Why Jeorge Estregan Lost in the 2011 MMFF Race_Some Musings on MANILA KINGPIN

Having handled the editing of Manila Kingpin since July which consisted of 36 shooting days of materials, up to the time Tikoy approved the Director’s Cut in October, I can enumerate some of the plausible reasons why Gov lost the Best Actor race. The following will also give you an idea of the Director’s Cut version.

1)      The senseless re-editing and the fast-edit of some of the most poignant scenes in the Director’s Cut, i.e.

a)      The opening scene [Viray-Asiong] which was cut like a trailer fully “destroyed”   the poignancy of the action. Not understanding the principles of parallel editing, images of an action happening in some other time were intercut between the main scene which spoiled and highly reduced the impact of the scene where Asiong played by Gov was being “punished” by Viray for contesting his reign as Tondo king. Left alone as a continous scene,  it is one of the most beautifully shot, most powerful, and dramatic scenes in the entire Director’s Cut version,  The contrapuntal use of sound – from noise to complete silence was gone of course.

b)      What I called the “Puntod” scene also suffered from the fast-edit. “Moments in cinema” were not recognized. When I say moments, that could be a matter of frames by the way, or nuances as Tikoy calls them. The slow bit of Asiong’s walk to the grave, where the building up of internal emotions before he finally touched the tomb, and the few moments of just looking at before touching the gravemarker, were reduced. I don’t remember showing Asiong’s tears fall. It was more of a “crying heart” or deep sorrow felt within that was showed…para mas masakit sa pakiramdam ng manonood. The feeling of sympathy is strongly generated. It was actually one of the scenes in the DC where I liked Gov’s acting.

2)      Melodramatic action. The acting of Gov reading the letter informing him of his mother’s death was something we found so unconvincing you won’t find it in the Director’s Cut. It was one of the scenes deleted in the DC.

3)      What we labeled as the “Bartolina” scene is the shot after the duel with Boy Zapanta. In the Director’s Cut, Asiong is shown in time progression, as he suffers phycially in condition, then slowly gaining back his well-being in the shadow boxing scene which was interspersed with flashback scenes that included Gov’s son. I wonder why they found it fit for the trailer and acknowledgment credits only when the boy has presence on screen. In the Producer’s Cut, it was cut just for the heck of cutting the scenes with no purpose other than just cut them—to make them fast-paced? Or the editing different?? Well, that type of edit is good and quite acceptable for trailer purposes only. The shadow boxing per se didn’t seem to work. It could have been deleted in the Producer’s Cut because the original purpose was bypassed anyway.

4)      The scene after the release of Asiong where he and the group met again was deleted in the Producer’s Cut and put instead at the Acknowledgment credits. It is one scene that showed JOY amongst all the members of the group, when they re-united, acted in so naturally you’d feel like a participant in the scene. Above all, it is an important scene that should have been kept but obviously gave way to the additional gunfight scene just because there was no “action” in it? The idea of action film seems to these people, to be just gunfights and noise…From the prison, they cut directly to what I call the “La Paloma” scene, where Ely sang the song. Fast edit at the expense of story????

5)      The additional gunfight scene [Jeorge Estregan vs. Archie Adamos] in a warehouse. Estregan’s acting is also not convincing. It is not quite original and different from the usual Pinoy action movies. In fact, it reminded of Fernando Poe Jr. instead. The scene just showed how much more budget they spent for the film. It’s one big scene that they shot without Tikoy’s knowledge.

6)      The “first kissing scene,” the particular scene commented on by a reader of my previous blog where she said Carla Abellana should get an award for “enduring the kisses” of Jeorge Estregan. In the Producer’s Cut, he smacked Carla 10-11 times. “Exag” was how this reader described it. In the Director’s Cut, those were cut down to only 3. (Which edit is faster in this case?) I will just post another blog to relate how it was edited. And how cutting it made me laugh because of Tikoy’s reaction to it. By the way, in the name of truth and fairness, there is no laplapan kiss and ngasaban in the Producer’s Cut. They were written I suppose to sensationalize so that their article would catch attention, and to have more readers and/or buyers to their tabloids [Abante and Remate]. The kissing at the wedding they used in the Producer’s Cut came from the first cut of the film. I used the other take.

In summary, the 15-20% contribution to the re-editing of Manila Kingpin I believe, successfully helped in making Gov ER lose. The edit greatly cut down his great chances to win the Best Actor award we dreamed, wished and envisioned him to receive. So, congratulations to the cutters for winning the award for making a trailer film! You quite succeeded in making Gov lose. Lastly, I do not believe that Gov is happy even if he didn’t get the Best Actor Award – from the bottom of his heart — because I saw how he really worked hard at it showcased in the very first scene they butchered. Sayang!!! For not believing in Tikoy, hindi nangyari ang hula ng Indian friend nyo. Yes! Good luck na lang ho!!! Better luck next time! Congrats Mr. John Regala!!!

By the way, thanks for the fee that I got for editing the Director’s Cut which I shared with my assistant. I’m the editor referred to by Gov: “Binayaran namin yung unang editor…” [Source: Governor-ER-Ejercito-rejects-Tikoy-Aguiluzs-demand-to-remove-his-name-as-director-of-Manila-Kingpin] I used the fee to add up to my expenses to finish ULTIMO ADIOS, my “intrinsically slow-paced” advocacy film to promote the use of Filipino Sign Language and spread the legacy of Dr. Jose Rizal. The FSL version is the first ever translation of the poem in a visual form since 1897 when Andres Bonifacio wrote his own version in Filipino language. It was successfully and officially launched at the Rizal Shrine day before yesterday [Dec 29] in the presence of Rizal’s descendants-Saturnina Rizal branch. Shown whole day at Fort Santiago yesterday, Dec 30 Rizal Day, it is scheduled to screen at the Hongkong Arts Centre on February 24, 2012. UP Prof Vim Nadera is now connecting us with Lakbay Dangal group of Filipinos in Hongkong for its possible showing to Pinoys there.

Please sign the online petition to release the Director’s Cut – pinoy-cinephiles-release-the-directors-cut-of-manila-kingpin-the-asiong-salonga-story

Jorge Arago Passed Away

Kahapon ko lang nalaman namatay si Jorge. Nabalitaan ko yun kay Ms Virginia R. Moreno na inimbita ko para magjoin sana sa screening ng ULTIMO ADIOS film namin sa RIzal Shrine sa Fort Santiago. Nagulat ako sympre. At nalungkot dahil nakasama namin si Jorge sa UP Film Center noong panahong direktor pa si Aling Barang ng Film Center. Ngayong umaga, mula kay Pete Lacaba nabasa ko ang sumusunod:

Screenwriter Jorge Arago passed away yesterday, December 27, 2011.

IMDb lists only four film titles to his name: Nunal sa Tubig (1976, story & screenplay, directed by Ishmael Bernal), Bakit May Pag-ibig Pa? (1979, credited as George Arago, for the segment directed by Ishmael Bernal), Ala Verde, Ala Pobre (2005, co-written with director Briccio Santos), Ala Suerte Ala Muerte (2007, co-written with director Briccio Santos). He’s also credited as script consultant on Ishmael Bernal’s City After Dark (1980).

For Ala Verde, Ala Pobre, Jorge was co-winner of the best screenplay award at the 2005 Cinemanila International Film Festival. For Nunal sa Tubig, he was nominated for the best screenplay award at the 1977 Gawad Urian.

Babeth Lolarga has written this “small tribute” to Jorge Arago the journalist and mentor.

http://www.brooksidebaby.com/2011/12/jorge.html

Bukas na lang ako siguro magpopost tungkol sa Manila Kingpin

Quick Movie Review_Manila Kingpin_Direk Tikoy’s Opening Scene Turned Into a Trailer

Saw the film Manila Kingpin yesterday afternoon! The expert cutters turned Tikoy’s opening scene [Viray-Asiong]  into a trailer spoiling the whole thing by intercutting with the preparations being undertaken by Asiong’s gang vs Viray himself. Obviously, they just looked at the images and edited the scene without understanding the script or without feeling it. They do not know what parallel or simultaneous editing is. By intercutting two scenes NOT happening at the same time,  they completely destroyed our original intention, even the use of silence at the end of it. They do not know what silence in cinema means. They cut the whole film as if they were cutting an MTV.  In lighting, mood and treatment the opening scene is reminiscent of Bagong Bayani, if they did not spoil it…Some of my edits were left quite intact though.

Jump Cut to the Ending Scene. Horrendous with all the senseless fade ins and fade outs.. what for? To say that the film was re-edited? Or you, I mean the producers, were still in the trailer cutting mode because of the 100+K viewers the trailers got from Youtube? Or, because the espesyalistas could not have done any better? Come on!! Your work had just been to put those damn transitions, insert Amay Bisaya, and deleting the shots that helped in building up the “calm before the storm” effect [to make the pacing fast?]; Worst is using inappropriate music that tremendously reduced the impact of the scene. That’s the Producer’s call I suppose.

More later….on the Producer’s Cut that was based on the film’s first or rough cut. I am busy preparing for the launch this afternoon of my slow-paced, quiet short film ULTIMO ADIOS at the most appropriate place, the Rizal Shrine in Fort Santiago.

By the way, Tikoy watched the film too almost at the same as I watched it but in another cinema house. I only came to know when he texted to say that I must see the film and what they did to his baby. He later called me up … mad of course, very mad. What do you expect? Seeing footage we did not want. Deleting sequences deemed necessary. He made the right decision: to have his name removed from Manila Kingpin.

Teka—tama ba nabasa ko?:

“Manila Kingpin” bagged 10 awards last night, including Best Production Design, Best Editing, Best Sound Recording, Best Original Theme Song, Best Cinematography, Best Screenplay, Gatpuno Villegas Cultural Award, Best Supporting Actor, Best Director and Best Festival Picture. Article.aspx?articleId=763092&publicationSubCategoryId=200

Wala si Gov??? Bakit? E bakit nanalo si Tikoy e dinidisown nga nya yung film maski pinaghirapan ng 9 months? At bakit nanalo yung director na 4 shooting days lang ang contribution sa film? The other report confirmed that Jeorge Estregan is not in the list of winners. Totoo pala. The only reason that I can think of na nagpababa ng points ni Gov ay ang pag-iyak nya sa film. Laluna yung nagbasa ng letter re mother’s death. Para sa kaalaman ng sambayanang Pilipino, wala ang mga melodramatikong pag iyak na yun sa Director’s Cut kasi edited out. Ha!Ha! Si Gov kasi di naniwala kay Tikoy. Siguro kung trust mo 100% hindi lang 10 awards hinakot nyo. Congratulations sa lahat ng nanalo na tunay ang commitment sa pelikula!

Sabi Nila: Laplap at Ngasab sa Labi ni Carla_Manila Kingpin Asiong Salonga

December 25, opening day ng MMFF. Tinext ako ni Tikoy alias OGUM ARAVI para sabihing hindi nya yata kaya panoorin ang Producer’s Cut, kaya ikwento ko na lang ang ginawa nila. But I have yet to watch it tomorrow, Wednesday. Rizal project is my priority.

For those who have seen the film Manila Kingpin, and for those who haven’t—this blog is meant, to give you an idea or a macro example [in the absence of a Director's Cut] how the Producer’s Cut differ from the Director’s Cut. How a film shapes and forms based on differences of purpose[s] of the filmmaker and his producers.

While netsurfing yesterday, I came across these tabloid and online blogs reported after the preview of the Producer’s Cut: “Grabe ang Laplapan nina ER at Carla sa “Asiong Salonga,” [Source: Bandera blogs_grabe-ang-laplapan], and “Lips ni Carla Abellana, nginasab-ngasab ni Gov. ER!” [ Ngasab - Source: ABANTE] — Papansin as titles or headlines, di ba? [Yun nga lang kahapon ko lang napansin dahil busy ako]. Indeed,  concrete examples of outright commercialism, or sensationalism — a marketing strategy using the AIDA principle:

A – Getting the ATTENTION to their PRODUCT [na-curious ang mga reporters]

I – Created INTEREST [kinilig at nagtanong]

D – Produced DESIRE [Para isulat at iulat para mabili --ang mga tabloid nila at pelikula]

A – Led to ACTION [Ibinandera sa sambayanang Pilipino at sa mundo para mas maraming manood sa masang Pilipino]

In this connection is a comment -  that I read in my blog today – funny but written with excitement : Carla deserves an award for this film. after enduring kissing scenes with Gov ER, she SHOULD get an award. She deserves it! She deserves it!!!! [See: i-edited-tikoys-directors-cut-of-manila-kingpin-slow-paced-daw-talaga]  It’s pretty obvious – that’s the only thing that stood out in the mind of this viewer. But no matter, to the producers, that shows the success of their strategy.

To continue — IF NO ADDITIONAL KISSING SCENES WERE ADDED, the laplapan scene referred to was the kissing scene in the wedding sequence, take note, Wedding Scene!! I am just assuming that as I haven’t seen the re-edited version. Pinagbabasihan ko lang ang existing footage noon. Teka, yung sa bed before Asiong leaves meron din dung kissing scene dun. It’s quite easy to imagine that although in real time the action was already pretty long, the Producers could have possibly extended the time further -  in slow motion – to get the Laplapan and Ngasab effect [mahaba pero hindi naman nakakaantok]. As you can see, EXcited ang male audience…O kaya, dinagdagan pa ng ganung eksena kaya “enduring” ang term na ginamit ng viewer. Hindi kataka-taka pag ganun nga ang nangyari.

In fact, this could be one of the main reasons why they did not like the Director’s Cut —  the Producers must have had the idea of exploiting that scenes to tickle the audience — or to start some intrigue perhaps. Because we treated the kissing scenes in such a way that they would NOT MERIT the descriptions: laplapan at pagngasab. Lengthening and exaggerating those would be senseless. I know that the producer reacted badly when they saw the “first cut” of the Director’s version showing the couple already leaving the church; actually in the final cut, I put  “the kiss” back. Tikoy gave no comment on both edits — which indicated approval, either way it was cut. Hindi kasi utak-prodyuser ang umandar sa kanya. For us, it was not important; for the producers, it probably was — because the exploitation of the image to tickle the masses was already possibly planted in their heads. They must be thinking of the KILIG factor. [But having been described as "enduring" by some was the reverse effect it achieved...]

The wedding scene was one of those I called APPENDIX scenes. It was not in the script that they earlier approved and gave us. I only later came to know that the Producers wanted additional sequences when the wedding scene was dumped in the editing room. Well, at least Tikoy was informed and had agreed to shoot it. That’s most important. But that was really one of the puzzles in my head then. Saan isasaksak ang eksena kasi nga wala sa orihinal na script? And there were several, not just one appendix scenes! Flashback was the saving device. I don’t know how they treated it.

Re the other woman, Paloma, I read somewhere that it was not included in the final Producer’s Cut anymore to keep the film short. If that is true, salamat naman kasi dapat lang! Hindi naka first base yun sa aming version. That’s one sequence I never considered including at all. I told both Tikoy and the line producer, Maylyn Enriquez, after having assembled the rough cut [2hr30mins], that it would be impossible to just trim sequences, that some must be deleted. She later told me that in deleting sequences, I must keep in mind, that a sequence thrown away is equivalent to half a million pesos, or P500K!!!! WOW! Ganun kalaki? E bakit kinailangan naming mag-abono ng meals noong nag-oovernight edit kami? [In fairness nareimburse naman after a week pa... but that should not happen. I never experienced that when we were working with Viva for ex, so there is something to compare them with. A big budgeted movie with no Post-Production Supervisor!!! Bakit?] At bakit walang bayad o budget allotment ang Assistant Editor? Bakit laging late ang payments sa amin kung ang budget ay P75M pala? That they later divulged: “Natutuwa ako dahil sulit ang P75-M, plus promotion ‘yun, ha, na nagastos ng aming producer.. Source: On P75M budget] Nevertheless, what she said didn’t budge me a bit. We could not retain it for that reason alone. Anyway, I thought, the Producer’s Cut was there. It could accommodate that scene if they really wanted to; but not in the Director’s Cut. It was one of the sequences I honestly did not know where to put — but in the bin! Dahil appendix, walang epekto maski tanggalin. Sumulpot lang naman na parang kabute!

I’ll be writing more on the differences between the two versions after watching the Producer’s Cut which needed four editors to re-edit. And why the story is jumpy and the scenes rushed, according to reviews. Para maging fast-paced??? Para hindi nakakaantok??? Kung mga espesyalista sila, bakit apat-apat ang kinailangang mag re-edit? Ganun ka major ang surgery na inabot ng first Producer’s Cut? Well, this is just to put on record that the Director’s Cut picture edit was already finished and approved by Tikoy, and just awaiting for the sound effects, mixing, and music production – BEFORE the Producer’s Cut was finished. The delay, it turned out was because of the hidden agenda planned — to shoot additional scenes, re-edit and mix Manila Kingpin without Tikoy’s knowledge…

[Sign the online petition: pinoy-cinephiles-release-the-directors-cut-of-manila-kingpin-the-asiong-salonga-story]

Ultimo Adios_FSL+Multitract,Trilingual Version Screen Dec 29

Aldrin Gabriel

The Official Launching of Ultimo Adios_interpreted by Aldrin Gabriel [Deaf] in Filipino Sign Language [FSL] is slated to be shown on December 29, 2011 at 4 pm. [Read NHCP Press Release: 115th Year of Rizal's Martyrdom, The Language of Heroism and from GMA online news: mi-ultimo-adios-in-filipino-sign-language]Unfortunately, seats are limited. Just for production team members alone, 1/4 of the seats could be occupied. Anyhow, I hope we could all fit in the room at the Rizal Shrine where the showing is to be held. For sure the spirit of Rizal will be with us. He!He!

The show is sponsored by the National Historical Commission of the Philippines in collaboration with NCCA and DLS-CSB School of Deaf Education and Applied Studies. A preview of the multitract/ spoken language version [Filipino], with FSL, and subtitled in Spanish is sked as the program’s closing activity. Incidentally, we already availed of the PAL promo yesterday for a trip to HongKong to attend the showing of the same film at the HongKong Arts Centre on February 24, 2012 for the HIDFF2.

By the way, Tikoy, now OGUM ARAVI has sent me a message asking me what the gist of A La Juventud Filipina is because he dreamt of his his lola holding a ‘book’ titled La Juventud Filipina. Of course, La Juventud is not a poem; but in a dream, anything is possible. That was before the TRO filing he said. It was most appropriate that he – fighting for filmmaker’s freedom would dream of Rizal’s Juventud who was trying to encourage the Filipino students during his time to rise up from lethargy. His first lines say: “Flourish! O timid Flower!”. Its third stanza fittingly says it: “Bearing the good light of art and science, to the battleground descend, O youth, and smite: loosen the heavy pound of chains that keeps poetic genius bound.” For those who wants to castrate true artist’s freedom, or kill his spirit, you will never succeed. Sisid Tikoy!!!

My “Slow-Paced” Film ULTIMO ADIOS in FSL Screens in HongKong February 24

Xavier Tam of HongKong International Deaf Film Festival informed us yesterday of the schedule of ULTIMO ADIOS in Filipino Sign Language [the 132nd and latest translation of Ultimo since 1897]. It is according to him scheduled to follow the Opening Ceremony of the HKIDFF2 on February 24, 2012 at HongKong Arts Centre, Wan Chai. With DLS-CSB SDEAS friends, we are planning to attend the fest. My film is intrinsically slow, so I want to invite all those who are making a lot of fuzz on the “slow-paced cutting” of Tikoy’s Manila Kingpin: The Asiong Salonga Story, the commercial film feature and his come-back film that I edited. (To watch Ultimo trailer, click watch?v=wqnhlunLwH0])

Producers Agreed to Remove Name of Tikoy Aguiluz as Director of Asiong Salonga

Just read moments ago that: “… The producers of Manila Kingpin: The Asiong Salonga Story have agreed to remove the name of Amable “Tikoy” Aguiluz VI from this period film, which earlier credited him as the director.”

The TRO “restrains the respondent from using the name of the complainant [Amable "Tikoy" Aguiluz VI] in the film credits, billboards, posters and other documents and promotional materials in relation to the film Manila Kingpin: The Asiong Salonga Story.“

When PEP.ph (Philippine Entertainment Portal) interviewed Direk Tikoy yesterday, he said:  “The director is the chief creative force of the film, not the producer. Tanggalin nila ang name ko, yun lang naman ang request ko. Respect the rights of the director. I want respect, not just for myself but for all other directors, for the young filmmakers. Nine months kong pinaghirapan ang pelikula. Parang anak ko na ‘yan.” 

(Click to read the whole article: Producers Agree to Remove Tikoy’s Name from Re-edited Asiong FIlm

Anak ni Tikoy ang Asiong Salonga 2011 Director’s Cut Version. At katulong ako sa pagpapaanak nyan na nagsimula hindi lang nang iedit ang pelikulang ito kundi mula pa scriptwriting stage na iniwang hindi tapos kay Tikoy pero bayad na raw? Kaya nga may Rey Ventura e!! [Read related post I wrote months ago: Re Film Director as Conductor]

CONGRATS TIKOY!! Masaya Pasko mo sa wakas dahil si OGUM na papapel!!! [Tikoy jokingly said then that if they will change anything from our film, he will ask for his name's removal from it. The name Ogum will be there. It's because we were then wondering why the producers seem to delay the post-production process when we were already about to finish the picture editing of the movie]

On Asiong Salonga-Director’s Version – Thank You Noel Vera!

Thanks Noel Vera for believing in us!!!

Last night, I read the film critic’s article on the issue, which whether I like it or not, involves me [Click to read — Asiong Salonga-Director’s Version )

Later, I’ll blog on how it is to edit A Tikoy Aguiluz Film…for the benefit of future Creative film editors, or those who aspire to be — most especially for those who are just Cutters or Technically Competent in running the computers, and all those who just Cut for Cutting Sake! Yung mga Robots lang pag nag eedit. Yung type na Amen nang Amen lang sa prodysusers…Marami yun!!! Para na rin sa mga producers na hindi marunong magbigay respeto sa mga nasa likod ng camera.

Merry Christmas to all!

Btw, sakay ka sa float Tikoy???? O, sa virtual float ka sasakay? O, magfloat ka na lang tulad ni Asiong sa morgue scene… kasi PINATAY, o rather, KINATAY nila film natin? Ha!Ha! Cool ka lang ha? Dami ka pang dapat gawing pelikula..

Sound Mixing of A mi Patria / Inang-Bayan Done!

We finished today the final mixing of the Filipino Sign Language version of my omnibus film A mi Patria or Inang-Bayan. It’s a Poetry-in-Film consisting of five poems of Dr. Jose Rizal. Ultimo Adios in FSL is slated to be officially launched by the National Historical Commission in collaboration with NCCA and DLS-CSB School of Deaf Education and Applied Studies next week at Fort Santiago. To close the program, I’ll be showing a sample of the spoken language version [multi-tract form] with Poet Vim Nadera as the reader, to be shown simultaneously with the interpretation in FSL of Aldrin Gabriel, with the subtitles in Spanish by Dr. Rizal. [Trilingual therefore]. Vim, our project consultant will read the version of Ultimo Adios [Huling Paalam / Pahimakas] by Andres Bonifacio. Unfortunately, because of small space at the Rizal Shrine, the showing is invitational…seats are limited to only 50 people I think. Many Deaf friends want to see the film…but…sa U.P. o sa CSB Theater  na lang tayo! Sana makakuha ako ng sponsor to take care of the venue and other expenses. The UP Dept. of Theater and Speech Communications headed by my friend, Belen Calingacion is willing to support its premiere showing. Except for one, the poem readers of the English and Filipino versions are all faculty members of the U.P. KAL.

I Edited TIKOY’S DIRECTOR’S CUT of Manila Kingpin. Slow-Paced daw? Talaga?

At last! I’m done with all the necessary NCCA paperwork and accounting requirements that I need, to clear the liquidation of my expenses for the film grant on Project Rizal. It has occupied my time for days on end, and finally managed to submit them yesterday afternoon! I now have time to write and react on the hullabaloo about the re-editing of Manila Kingpin: The Asiong Salonga  Story.

The other night, as I arrived home from a session with my Rizal film’s indie, alternative music scorers, Roselle Pineda, UP Arts Studies Professor / artist and JM Diego, vocalist / musician of Los Indios Bravos band, I received a text message from Tikoy asking me to read the statements made by Gov. Jeorge Estregan about Manila Kingpin. Gov. repeateadly stressed on the film’s need for re-editing dahil nakakaantok daw? 2hr 40 mins, some other online reports stated. And that they needed four editors to re-edit it? “NAMAN!” sabi nga ni President Benigno Aquino. But was he really referring to the Director’s Cut? Or, the Producer’s Cut that he supervised in editing?

For everybody’s information, the Director’s Cut, or the final film edit approved by Tikoy is 1:52 mins long, nearly as long as our film, Gawad Urian Best Picture, “Segurista.” Without question, we met the line producer’s requirement of six 20-min film reels. Manila Kingpin, like any of Tikoy’s film that I have edited was cut based on what we thought would suit international standards. Like all the other films he directed, we cut it based on WHAT THE FILM DEMANDED, NOT WHAT THE PRODUCERS WANTED IT TO BE. As such, he wanted unnecessary scenes out [dapat lang di ba?]. Exposed to international films, he knows quite well the universal standards and film criteria, himself having served as a jury in foreign festivals aside from being the founder of the annual CineManila International Filmfest—that offer good, quality films to the Filipino audience, something which cannot flourish here because of producer’s interferences, tastes or business motives.

Conflict of interests and purposes of the Director [after quality] and the Producer [Return of Investment or ROI siguro] finally led to an agreement that there would be a Director’s Cut and a Producer’s Cut. I concentrated on the Director’s Cut; my assistant worked on the Producer’s Cut. “Brutal” editing must be done, we decided because of foreign film festival length requirements. “BRUTAL!” yes! That’s precisely the word Tikoy used. As a result, some of the sequences had to be sacrificed, including what the producers liked, wanted, or loved perhaps. They were either HEAVILY TRIMMED DOWN or EDITED OUT for the following reasons: 1) removing them would not affect the story in anyway; 2) tele-novela acting; 3) corny dialogues; 4) unbelievable, amusing, at times laughable acting antics that reminds of the usual, traditional action fighting scenes which Tikoy were trying to avoid; 5) return to nega persona or the previous acting image of Gov whom Tikoy directed so well that his former image in films [na mala-demonyo] turned into a different man. Truly, a re-invention of Gov’s image. You have to see it to believe.

In fact, after watching the raw footage during the first shooting days, we could already see the great chances of Gov to win an award as Best Actor, his first (?) in case. May panghihinayang lang that time because news got confirmed that Asiong did not make it to the MMFF. Anyway, all the supporting actors of the film are exceptionally good [real good choice indeed!] that they are most likely to be nominated for their acting too. But I would like to salute John Regala —and I’ve said this before in my earlier post—for being most consistent and excellent in his acting as Totoy Golem. For that, I pray that he wins the Best Supporting Actor Award. And I pray the same thing for Gov because honestly, he deserves it.

Now, what about the Producer’s Cut  which I think must be the “FIRST” edit that Gov could be referring to? [Read: "...nakumpirma ang usap-usapang hindi nagustuhan ni ER ang unang pagkaka-edit ng kanyang pelikula." Source: http://www.pep.ph/news/32312/. The truth is, sequences removed or not used in the Director's Cut were put back according to my assistant who worked under the producer's supervision.  Hence, it ended up as no different and as long as the original first cut which was 2hr 30 mins long. That was how the Producer's cut ended up; that was the producer's edit. E di mahaba nga! Obviously, they themselves did not like what they have edited? So, they got four editors to re-edit it, they say..." para hindi raw antukin ang mga manonood nito sa haba." (Source: Governor ER Ejercito rejects Tikoy Aguiluz's demand to remove his name as director of Manila Kingpin).

The Director's Cut could have been readied for preview during the CineManila Film Festival had the producer willed it; but clearly they have shelved it. [Showing it would have proven the wrong info that they are feeding the people]. Tikoy deserves to have the Director’s Cut on a film that has sapped a lot of his creative energy to introduce a change in Philippine action movies in terms of look, and content, and hopefully spark their return in Philippine cinema. That’s where his name should be kept. Not on a version that he was not a part of the total creative process. Not on a version that he is disowning.

Lengthened or placed back on the re-edited version to be shown on December 25 therefore, as I can imagine them would be sequences of Carla Abellana (I wouldn’t be surprised if the additional scenes shot included her); those of Philip Salvador’s, and the scene with Asiong’s other woman named Fe. Unfortunately, if they did not, or could not understand the concept of Tikoy re the floating of “Asiong’s soul” in the morgue scene, that would be cut short or would suffer from the fast-paced edit. I too can imagine the possible shortening of the build-up of sorrow or its aura during Asiong’s funeral scene. I just hope that the fast-paced edit would be applied only when necessary so as to avoid having “trailers” within the film.

I worked on Tikoy’s version – the Director’s Cut. When he gave his stamp of approval on the film’s final edit, my work [which started from pre-production period, specifically from the writing stage] ended. Tikoy, a serious creative Director knows what is best for his film and will do everything to achieve his goal for the sake of the film first and foremost. Together as a team, we have been doing that. Manila Kingpin was no exception.

[Sign the online petition: Release the Director's Cut]

[Click to see our photos during the last day of Director's Cut Edit - Last Day Edit Fotos)

Enough on this matter.

Let me now fully spend my time working on my small film [with a budget of less than a million] on the writings of the greatest man who ever lived in Laguna — RIZAL! A Poetry-in-Film Project, I am working on four language version translations [FSL, Filipino, English and Spanish] of five of his well-known poems. In fact, I’ll have the official launching of my short film, the 132nd translation but the first-ever interpretation in Filipino Sign Language of ULTIMO ADIOS this coming December 29 at the Rizal Shrine in Fort Santiago, as part of the National Celebrations of his martyrdom. Descendants of Saturnina Rizal, his eldest sister has already accepted our invitation to join us in the program. Since Gov. Estregan is Laguna’s Governor, I hope he could watch my “slow-paced” film, ULTIMO ADIOS for him to have a feel of how silence, slow pacing, and music ONLY could keep an audience awake. Without Ratatatat scenes! No fast cutting except when he was shot to death of course! Fast-paced cuts and rhythm are not the sole reasons why the audience are kept awake, mawalang-galang lang po! Lav Diaz, may gusto ka idagdag?

Though small and “slow-paced” my film is, I can guarantee anyone that it can move sensitive and nationalistic Filipinos. My version is a film for all seasons, all ages; it is meant for all people- irrespective of race; for the marginalized and those who are not, for both students and scholars. It is a timeless film meant for those, who like Rizal truly and deeply love his country and his people. When fully finished, the omnibus film where Ultimo Adios is a part of will be titled A MI PATRIA or INANG-BAYAN.