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FILMMAKING IS A RISKY BUSINESS

In Uncategorized on May 11, 2010 at 6:44 am

 

Veteran filmmaker Ellen Ongkeko Marfil reminds us of the most crucial role in making films.

Besides her love for art, she stresses on enriching the mind and touching the heart.

 

as told to  MARGAUX SALAZAR

 

portrait  MAAN PALMIERY

 

This country is so focused on economic development, but we also need a certain cultural consciousness to enrich the country.

 

“I grew up with the 35mm film. Now that digital films are on the rise, I can very well say it’s the most exciting medium. I’m so glad I’m very much active now. Digital film is like the new ballpen. Just as anyone can write, now anyone can make films. It’s a medium of communication. But filmmaking is a very risky business.

 

I did Pusang Gala even before the first Cinemalaya in 2005. Prior to that, I tried working on the mainstream circuit—as a producer for Star Cinema and a director of Maalaala MoKaya. But with indie filmmaking I feel like I’m in full control of everything—the vision, the material, the casting, the marketing, and distribution. Plus I get ownership of the film, which is very important. After doing Pusang Gala, I realized ‘this is for me.’ Digital allows me more freedom as well because it’s not that expensive.

 

Cinemalaya’s Boses, which was written by Froi Medina, won best script at the Cinemanila screenwriting contest. It is a melodrama about a battered child, who, once brought to a shelter meets a reclusive violinist. They discover and help each other with the significance and influence of classical music in their lives.

 

I would jokingly tell renowned violinist Coke Bolipata (who played the lead) ‘this is not an art film, it’s a melodrama.’ But when I say melodrama it’s not over-acting. It’s an appeal to the emotion, not a cerebral type of film. I have a very important advocacy here—violence against children. I want it to be watched, of course, by the most number of Filipino children. I’m also glad because I was able to get institutions concerned with children’s rights as partners throughout the process.The funny thing is I had three materials submitted to Cinemalaya, I didn’t think this was the one that was going to be accepted because, first, it was the most expensive. Second, it’s not very “indie,” (since indie is sometimes synonymous to experimental). This is traditional, linear, and three-act storytelling. But it got in. It was the one that finally got in. The seed money was only P500,000 and I was not sure how to market it. But, thankfully, I got artists, good artists. I got Coke and this boy Julian Duque who’s such a fantastic boy. I even got veteran cinematographer Nap Jamir. I worked with people who did not need or want to be discovered, but with great and talented artists. I was so happy they were interested in the material though there was no money involved in it.

 

Of course, I got the support of the National Commission for Culture and the Arts (NCCA) and the CCP (though it was insufficient for the film’s budget). I also gained monetary support from the United Nation’s Children’s Fund (UNICEF) and the Center for the Welfare of Children (CWC), because they have an advocacy on violence against children and they liked the material. With the aid of these organizations, I was able to prolong my production.

 

I have always wanted to do a film for children because I have a son. I wanted something I could share with him. A film where I could bring him on set with. My boy studied violin, too. So this story was perfect. I was telling my son, ‘Anak, ang dami mong swerteng na-ibigay sa kin (you brought me so much luck).’ And I later realized that because I did this for the children, I was able to receive a lot of blessings. This film was successful, well-received, well-reviewed. I don’t know how far this film will go but our goal is really to reach a lot of people. Also, I want this film to be seen by the most number of Filipinos, children especially.

 

The only major problem in our country is distribution. There are lots of grant-giving bodies, lots of good filmmakers, and lots of good films but they are not being watched by the majority of the population. CCP is doing its part and every year Cinemalaya’s audience is growing. As they get exposed to good films, they keep coming back for more. But we need to expose the Filipino audience even more. Because in the end they will sustain Philippine filmmaking.

 

We need to sustain the independent filmmaking industry as these films help the cultural consciousness. It’s part of educational development. This country is so focused on economic development, but we also need a certain cultural consciousness to enrich the country. I believe that if you try it through the cultural path, you can also enrich the economic path. It’s also for the sustainability of the artists as majority of indie filmmakers don’t survive on this. There’s a plight and filmmakers can’t be making indie films as their bread-and-butter. Yet I always think that what one does for his or her soul is also something that should sustain him or her. We have to share that consciousness. Even encourage filmmakers from the provinces to make more films.

 

What’s advantageous about digital film is there’s no monopoly. Voices of so many people can now be heard. If there was a monopoly, the ideas that come out are from a select group of people, but because of digital technology, it is so democratized. More ideas can be seen and heard. That’s the best thing with Cinemalaya, all films are beautifully unique. With stories you’ve never heard and stories you don’t get to hear in mainstream movies. It’s so good to share this to the people.

 

One of the joys I experienced just recently was when people from the audience came to me after seeing the film. They would hug me, and it’s not that they would congratulate me, but they would thank me. It was so heartfelt. Then after the screening on my last night, there was this man, he was just touching my hand and he couldn’t utter anything. He was just so stroked by it. For me it’s one of the best compliments—that I was able to move them. Because filmmaking is not always about the fame and prestige. Though attractive, the most important part is still is reaching or telling something to your audience through an inspiring story. I hope to trigger a great impact to the minds and hearts of Filipinos. I’m not really sure if I do, but I try, I try.”