Author Topic: Filipino films  (Read 531743 times)

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Offline commentary

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Re: Filipino films
« Reply #750 on: Jul 09, 2005 at 07:04 PM »
i think somewhere along the way, we have to consider the culpability of the filmmaker as well, especially in recent years.  the use of brocka and bernal as an excuse (as often filmmakers, even today, are wont to do), having made so 60-70+ films with only a hand or two handfuls worth remembering, is one that doesn't take into consideration the differences in context: for much of their time, they were fighting a repressive regime and censorship. they had to make the commercial fare in order to make their serious work (whether they made the right decisions or not, i'm not sure). the cost of filmmaking at the time was so expensive that going independent was hardly an option. the context of filmmaking in the philippines has drastically changed...

agree with noel on the point about taxing foreign products. didn't know that was what france used to fund french filmmaking. that's wonderful.
« Last Edit: Jul 09, 2005 at 07:06 PM by commentary »

Offline Noel_Vera

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Re: Filipino films
« Reply #751 on: Jul 10, 2005 at 12:48 AM »
Let me qualify that: here's something I paraphrased from Mr. Patrick Renault, Audiovisual Attache to the French Ministry of Foreign Affairs:

...the Centre National de la Cinematographie (CNC), a fifty-year old organization which finances cinema, television and multimedia production and distribution. CNC also helps in international co-production between France and 42 countries. Funding for CNC comes in the form of contributions from the theater, television and video market sectors in France that is then redistributed to the nation’s audiovisual industry.

I gather that's a significant support, and that there are others, not necessarily taxes. Complicated system, but not unworkable.

Offline Noel_Vera

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Re: Filipino films
« Reply #752 on: Jul 10, 2005 at 12:52 AM »
As for filmmakers: whoever wants to do good work will do good work, no matter what happens; O'Hara did five films in seven years, all of which cost well under ten million (except maybe Sindak), Lav Diaz did some of his most ambitious projects in the same period of time, and Khavn de La Cruz and many other independents are working. So it isn't as if Filipino filmmakers--the ones that count, anyway--are sitting on their butts doing nothing.

Offline keating

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Re: Filipino films
« Reply #753 on: Jul 10, 2005 at 09:01 AM »
The filmmakers are still strong reinvigorating Philippine Cinema once in a while.

 France has a brilliant idea, Noel.

Offline commentary

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Re: Filipino films
« Reply #754 on: Jul 10, 2005 at 12:27 PM »
As for filmmakers: whoever wants to do good work will do good work, no matter what happens; O'Hara did five films in seven years, all of which cost well under ten million (except maybe Sindak), Lav Diaz did some of his most ambitious projects in the same period of time, and Khavn de La Cruz and many other independents are working. So it isn't as if Filipino filmmakers--the ones that count, anyway--are sitting on their butts doing nothing.

oh i agree wholeheartedly about the work of those guys, and that we have a number of independent-minded filmmakers, but if we're talking about Philippine Cinema as a whole, and the decline in 'quality' of our films (aside from quantity), i think i'd also look at some of the filmmakers who willingly compromise, in addition to, of course, local producers and hollywood.

i'd be the first to say that philippine cinema is vibrant and interesting right now.
« Last Edit: Jul 10, 2005 at 12:28 PM by commentary »

Offline Noel_Vera

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Re: Filipino films
« Reply #755 on: Jul 10, 2005 at 11:06 PM »
Yeah, there are those who compromise.

And who try but have no talent at all...  ;D

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Re: Filipino films
« Reply #756 on: Jul 15, 2005 at 09:52 AM »

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Re: Filipino films
« Reply #757 on: Jul 16, 2005 at 08:32 AM »
there's a new yahoo group about Philippine cinema called Pelicula. here's the url

http://movies.groups.yahoo.com/group/Pelicula

Keating Commentary, Indie Boi, RMN & Noel, i'm expecting you guys to join the group... it would be fun discussing Filipino films with all of you! of course everyone is invited to join.

Offline Noel_Vera

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Re: Filipino films
« Reply #758 on: Jul 16, 2005 at 08:51 AM »
I joined...

Offline oggsmoggs

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Re: Filipino films
« Reply #759 on: Jul 16, 2005 at 09:47 AM »
pasali rin ako, i've been lurking the filipino films threads but couldn't contribute much since my knowledge on filipino films is quite limited...

Offline keating

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Re: Filipino films
« Reply #760 on: Jul 16, 2005 at 01:46 PM »
Hi there Jojo! Yup, I'll join better not to waste my time and effort to some movies like FANTASTIC CRAP.  ;D

Offline jdv1229

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Re: Filipino films
« Reply #761 on: Jul 17, 2005 at 06:31 AM »
Hi there Jojo! Yup, I'll join better not to waste my time and effort to some movies like FANTASTIC CRAP.  ;D

thanks Keating! we'll be having great discussion on Filipino films.

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Re: Filipino films
« Reply #762 on: Jul 17, 2005 at 06:32 AM »

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Re: Filipino films
« Reply #763 on: Jul 17, 2005 at 06:34 AM »
pasali rin ako, i've been lurking the filipino films threads but couldn't contribute much since my knowledge on filipino films is quite limited...

thanks for joining oggs... in less than month's time you'll be able to contribute a lot about Filipino films in all the threads, that's a promise!  :)

Offline indie boi

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Re: Filipino films
« Reply #764 on: Jul 17, 2005 at 12:32 PM »
Just read this. I'll definitely be joining. Thanks Jojo!

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Re: Filipino films
« Reply #765 on: Jul 17, 2005 at 07:19 PM »
Just read this. I'll definitely be joining. Thanks Jojo!

i'll be expecting you then... thanks indie boi!

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Re: Filipino films
« Reply #766 on: Jul 18, 2005 at 09:58 AM »
During the 60s and 70s where film techno is still in its infancy, medyo lumalaban talaga tayo like the Darna movies of the Vilma Santos that made money i think during those years.

Now people are already exposed to the high tech movies of hollywood and even from asian countries. But seemingly our improvement in terms of technology and style has just moved a little that even my five years old kid knows that the flying of Angel Locsin in Darna or the fight scenes are highly unrealistic and unbelievable.  ::)



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Re: Filipino films
« Reply #767 on: Jul 18, 2005 at 10:06 AM »
Personally, I wouldn't mind it if we're behind when it comes to technology as long as we're doing justice to other aspects of filmmaking -- cinematography, music, the screenplay, direction. The sad thing is, really fresh offerings from the industry are few and far between.

Just look at Bong Revilla's Tales of Enchanted Kingdom (could someone please tell them this title reeks). The senator boasts that they've spent millions on the effects and make-up alone. But that would be a waste of money if everything else is ignored for the sake of eyecandy.

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Re: Filipino films
« Reply #768 on: Jul 18, 2005 at 10:53 AM »
yeah, i believe so bro Indie, but you know technology is what most good and highly rated movies are all about now. Only few may notice other aspects, such, as music, cinematography, etc.

Speaking also of substance, its so sad that even koreanovelas are robbing us right in our very eyes. The way i see it, we are over putting intrigues and controversies in the story or most often we are over creating people with abnormal personalities in the story that are normally unbelievable in normal life.
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Re: Filipino films
« Reply #769 on: Jul 18, 2005 at 11:36 AM »
Speaking also of substance, its so sad that even koreanovelas are robbing us right in our very eyes. The way i see it, we are over putting intrigues and controversies in the story or most often we are over creating people with abnormal personalities in the story that are normally unbelievable in normal life.

Ha?  Sorry, I didn't quite get what you're saying.

Speaking of Korean Telenovelas, I observed that their stories mirror our old movies - the likes of Luis Gonzales-Gloria Romero-Lolita Rodriguez, or the Eddie Rodriguez-Marlene Dauden-Lolita Rodriguez love triangles of the sixties.  They just lenghtened it, updated it, added more subplots to come up with a 20 episode mini-series.

If this is the thing they stole from us, I beg to disagree.  Sadly, we abandoned this genre in favor of more Hollywood type romance, they just picked it up and molded it on their own. 

As an aside, a Filipino ex-pat friend worked in Korea for seven years (let's say most of the 90's) and their TV is full of telenovelas from morning to around 6pm.  Their variety shows ala Eat Bulaga does not come in the morning but early at night, from around 6pm.


Example of a 60's movie plot I vaguely remember and tell me if it's not something you'll see at a typical korean telenovela.

Luis Gonzales met an accident and needed an operation to save his eyesight.  He had a falling out with his girlfriend Gloria Romero because of the evil scheming of Luis's mother and siblings.  Gloria begged the family to let her see him and take care of him in his time of need.  The family agreed on the condition that Gloria will not speak and introduce herself to Luis, that she will just be represented as a live in nurse needed for the situation.

Luis is still mad at Gloria, and in his darkness vents out his anger to the delight of the family because it is done in front of Gloria, unknowingly, of course.

The day came that the doctor had to remove the bandage on his eyes.  The family asked Gloria to leave before that happens.  When the bandaged were removed, Luis is blind, the operation was unsuccessful.  Upon learning this, Gloria again begged the family for her to take care of Luis in the same capacity.

Luis continues his angry outburst against Gloria, Gloria suffers silently, and the family rejoices over her misfortunes.

Then suddenly Luis made it known to everybody that the operation was really successful and he is just faking it to confirm for himself what he suspect all along.  And Luis and Gloria lived happily ever after.  ;D


I apologize if the plot as I remember it is not entirely accurate.  But does that sound something you'll see in a Korean Telenovela?  It's sad that we abandoned that genre.

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Re: Filipino films
« Reply #770 on: Jul 18, 2005 at 12:41 PM »
I'd say the popularity of Korean telenovelas goes to show that people don't watch exclusively for SFX and explosions...

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Re: Filipino films
« Reply #771 on: Jul 18, 2005 at 12:45 PM »
I'd say the popularity of Korean telenovelas goes to show that people don't watch exclusively for SFX and explosions...

I agree. same goes with torrid kisses and show of skins.  Most if not all telenovela exhibit 60's sentimentalities ala Sylvia La Torre "no touch".   ;D

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Re: Filipino films
« Reply #772 on: Jul 18, 2005 at 01:26 PM »
Ha?  Sorry, I didn't quite get what you're saying.

Speaking of Korean Telenovelas, I observed that their stories mirror our old movies - the likes of Luis Gonzales-Gloria Romero-Lolita Rodriguez, or the Eddie Rodriguez-Marlene Dauden-Lolita Rodriguez love triangles of the sixties.  They just lenghtened it, updated it, added more subplots to come up with a 20 episode mini-series.

If this is the thing they stole from us, I beg to disagree.  Sadly, we abandoned this genre in favor of more Hollywood type romance, they just picked it up and molded it on their own. 

As an aside, a Filipino ex-pat friend worked in Korea for seven years (let's say most of the 90's) and their TV is full of telenovelas from morning to around 6pm.  Their variety shows ala Eat Bulaga does not come in the morning but early at night, from around 6pm.


Example of a 60's movie plot I vaguely remember and tell me if it's not something you'll see at a typical korean telenovela.

Luis Gonzales met an accident and needed an operation to save his eyesight.  He had a falling out with his girlfriend Gloria Romero because of the evil scheming of Luis's mother and siblings.  Gloria begged the family to let her see him and take care of him in his time of need.  The family agreed on the condition that Gloria will not speak and introduce herself to Luis, that she will just be represented as a live in nurse needed for the situation.

Luis is still mad at Gloria, and in his darkness vents out his anger to the delight of the family because it is done in front of Gloria, unknowingly, of course.

The day came that the doctor had to remove the bandage on his eyes.  The family asked Gloria to leave before that happens.  When the bandaged were removed, Luis is blind, the operation was unsuccessful.  Upon learning this, Gloria again begged the family for her to take care of Luis in the same capacity.

Luis continues his angry outburst against Gloria, Gloria suffers silently, and the family rejoices over her misfortunes.

Then suddenly Luis made it known to everybody that the operation was really successful and he is just faking it to confirm for himself what he suspect all along.  And Luis and Gloria lived happily ever after.  ;D


I apologize if the plot as I remember it is not entirely accurate.  But does that sound something you'll see in a Korean Telenovela?  It's sad that we abandoned that genre.


Hi voj, what i meant actually when  i said "Koreanovelas are robbing us" is that Koreanovelas are attracting more televiewers than our local telenovelas. If these koreanovelas are the reflection of our stories in the 60's then it is my view that pinoy movie or telenovela writers should somehow go back, reflect and be inspired by said stories.  ;)

Many Pinoys can aptly relate with the koreanovelas because like the character of luis Gonzales or Marlene Dauden during those times, it is still the mirror of their life and personal experiences.   ;)



« Last Edit: Jul 18, 2005 at 01:35 PM by jerix »
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Offline RMN

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Re: Filipino films
« Reply #773 on: Jul 28, 2005 at 10:10 AM »
Philippine Movie is Dead...
And whatever happened to it
on its way to the cinema?

Stv's Celebrity Chronicle
December 1999

Los Angeles * San Bernardino * Riverside * San Diego *
San Francisco * Las Vegas * Chicago * New York * Manila
Cover Story
By: Celso Ad Castillo
Director Peque Gallaga considers him the greatest Filipino director of his generation. Probably the most versatile actor-director in Philipine cinema, Celso Ad. Castillo, also known by his nickname Celso Kid, has directed more than 50 films to date, winning 6 Best Director Awards along the way together with 2 Best Screenplay awards, 1 Best Story award, and 1 Best Supporting Award.


His film has been considered trendsetters and trailblazers of the Philippine cinema. His films have aspired towards thematic originality that range from small town perversion, incest, political and period gangsterism, family conflicts, politics of domination action and even comedy. In addition, they have seen participation in international competitions such as the Venice Film Festival, and the Cannes Film Festival. He is in pre-production on "Prosti", his first team up with the only superstar of Philippine movies, Ms. Nora Aunor and also negotiations to direct his first American film.

What went wrong with the Philippine movies and why?

It is overtaxed. It is heavily censored. However, when the censors became lenient, it became pornographic.

Why again?

It is inferior in quality. It has no value for excellence. Its vision is only confined fnr regional consumption. It seems it has no point of direction.It is unmindful of the changes that are sweeping the map of the world.

Competition is too tight for small markets like Luzon, Visayas and Mindanao when the new world order has the entire universe for the taking. Man, the vision is too narrow. It has a wrong concept for being beautiful
than being creative. Producers are dictated by bookers and theatrical owners as to what kind of movies to be done to get hack their investments. Moreover, art being the last thing to cross their minds their intuition suggests that big stars are the safest investments. Not art. Not creativity. Just big stars.Just pure baloney,

They have been putting out the same kind of crap or tested formulas, which had been commercialized and accepted, and warned out by the passage of time. In addition, they think it is still effective. And since the superstars are the demigods then naturally they become the moving force, come hell or high water, by the Philippine movie industry. The producers became the blind slaves and the moviegoing public their victims for mediocrity. Alas, we have a film industry that has been identified by international film distributors as 99% bad.The director's salary, the writer's and the scriptwriter's compared to gargantuan fees of the super-stars are like a poor man's diet to a glutton. The stars aside from 3-5 million-peso fees, courtesy of suckers producers and bookers, also gets ancillary rights of the film. Ancillary rights cover P2.5 million for TV rights, 300 grand for cable TV and another 300 grand for video rights. Now do you wonder why they can afford to finance a political campaign? The writers? The minimum they get is 40 thousand and the maximum is 130 thousand. The directors? I have not heard of anyone who had been paid a cool million yet. Now they blame the writers why they cannot come up with a sensible story material for a movie.

The film begins with the story. These writers need a break. They need to he inspired to be creative. They deserve a decent lifestyle like that of the stars. The producers still underestimate the intellect of the present crop of moviegoers where in fact they have outgrown the film industry itself. The cable and video technology has created a new breed of sophisticated Filipino movie audiences. The industry seems to ignore that reality. Since the producer's vision is not global, the industry is forever enslaved by shoestring budgets. The director's creativity has become inutile, no space to flex its grey matter. Little pains, small gains.

What is right with the Philippine movie industry?

It produces effective politicians. Second, the Philippines being westernized(and colonized by Hollywood after the Spaniards) are the only race in Asia adoptive to the American way of filmmaking. We have the gut feel, the instinct, and the spontaneity to reflect the American filmic psyche into our movies. Unlike the rest of Asia which had been influenced by Indian and Chinese movies (Malaysia, Indonesia, Thailand) and. French (Cambodia, Vietnam), the Filipinos' early staple of films were hollywoodian types from film maestros like Elias Kazan, John Ford, Henry Hathaway, Howard Hawks, John Sturgess, Vincente Minnelli, Frank Capra, Alfred Hitchcock, etc.

What is the root cause of the industry's problems?

When there is no creative freedom from a filmmaker from doing what he wants, then there is a big problem in the industry. Why? Because the film begins and ends with the director. He is the industry. The actor's medium is the stage; the director is the film. The producer? They are financiers. It all started with the big four major studios during the 50's like LVN, Premiere, Sampaguita and Lebran. They were followed by the so-called independent studios which later became majors too; Tagalog llang-Ilang Productions, Larry Santiago Productions, Magna-East, Bulaklak Pictures, Mundial Productions, etc. These independent producers produced superstars which became producers themselves; FPJ Productions (Fernando Foe Jr.), JE (Joseph Estrada), Rosas Productions (Susan Roces), AM Productions (Amalia Fuentes), Sotang Bastos (Chiquito), RVQ (Dolphy), etc. The directors were left behind. Movies' quality remained stagnant. The creator was always behind the created. it was always the song and not the singer. What needs to be done? Individually, by each member of the industry? As a team? Go global. Be serious with this art. Be professional. Be ambitious, loyal and dedicated. Filipino directors have reached the point where they no longer have any more reason to complain. We must make movies not for the Philippines alone but for the international community. They say Japanese movies are dead, and the French and the Germans, when in fact it is not. It simply suggests that Japanese, Germans, French, Italians, Filipinos and the rest of the global citizens must be making movies not for their own respective countries but for communities of the entire world. American films have become the barometer and the measure of international standard by the international film communities. What are the aspects and/or practices in the Philippine movie industry that need to be corrected? Enhanced or improved? Encouraged? The booking system. Local movies are only given one week for first-run theatrical exhibition in Metro Manila area theatrical circuits. If one is talking about a 50 million peso investment in a local film then you are talking about goliath for a foe. One week is not enough, or say even 2 or 3 weeks, to recoup an investment for a local film that has been fashioned for international dressing.

Two million bucks is spent to promote a movie, which is intended only for the first day crowd. The first day crowd takes over through word-of-mouth publicity. This film is on its own on the second day, which means it dies when it is not good. Now, this does not apply to major producers. They have resources to pull the trick on the first day showing to attract crowds. What about the independents? They will only rely on the word-of-mouth stunt the
film may be generating. However, by the time it is picking up on its first week the movie is meeting its deadline in the theatres.

What can artists do, to help save the industry?

Be serious and professional with their jobs so the others, the next generation, may emulate the kind of discipline needed to elevate this industry to a higher level of artisanship in the Philippines.

What can moviegoers do to help save the industry?

Nobody can force anyone to eat food that he abhors. Movies remain to be the cheapest form of entertainment. People see movies to be entertained, to be informed, to escape from reality and see the reflection of himself. Give them good movies to save the industry.

However, nature is taking its course. The art of film is being perfected by destiny. Video technology has fathered a new generation of moviegoers through videotapes, the lasers, digital, and the likes. Through videotapes, easily accessible like donuts and burgers and available for random viewership by the entire household, moviegoers have learned to draw boundaries between a good film to a bad one. It is constant viewing that elevates
man's level of comprehension on the aesthetics of film. Eventually, the demands for better films will force the industry to save its neck.

What laws/actions/sanctions are needed to help the industry?

To limit the influx of foreign films by sanctions is to limit the scope of growth of Filipinos as world-class artisans. We need to learn from other experiences. The new world order is globalization. Limiting our visions is depleting the air of our extreme creative tolerance. Pushing back enemy line is only an excuse for becoming inferior tacticians.
We need to cut down taxes. The tax rebate incentives are only tantamount to giving candies to crying children. What we need is support for serious, professional, legitimate filmmakers. They make the movies not the producers or the superstars. The directors command filmmaking as a science of continuing experimentations, i.e., Federico Fellini of Italy, Satyajit Ray of India, Werner Herzog and Fassbinder of Germany, Ingmar Bergmanof Sweden, Luis Bunuel of Spain, Kurosawa of Japan...

Directors need a film foundation that will finance their creativily and give them responsibilities to become producers themselves, You arm the warriorswhen they go to war and nol the emperors who just do commands,

What is the idea of a good Filipino film?

Not necessarily a cultural film. That is the common, flawed, and in fact, worst perception. History is a thing of the past.

What good is a film when it is not seen?

The purpose of a film is to communicate and communication is impossible if the other party is disinterested. "Romeo and Juliet" of Franco Zeffirelli was great but was no box-office draw. Ditto with Gerard Depardieu's "Cyrano De Bergerac."

A good Filipino film must be at par, technically, with foreign films. Color processing and sound quality are priorities here. Filipino films must convey human emotions regardless of race or creed. The world audience does not care about Filipinos in the Philippines bQt they do care about how Filipinos as human beings react and confront real-life, down-to-earth, natural element catharsis. People ask me all the time if I believe that critical acclaim and commercial success can ever be achieved at the same time in one film.

Yes, " Burlesk Queen " did it starring Vilma Santos during the 1977 Metro Manila Film Festival where

it garnered 10 out of 11 awards and outgrossed all participating film entries. It shattered the myth in Philippine movies that good movies do not make money. In addition, commercially accepted movies do not get awards. It has become a symbol of a beautiful marriage between commercialism and artistry.

What can be done to help the film industry achieve recognition in the international market?

Pull the best artistic minds in town and organize a panel, which will decide what films, deemed the best for the year, should go to festivals abroad. Actually, they are doing it here already. However, the screening committee is composed of the best connected ones and not the best artistic
minds.

What about Hollywood 2000? Is it possible for local films to beat Hollywood movies in their own game?

Hollywood by the year 2000 is all chips and cyberspace, digitals and virtual realities. There will no longer be tapes and disks but minute computer chips which when hook, wherever you are, will get magnified on your wall-size HDTV (high definition television). The best of foreign
films will be merged along with mainstream Hollywood cinematic fares. Consider the latest "conquistadores" of American movies; John Woo, Jacky Chan, Tsui Hark, Wong Kar Wai, etc. Consider the great films that have been integrated such as The Red Lantern, Scent of Green Papaya, Shall We Dance, Fallen Angels, etc.

There is no reason to beat Hollywood in the next century. We shall by then be a part of Hollywood because the only reason we think otherwise is because we let our minds defeat our visions.


Offline Noel_Vera

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Re: Filipino films
« Reply #774 on: Jul 29, 2005 at 05:39 AM »
Excellent article; I disagree on a few points.

1) I don't believe limiting Hollywood movies will limit the Filipino filmmaker's vision (limiting his diet of less mainstream foreign films might); I've mentioned before that both India and France limit their intake of Hollywood and they're one of the few cinemas genuinely thriving.

2) Japanese cinema's anime is thriving; the live-action features are doing okay, but it's a shadow of its thriving industry in the '50s.

3) It may be a matter of terminology, but I don't think "integration with Hollywood" is an answer. Some kind of uneasy truce, sprouting from a space created in cracks in Hollywood's hold on world cinema, might be the more feasible answer. I mean, John Woo has more or less integrated with Hollywood--has it improved his filmmaking?

Offline keating

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Re: Filipino films
« Reply #775 on: Jul 29, 2005 at 12:39 PM »
Does Korea also limits the influx of Hollywood films in their country? Their cinema is alive and very profitable even edging the Hollywood films in terms of box-office and artistry.

Offline RMN

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Re: Filipino films
« Reply #776 on: Aug 02, 2005 at 09:54 AM »
Lino Brocka and Martin Sheen???

Offline edsa77

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Re: Filipino films
« Reply #777 on: Aug 02, 2005 at 03:27 PM »
Trivia : the only remaining copy of Burlesk Queen is owned by a certain guy named Manfred Muniok(sp)and he died back in 1993.

Offline indie boi

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Re: Filipino films
« Reply #778 on: Aug 04, 2005 at 09:22 AM »
I just read this today and thought that this would be a good jumping off point for discussions. Ironically though, the article is from Nestor Torre, it would be interesting to see if you guys agree with his views or not -- take note, this is a man who saw redeeming qualities in Mr. and Mrs. Smith.  :P


Viewfinder : Why some new filmmakers’ movies don’t quite work
By Nestor Torre

I’VE written a lot about the good films and positive results of last month’s Cinemalaya indie film festival. Today, let’s focus on the efforts that didn’t quite make the grade in terms of quality and pertinence, hopefully to come up with lessons that will benefit other new filmmakers who will be trying their luck at next year’s festival:

To my mind, four of the nine full-length movies that were produced for the film fest suffered from problems that prevented them from ending up as creditable productions. Some of their storyline and scripts had been promising (I judged all levels of the competition), so it was disappointing to see them failing to realize their full potential.

What were some of the inhibiting or distracting factors that negated their promise? First, lack of directorial organization, visualization and editing sense.

Some people are simply better scriptwriters than directors. They can’t fully vivify the good points in their scripts so that they are fully realized, not just on paper, but on the big screen.

As directors, they should know which scenes to highlight, and which to play briskly, or even eliminate for the purpose of clearer storytelling. They should also remind themselves to avoid repetition, or saying pretty much the same thing in different ways.

This repetitiveness results in yet another common problem: excessive length. Some new filmmakers think it’s OK to shoot a movie that is almost two and a half hours long. They forget that many feature films these days run for only 90 minutes.

As directors, they shouldn’t fall in love with their material so much that they keep hitting their audience on the head with it. Suggestion and intimation are better than relentless iteration.

To make better movies, self-absorbed filmmakers should remind themselves that they’re at the service of their audience, not themselves. So, brevity, clarity, accessibility and empathy are the cinematic virtues they should do their darndest to acquire.

Also, avoid long, languid, artistic and symbolic sequences that are more poetry than cinema. New directors should stress the importance of editing to energize their work, and ruthlessly cut out footage that, while truly lovely, impedes the dynamic progression of the stories they tell.

They should also have a keener sense of the requisites of feature filmmaking. While indie movies don’t require star value, you should at least choose for your leads unknowns who don’t turn your audience off.

Don’t cast people just because they’re your friends, or are readily available to you. Cast as the role requires, period.

Finally, new filmmakers should realize that, when they get to the full-length mode, they can no longer play around and entertain themselves with their private notions and conceits. Feature-length filmmaking is cinema at its most public and rigorous, and heretofore dilettante artists have a lot of growing up to do.

Offline Noel_Vera

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Re: Filipino films
« Reply #779 on: Aug 04, 2005 at 02:27 PM »
If Lav Diaz followed every bit of Torre's advice he'd be another Joey Reyes.