Topic: Mike de Leon

[Noel_Vera]

But, Kisapmata put the shivers in me (after a two-film Mike de Leon marathon). There is something inexplicably frightening in Kisapmata that will leave you bothered in the end.

That's because there are ghosts in that film, real ghosts, ghosts of people living and dead.

[keating]

In what particular scene in KISAPMATA the ghosts appeared? The house by Vic Silayan looks haunted at night, can match the house in ITIM.

 

and if we gonna watch the retrospective docu of KISAPMATA if ever there will be, the only remaining survivor is Charo Santos. The 3 main casts were already dead.

[wedge]

Throw in Ruben Rustia too, bro

That's because there are ghosts in that film, real ghosts, ghosts of people living and dead.

Oh? Yeah, same with keats, I'd like to know more.... Hehe Was the place the real house in which the actual crime was committed?

[Noel_Vera]

In what particular scene in KISAPMATA the ghosts appeared?

From beginning to the very end.

[JdelaCruz]

You want a copy?

Yesss!!! PMd you my gmail.  Hope you weren't kidding

[keating]

Its time to revisit KISAPMATA again. Like wedge, I want to know also if the actual crime house was used in the movie?

I didn't know that Ruben Rustia was already dead.

[Noel_Vera]

No. They were careful not to use the real names, real locations, or too many of the actual details to avoid being sued by the families involved. Teddy Co knows the house where the shooting occured--if it's still standing. It needed very specific requirements, in particular an inside balcony overlooking the living room.

[keating]

Is the house situated in Metro Manila, Noel? That could be a very good tourist attraction. If you try to look closer inside the house, Vic Silayan personified the father monster figure.

The cinematography of Rody Lacap jibes in to the creepy atmosphere inside the house.

[butsoy]

screen caps from the trailer of Mike De Leon's KISAPMATA featured in the NASAAN SI FRANCIS DVD.

I hope they would release this on the 1st quarter of 2007. 

[wedge]

No. They were careful not to use the real names, real locations, or too many of the actual details to avoid being sued by the families involved. Teddy Co knows the house where the shooting occured--if it's still standing. It needed very specific requirements, in particular an inside balcony overlooking the living room.

So, Nick Joaquin also fictionalized the actual incident in his Reportage in Crime book? But what depicted was the real tragedy that transpired?

[jdv1229]

Yup, I read that it was a part of that anthology. The problem is the freaking book is nowhere to be found. I also read that the film Jaguar was also based on one of the stories in the book.

the Nick Joaquin story Jaguar was based from the short story The Man Who Would Be Society.

[wedge]

Thanks for the info, Jojo. But that was also based from an actual event, right? (Haven't seen Jaguar, kaya I don't know what the story is about).

[jdv1229]

you're welcome wedge! i think it was based on a true story as well...

[keating]

No. They were careful not to use the real names, real locations, or too many of the actual details to avoid being sued by the families involved. Teddy Co knows the house where the shooting occured--if it's still standing. It needed very specific requirements, in particular an inside balcony overlooking the living room.

It was an old house in D. Tuazon in Sta. Mesa Hts. near Teddy's residence. But the real crime happened in Zapote St. in Makati.

Where is Zapote St.?

Teddy's theory was that probably the real characters haunted the actors playing them! 

[Noel_Vera]

Mike changed details from the Nick Joaquin article. Nick pretty much told it as it was; Mike had details changed.

Teddy said that? Probably pulling your leg. Or maybe not. Sometimes you can't tell with him.

[keating]

Teddy can't remember the ghosts stuff in KISAPMATA, Noel. I'll ask Cesar Hernando. It would be nice insert on the dvd the reproduction of the news article by Nick Joaquin.

[Noel_Vera]

The ghost is dead. I knew a relative of his, tho, Bart, and Bart's famous cousin-singer (leastwise I thought she was his cousin) Chat.

[keating]

with the help of a very good friend who did all the computer work,  was able to "produce" a sountrack compilation from Mike de Leon's films. it's not perfect and may not even be complete, but it's good enough. having my fill now of the rock opera in kakabakabakaba?. hehe

mike with pete lacaba et al did the docu signus, about Edsa 1.  and just recently, the man completed a short 15 minute docu that's just waiting to be screened. (he's been quite busy these days)

you got to hear raymond red's personal experiences working the master. wild!

The soundtrack is so amazing! Love, love the humming tunes from KUNG MANGARAP KAT MAGISING, the haunting Max Jocson score in ITIM & the rock opera BIGYAN MO PO KAMI NG TINAPAY in KKBKB!

Ei Mon, why not coffee time with the man himself?

[RMN]

there are no ghosts--alive,dead,real or figurative-- in kisapamata, at least as far as Cesar Hernando's concerned.

[Noel_Vera]

Figurative, sir, purely figurative...

[keating]

I wonder how did ITIM originated and got its title? Was it SEMANA SANTA the working title before?

[RMN]

Read a circa 70's interview that Peque Gallaga did with the late Conrado Baltazar for the defunct Ermita Magazine. At some point in the interview, he asked Baltazar bout Mike de Leon as cinematographer (at that time he just completed Maynila and Itim) and the man was totally impressed with his technique and style. His methodogy as DOP--well lit sets with LOTS of lights, doing tests shots and re-shooting if necessary, his experiments in processing etc.--are fascinating.

Just look at Maynila Sa Kuko, Kung Mangarap and, of course, Itim, and you'll see why.

[Noel_Vera]

That "lots of lights" comment is interesting. I remember reading an American Cinematographer article on the X Files TV series, and one cinematographer saying you need "lots of lights" to light a dark space. I take it that he means, it's a more complex task trying to light dark scenes in a film, because you're trying to give the impression of a low light level, but still keep important elements visible.

[keating]

Passed by Old Manila in Sm Megamall a while ago, the LVN book is available there, its been OOP for so many years.

A snapshot of the young Mike de Leon is an eye-opener in the book with the late Dona Sisang.

[keating]

Mike de Leon on the set of KISAPMATA.

[wedge]

That "lots of lights" comment is interesting. I remember reading an American Cinematographer article on the X Files TV series, and one cinematographer saying you need "lots of lights" to light a dark space. I take it that he means, it's a more complex task trying to light dark scenes in a film, because you're trying to give the impression of a low light level, but still keep important elements visible.

Is that the "Day for Night" technique? Or something else?

[Noel_Vera]

Day for Night uses filters. When you're lighting a dark space (and not doing Day for Night), you need plenty of spots, otherwise, what comes out onscreen is just a lot of black.

I don't think we (Peque and I) have the same idea when we say that Mike's sets are "well-lit." Well lit in the sense that he uses lighting brilliantly sure, but the onscreen images have plenty of darkness in them too--"Itim" wasn't  called that for being brightly lit! That said, and as that cinematographer in the X Files confirms, you need a lot of lights to achieve that shadowy look...

[keating]

The house in Brocka's TATLO DALAWA ISA episode Bukas, Madilim, Bukas seems to have a similarities on the house in ITIM. Both have a gothic atmosphere. But its more glossy and slick lighting on BUKAS, MADILIM, BUKAS.

[telonistas]

house in Itim is at D. Tuazon, in front of St. Theresa's College QC.. Mike uses classical approach in lighting. yun siguro ang naituro ng mga aleman sa kanya. to be able to get the "correct" exposure/ideal shadow to highlight range, you need plenty of lights especially when working interiors. sa color-timing sa post na lang ang batakan ng color and contrast. pag mali ang exposure- may tendency bumagsak ang blacks at pumutok ang highlights.

mike likes to play around in post. color-timing and minsan naglalaro sa opticals for his dissolves and wipe transistions. notice the opticals in most of his films? during that time very rare ang mga dissolves sa pelikula. yung dissolves sa kung mangarap, yung wipes sa kakabakaba. tedious mag opticals. mahal and matrabaho.si mike lang ang may discipline, patience and of course-access sa opticals during that time. ngayon, sisiw na lang sa digital technology.

[Noel_Vera]

Wipes and split screens. And he plays with them to wonderful effect (not to mention subtitles) in Kakaba.