against my usual standards. But we certainly did our best and I’m still hoping it comes together well. I’d hate to fail in giving justice to such a wonderful story, and such wonderful performances from my actors!
It just goes to show how demanding television is as a medium, what with its demand to air materials. It’s not really over yet, nor is it time to think the worst is past. I haven’t seen all of the materials yet, but I’m feeling really good about it despite all those challenges. Makes me look forward to see how well we rose to the challenge – and hopefully, I learn enough from this to get better in dealing with the same problems in the future.
Do watch out for MMK on ABS-CBN. Airing this Saturday, February 25, 1930PM!
When I came back in 2010 to semi-permanently re-settle in Manila after a couple of years in London, I set up a new blog to chronicle the progress of my graduation film, Tuksó.
It had two main purposes. I wanted to start the habit of writing about my my profession, and I wanted to build material for my graduation journal – the final requirement for my MA in Filmmaking.
That went quite well for a while. Despite the rigors of writing, directing and producing a 35mm all at the same time, for the first time, I managed to write some insightful posts (to my mind at least).
I only looped in a handful of friends to the existence of the blog. Mostly my friends from school and some others in the Philippines who cared to know how my project was doing. Come journal time, it served me well and became the salvation of my crammed final paper which I wrote in the span of two days amid partying in London. When I got my final evaluation a month after, it was confirmed that I was to graduate with Distinction.
Now, I’m back in the Philippines for good. I have been for a year now in fact but it seems like I’m only embracing it now.
My 2011 was all devoted to reestablishing myself in the local film and television landscape. My last engagement was back in 2008, when my A Very Special Love screenplay was produced for the big screen. After that, I had a minor exposure in the 21st Gawad CCP (Independent Film & Video Festival) when my short documentary, The Filipino Student’s Guide on How To Be Invisible in London, won the 3rd Prize.
Other than that, it was all about sending resumés and getting the attention of my former bosses in Star Cinema.
It worked out for me. I got my first ever project for the ABS-CBN News Channel – a two-part documentary called The Business of Energy that looked at successful sustainable practices in different sectors of the society. I also got a ‘script doctoring’ stint for Star Cinema, resulting in my latest screenplay credit, My Cactus Heart.
Most importantly, these efforts yielded my directing break.
I was given the opportunity to direct an episode for MMK, or Maalaala Mo Kaya, the longest-running drama anthology in Asia for the biggest television company, my home network, ABS-CBN. It was my first time to direct a drama for television, a chance made even more special by the fact that it was for this titan of a show which I’ve been a fan of since I was a kid. Despite the jitters you’d expect from this gargantuan break, that episode entitled Make-Up, about twin brothers who had a falling out because one was gay, topped the weekend ratings that week and led to an even bigger break.
After the Creative Head and Managing Director of Star Cinema watched that MMK episode, I was called in for a meeting. At the time, they’ve already approached me for the renewal of my writing contract. They also wanted my real return to writing via the third of the Laida-Miggy film franchise that I had started in ’08. We had started meeting on it, in fact. A huge project indeed.
But that meeting turned out to be for an even bigger project, personally at least.
In that meeting with Inang, she offered my first feature film directing project.
It was a mere nine days since my MMK episode’s airing (amid preparations for another MMK episode that eventually featured Direk Laurice Guillen and was entitled Tumba-Tumba). It was a Monday. The following days, I frantically attended preprod meetings to finalize the script. On Friday of that same week, I met my lead actress for the first time for her look test.
Six days after, it was a meeting with both my leads-to-be for the story conference.
And finally, two weeks after my meeting with Inang on August 8, with only two script drafts, we broke production.
Three quick short months after, amid hordes of fans and audience’s screams, I was walking down the red carpet beside Sarah Geronimo & Gerald Anderson for the premiere of Won’t Last A Day Without You.
The next day, the film opened in over 120 cinemas over the Philippines, earning PhP20 million on its first day.
That summed up my 2011 – certainly a year of many, many, many firsts. And as my dearest friends know, I’m one of the most sentimental people ever. And for someone as self-indulgent and emotional as me, firsts are most important. Tangentially, it contributes to the drive to make myself better, and to reinvent. I’m sure to make milestones out of molehills, and it excites me to no end to embark on another year of filmmaking, if only to see what new firsts will be coming my way.
In light of that, I wanted to make a commitment to remember and be grateful for these anticipated milestones I expect to come my way, if I may be bold and presumptuous. I wanted to relaunch my blog to be a… well, a log of all my experiences working in the film industry. I want it to chiefly be a record of all my feats and failures, a repository of my thoughts and sentiments on what it is like to work in this field I’ve chosen.
As I’m about to embark on another film project, and because I just recently signed up for a screenwriting workshop, and because I’m also working on another episode in MMK (for which I’m about to sign up as one of its regular directors), it feels like the best time to make this renewed commitment to blogging. It may be a little late to be posting an opening blog two months after the year’s commencement, but I wanted to make sure that it mattered when I did.
What finally pushed me, I think, is this new-found confidence and feeling of finally finding rooting in this industry. It took a while before I got here, but I’m here now.
So do watch out for more posts in this space as I try to make it an online journal of what it is like to be a filmmaker in the Philippines.
Here’s to the year that I expect 2012 will become.
DIRECTOR Starring Sam Milby, Jessy Mendiola, Mickey Ferriols, Lito Pimentel, Aldred Gatchalian, Lauren Uy
ABS-CBN – Maalaala Mo Kaya / HD / approx. 60 mins / Television Anthology Episode
04 February 2012
Here it is! The TAKE ONE Behind The Scenes feature on our latest film, “Won’t Last A Day Without You” starring Gerald Anderson & Sarah Geronimo. In cinemas nationwide on 30 November 2011. Rated General Patronage (GP) by the MTRCB, so bring everyone in the family!
(Behind The Scenes)
DIRECTOR, WRITER Starring Gerald Anderson, Sarah Geronimo, Joey de Leon
Star Cinema, Viva Vilms / 35mm colour / approx. 90 mins / Feature Narrative
30 November 2011
I know they didn’t mention me, pero promise, I directed this movie, hehe….
DIRECTOR, WRITER Starring Gerald Anderson, Sarah Geronimo, Joey de Leon
Star Cinema, Viva Vilms / 35mm colour / approx. 90 mins / Feature Narrative
30 November 2011
About the Website
An image, a light source, and their resulting shadow.
These three elements–different, yet inseparable–fittingly capture the summary of the personal and professional life of Filmmaker/ Writer, Raz de la Torre.
On this website, you will find a sundry of works that establish the kind of storyteller that Raz is: able to creatively piece together what to others may appear disjointed, find the extraordinary out of the mundane, and share what he sees to the world through words, images and, yes, a play with light and shadow.
rzfdtwr is Raz of the Tower. Welcome to Raz de la Torre‘s space on the web, from sun up to sun down.