I’ve always considered Lea Salonga as a national treasure of the Philippines when it come to acting and felt it such a shame that her talent were not as often as captured in film as often it is given out by her on the theatrical stage.

Her skills, intelligence and charisma has put the country on the Broadway and London’s West End sights. She paved a road full of opportunities for local Pinoy talents to the world stage. She really shines as a star in theater and I know she belongs nowhere else but sometimes I believe she could have done the same thing to Philippine cinema, bring it up to a whole new level of evolution.

She is and always will be the epitome of the ideal actress for me.

And thanks to this, I would have to say that Lea Salonga has just reached a new level of worship for me. I just so “HEART” her!

In the category of Music/Movie/Film, SineBuano.com has been recognized by DigitalFilipino as one of the best websites from the Philippines for the year 2008!

This is just great. Just to be appreciated is already a pleasure. Makes me want to do try better from now on!

Last weekend, I had the privelege to undergo the Annual Cebu Writers Workshop or the Cornelio Faigao Writing Workshop.

For three days and two nights, I was listening to established writers point out information that I hope I could prove to be quite helpful in my skills enhancement as not only a writer but as a scenariost too.

Last Wednesday at Casino Filipino, I attended in behalf of SineBuano.com, The Digital Filipino.com Social Network Eyeball and Dinner, hosted by Janette Toral and sponsored by Casino Filipino and Pagcor.

It was an event for the blogging and internet network community in Cebu.

The experience was quite interesting for all in my years residing in the Queen City, it was the first time I ever set foot inside the Waterfront Casino.

The tables, the slot machines, cards, chips, attendants, my eyes drank it all in and shelves of movies flashed through my mind: Scorsese’s Casino, the James Bond film franchise, God of Gamblers starring Chow Yun Fat and most recently, 21 starring Kevin Spacey.

Man, if we could shoot a film there.

As for the Digital Filipino event itself, it was nice and memorable to meet and connect with people who are interested in what you do. I myself am reminded of Isaac Asimov when I think of bloggers– in his book series, Foundation, he features a race of people in the planet of Gaia who can share one consciousness. Sights and smells can be recorded and stored mentally then can be accessed telepathically. So one’s experiences and emotions can be known by others almost as if they’re experiencing it themselves.

I guess we’re heading towards that end, somehow.

During the weekend, I met and bonded with the cast of the upcoming SineBuano short “Maria”. We just caught up on each others days, shared some updates, fixed some schedules and had a blast of a time, hanging out.

I’ve always been told to widen my social circle, to better my writing, to better my life as a human being in general. How vain it is of me to sit down and write of people and life when I have not yet stood up, went out and be exposed?

Cast of SineBuano

The Three Leads of

Cast members of SineBuano

Personally, I feel joyful being with the cast.

They’re a wonderful group of people and I feel blessed to have them participate in making pleasantly “Maria” a cinematic reality.

On another happy note, congratulations and adulations to the indie film shot in Cebu and about Cebu, Confessional by Jerrold Tarug and Ruel Antipuesto for winning the Cinemanila 2008 Best Southeast Asian film award!

The passion which I put in each of the thousand movies I have produced is the same passion I felt as a movie fan when I was 10, the same passion I had for movies like ‘All Mine to Give,’ and the same passion I put in the ‘Mano Po’ trilogy which I made now that I’m in my ’60s.”

–Mother Lily

Mother Lily, also known as Lily Monteverde, is a prominent Filipino businesswoman and film producer who has has produced nearly 300 films in the Philippines since the early 1960s.

She is the face, head and heart of Regal Films Entertainment.

I recently come across this interesting however lengthy article by a J. Neil C. Garcia and his observations on the local Philippine independent cinema, comparisons with this present cinema ’s filmmakers to their predecessors and details on this recurring movement of “miserablism” that is so the focus and vehicle of many independent Filipino filmmakers of today.

I invite you to read Mr. Garcia’s article here and share your views about his critical analysis. Has he got Pinoy Independent Cinema right on the gut?

It is completely written in Bisayan dialect, SineBuano’s mother language.

Balik-Lantaw

Pipila lang siguro sa mga Sugbuanon ang nakahibaw kung unsa ka de-kalidad ang mga Binisaya ug Sinibuwanong pelikula sa karaang panahon. Ang mga tuig sa dekada singkwenta mao’y gitawag nga golden period sa Cebu Film Industry kon anus-a nakagula ang mga filmmakers og mga 80 ka pelikula. Ang mga Binisayang salida ug mga artista pinasidunggan kaniadto sa mga internasyonal nga film competitions. Gani, pipila sa mga haligi sa mga artistang Filipino nga inila hangtod karon Bisaya usab, susama nilang Caridad Sanchez, Gloria Sevilla, ug Mat Ranillo. Apan sa padayong paglangyaw sa mga lokal nga talento ngadto sa kauluhan, dili lamang ang mga artista apan lakip na ang mga magsusulat ug uban nga direktor, hinay-hinay usab nga namatay ang industriya sa filmmaking dinhi sa Sugbo.

SineBuano

ni Anna Lyn T. Pepito

Ang ngalan igo nang mopadayag kon unsa ang ilang tumong. Ang ngalan nay mensaheng ipaabot ning usa ka organisasyong gilangkuban sa mga independent filmmakers sa Sugbo - mga magsusulat, artista, direktor, ug editor.

SineBuano “On Cue”

Ang SineBuano nadumala sa tinguha nga pukawon sa dugay nang pagkahinanok, gani sa pagkamatay na, ang Cebu Film Industry pinaagi sa pagbuhat og independent films. “Ang tumong sa among grupo mao nga una, makatudlo sa matag miyembro og paghimo’g pelikula pinaagi sa pagsinati niini. Ikaduha, makahimo kami’g de-kalibreng pelikula nga higugmaon sa mga tumatan-aw. Ug ikatulo, makapakita o makapasundayag sa katawhan sa among nahimo aron mas mapalambo pa namo ang among katakus,” saysay sa SineBuano Creative Director Diem Judilla.

Ubay-ubay na pod ang nabuhat sa SineBuano nga ila nang napakita sa publiko – Kada Uwan, The Witness, Ang Bisita, ug uban pa. Ang The Witness napili usab isip usa ka official entry sa Sine ug Katilingban ug Eksperimento 2005 ug napadala sa Japan, Austria, ug Amerika aron iapil sa mga film competitions.

Apan sa makadiyot ang SineBuano “mipahuway” sa ilang buhat. “Pagka Abril 2006, among gisugdan sa paghimo ang Ang Bisita. Halos usa ka tuig ang paghuman niini. Sa tuig 2007, gisugdan namo ang pipila ka mga proyekto apan wala mahuman tungod sa kakulangang dili malikayan, usa mao ang dili magkatakdong oras sa matag usa. Among nasabutan nga ‘mopahuway’ una sa maong tuig,” dugang pa ni Diem. Maayo na lang nga sa miaging Abril, gibuhi pagbalik sa Technical Director sa SineBuano nga si Jurly ang pagpang-agni og mga bag-ong miyembro pinaagi sa usa ka forum website.

Niadtong Mayo nakapahigayon na usab sila og tigum uban ang mga bag-o nilang mga kauban. Matag adlaw sa Dominggo ang ilang regular nga panagtigum. “Among gitagaan og higayon ang mga bag-ong miyembro nga mas palawoman ang ilang pagsabot sa independent filmmaking ug makat-on sa mga pamaagi sa paghimo og independent films. Sa pagkakaron naa miy mga proyekto nga gihan-ay alang niining tuiga.” Sa pagkakaron, ila nang gisige’g lihok ang ilang mga proyekto.

Hagit sa Panahon

Ang paghimo og pelikula dili sayon ilabi na kay dakong kantidad ang gikinahanglan aron mahimo kini. Ang mga dagkong producers gani, kinsa nagtan-aw sa ginansiya sa ilang puhunan, mas hatagan og gibug-aton ang mga pelikulang mohalin og dako. Sa ginaingon pa, commercialized.

Si Diem nagkanayon, “Mao bitaw nga usahay kapuyan na ta motan-aw sa mga pelikula kay halos magkapareho rag istorya, mao rang artistang mao ra puy papel. Apan wa tay mahimo kay mao man ang klaseng makaginansiya ang producer og dako. And this starts a sad cycle where audiences will not watch Filipino movies because these are not good enough to watch and good Filipino movies can’t be produced since there will be no audience to watch them.”

Kon mao, unsaon pagsugakod sa SineBuano? “Kasagaran sa among mga miyembro, mga nanagtrabaho ug boluntaryong mopaambit og igo-igong salapi aron i-sustener sa mga galastuhan. Wala sila nagkinahanglag balos tungod kay ila kining gihimo isip suporta sa mga artists, story tellers, ug filmmakers.”

Hinuon, dili sama sa mga salida sa mga dagkong producer, dili kinahanglan sa SineBuano nga mamuhunan og dako kay dili man nila tumong ang makaginansiya. Mas gikinahanglan ang interes ug paghigugma sa filmmaking.

Gigamit nila karon ang digital film technology sa kadaghanan nilang proyekto. Mas barato kini ug mas dali kaysa gitawag nga industrial film technology. “Aduna sab mi mga pamaagi sa paggamit sa mga lighting equipment, mga galamiton sa set ug uban pa aron makadaginot sa gasto apan de-kalidad gihapon.”

“Ang SineBuano nagtumong nga makahimo og mga pelikula dili aron makaginansiya kundi aron mapakita ang arte sa pagbuhat og pelikula.” Nagkinahanglan lang sila og igong panalapi aron mapahalipayan ang mga artista ug makapalit og mga gamit sa pagpalambo pa sa ilang gimbuhaton.

Bisan pa man sa mga kalisdanan, mas bug-at ug daghan silag rason aron molahutay. “Ang panagsuod sa matag usa kanamo ang labing anindot nga talan-awon. Para kanako, isip usa ka magsusulat, ang pinakanindot nga bahin mao ang makita nako ang akong nasulat nga gihatagan ug kinabuhi diha sa screen pinaagi sa tabang sa mga actors, directors, cinematographers, ug editors. Daw ako usa ka amahan nga nagsud-ong sa iyang mga anak nga mitubo ug milambo isip mga indibidwal.”

“Sneak Preview”

Ang ilang gusto ipaabot pinaagi sa ilang mga salida, “Matag pelikula duna’y iya-iyang mensahe, apan sa kinatibuk-an gusto nakong ipakita pinaagi sa Sinebuano ngadto sa kinabag-an nga ang mga de-kaledad nga mga pelikula, mahimo sa mga Sugbuanon…”

Gilantaw sa SineBuano nga mahimong usa ka institusyon – film studio o usa ka tunghaan nga maghatag og higayon sa mga indibidwal nga labing nahigugma ug interesado sa filmmaking, nga mapalambo ang ilang katakus nga wala nagkinahanglang dako nga kantidad. “Tungod kay kami nagtuo nga dili lang tanang butang nagsandig sa salapi…” “Kon makahimo ang SineBuano og dili moubos sa upat ka pelikula matag tuig nga makita sa mga katawhan ug makadawat og mga pasidungog, ug kon kining maong kalambo-an molungtad sa upat o lima ka tuig, dili na halayo nga ang SineBuano mamahimong lig-on nga institusyon sa local film industry,” mao’y taas nga panglantaw sa SineBuano nga madasigon nilang kab-uton.

(Gikan sa Nagsulat: Ang mga Cebuanong bahin sa mga tubag ni Diem hinubad alang kaniya ni Jerry Gervacio kinsa parttime script consultant sa mga Binisayang diyalogo sa SineBuano.)

Post-production work on “Rewind” (now to be titled as “Libog”) is nearly 40% complete. Jomark, SineBuano Technical Director and in-house editor hopes to complete this by October. There’s still some trouble as some dialogue content were not clearly captured due to filming, thus some post-Audio digital recording is needed.

To know more on “Rewind”, click here

SineBuano is now gearing towards “Maria”, a film project which the SineBuano Creative Director’s Diem describes to be a “study of acting”. Locations and cast would still have to be acquired but the main characters have already been filled in. A ’select invite’ cast call has been set for next weekend.

“Maria” is slated to be shot by this mid- or late-October.

Not everything that Sizzles (or Steamy or Sexy) is “BOLD”

Two new Filipino independent films are out and “now showing” on the circuit this September.

One is a film helmed by the legendary Eddie Guerrero, “Teach me to Love”. This is is the icon’s second digital film which tells of a high school student’s SEXUAL awakening with his Physics teacher.

The other film is “Room 213″ is about a marriage on the rocks where the husband and wife will test their limits both physically and SEXUALLY (as if sexual isn’t physical), a drama but with a palpable EROTIC core, according to its director Keith Sicat.

Two new independent Pinoy films on a high school student’s first time and the intimacy issues between a married couple. “Sexually charged film Room 213″, “The steamy love scenes in Teach Me to Love “, well if these are advertised that way, these films don’t seem new at all.
In my humble thinking, you could chalk up these two to the plethora of Pinoy films whose only market value seemingly is highlights on sex, sex and more sex.

It’s not that I have anything against sex or its constant reprisals on-screen. Since art is the imitation of life and sex is the activity that creates life, this is to be expected but COME ON(!) Is variety, diversity of themes and film topics too much to deliver?

In opposition of this… “trend”, I declare this dare that I will not write, direct or produce through my fledgeling, struggling, sideline career of being a filmmaker any sexploitative, softcore porn, “bold” films, because let’s face the big fact here– “bold” is BORING.

But that doesn’t mean that I am not going to write or direct a love scene– when I do or when I would, I would make sure that the love scenes would leave much or depend a lot on my audience’s imaginings.

All I am going to do is plant seeds through their visual cortexes to stimulate their fertile imaginations and instincts then let Nature take its course. My point is if they think about sex, they’re sure going to wonder about sex, want sex, desire sex– in summation, they’re going to be “moved”. All through by just giving the audience “seeds” and not the whole scenic tour of the Garden of Eden!

So I vow as a filmmaker is to steer away from the common thematic backgrounds of “Life + Sex” and bring another aspect of the human condition to audience’s attention, “Life + Death”. On the global view of cinema, it’s nothing new–Kurosawa, Hitchcock, Bergman, and Kubrick explored “Life +Death” in their films and I am not striving new, but I am aiming for something different. That would hopefully be something good in itself.

Death manifests itself in many forms in my latest script “Maria”, I am glad to say. Hopefully I could bring this out with the actors help during production.

STARS SHINE FOREVER

On a much more brighter note, it is great to see that our authentic screen gems from the golden age of Philippine cinema is once again shining and smiling on the limelight thanks to Philippine Independent Film.

One obvious example is the incredible Ms. Gina Pareno who’s embarking on her new role as surrogate mother to the BAKAL BOYS.

Another is Madam Anita Linda whose “Adela” allowed her to fly out to her very first international film festival and receive a much-deserved standing ovation and affectionate accolade in Toronto.

And now a tribute to Rosa Rosal by Robinsons Movieworld and the Independent Filmmakers Multipurpose Cooperative (IFC) will be held, introducing the venerable screen legend to a whole new generation of fans and reminding us those who can still remember or have learned to remember how amazing Filipino film was then.

To be independent is to stand apart, be on one’s own but that doesn’t mean we do not respect or revere our parents, our grandparents– I think that’s the same way with us filmmakers.

I think it’s part of the Independent Spirit is to recognize where we come from, of who came before us and thanking them for inspiring us, in moving us to love and learn the craft.

as my memory rests
but never forgets what I lost
wake me up when september ends

–Lyrics from “Wake me up when September Ends” by Green Day

It’s already the middle of September and I get the feeling that I’ve becoming such a slouch, in terms of my writing and when it comes to the SineBuano activities. I’ve got to pick up the slack, somehow.

We, the group, were supposed to have a meeting last Sunday, September 14, to discuss about my latest screenplay which I hope to propose as the latest project slated to be shot this October. Titled presently as “Maria”.

But slouchy old me, I don’t have the complete script on my home PC nor on my laptop? It wasn’t in my flash drive either and so the obvious place it could have been in was in my office PC where from time to time, when work is light or I needed a change– I do additions to many scripts. The present e-copies which I had at home where only three or four pages of the “Maria” script so immediately that Sunday morning, I texted everyone about this sudden cancellation, explained the reason and prayed to God that they would have understood.

So, today I have the complete copy of the “Maria” script but am now having second thoughts of sending it out for evaluation. It’ll need a bit of tweaking. I wish I could share more on what “Maria” is about but it’ll be a secret for now since production hasn’t started. We’ll be doing rehearsals and planning and prop procuring starting from now on.

What I’ll tell you though that as a visual piece,  it is a study on “acting”, it is a human drama, it is a woman’s drama. The current script is actually 1/2 of a greater whole and I’ve decided to simply make it Part 1 of what could be a SineBuano trilogy.

Okay, that’s enough secrets let out for now. Wait, you still want more? All right. “Maria” is actually the second short screenplay I wrote since “Rewind” wrapped up shooting. I previously completed another script for another short feature, “Libra” (Tentative title) which is presently with our Technical Director, Jomark who’s planning to have it in storyboard first before he helms it as director.

Basing on our past attempts of including storyboards during pre-prod, this might take a while. One exception was the “The Witness by Carlo Borromeo” which was available first as a comic, before it became a SineBuano feature.

Here is a list of major Hollywood box office bombs, arranged chronologically, with a plausible reason or two as to why they failed.

CLEOPATRA (1963)
Budget: $44 million, US Box Office: $26 million

Reason: Epic stage sets and costumes of mythical prices! If Less is More ergo More gets less!

HEAVEN’S GATE (1980)
Budget: $40 million, US Box Office: $3.5 million

Reason: Going over-budget and negative reviews gave a black mark on this film as well as harming and killing animals on-screen and off-screen is definitely BAD KARMA.

HOWARD THE DUCK (1986)
Budget: $38 million, US Box Office: $16 million

Reason: A wise-cracking, cigar-chomping duck is not cute and thus not a box-office draw.

HUDSON HAWK (1991)
Budget: $65 million, US Box Office: $17 million

Reason: A film with an identity crisis: was it supposed to be a crime film, a comedy, mystery, or a historical fantasy much like the Da Vinci Code? It’s not a entertaining sight to have adults act like children.

THE POSTMAN (1997)
Budget: $80 million, US Box Office $17.6 million

Reason: Kevin Costner didn’t take the big hint from Waterworld, now his directing career took a massive hit from “The Postman.”  The hint is epic post-apocalyptic films don’t do well at the box office.

BATTLEFIELD EARTH (2000)
Budget: $73 million, US Box Office: $21 million

Reason: 7 foot-Rastafari aliens invade, conquer Earth then reduce the human intelligence for slave labor. The humans plan and fight for independence. All things considered, this is a typical story familiar even to those who aren’t even interested in science fiction. Couple that with hammy acting and B-level special effects, no wonder that the film was humdrum in its box office earnings.

TOWN AND COUNTRY (2001)
Budget: $90 million, US Box Office: $6.7 million

Reason: Never take what is supposed to be a light, romantic comedy too seriously. Production problems, scheduling issues, and constant script rewrites is not fun, in fact it’s boring and that translate to box office performance.

THE ADVENTURES OF PLUTO NASH (2002)
Budget: $100 million, US Box Office: $4.4 million

Reason: Despite previous success with the Nutty Professor and the Klumps, Eddie Murphy should realize that science fiction and comedy do not mix well.

ZYZZYX Road. (2005)
Budget: $2 million, US Box Office: $30

Reason: The word “Zyzzyx” is unique as far as words go, but unappealing as a title. Other than that, having one of your main actors arrested during filming does not bode well and the story of a man doing the wrong thing with the wrong woman could lead to wrong results is already done so many times, it’s cliche– it’s even in the Bible.

MEET DAVE (2008)
Budget: $60 million, US Box Office: $11.6 million

Reason: Science fiction and comedy do not mix well!

SPEED RACER (2008)
Budget: $120 million, US Box Office: $44 million

Reason: Speed Racer might be a well-known name for any Asian and Anime fans near or over the age of 30 but there aren’t enough Asians and Anime fans making lines to the box office. Tip, to make your film succeed, know and focus on your target audience.

Bangkok Dangerous (2008)
Budget: $45 million, US Box Office: $7.8million (at posting of this article)

Reason: Hitman slowly being fed up with his line of work and getting in touch again with his humanity. Yeah, that’s new and cool~ NOT!