Sina JP Rizal at Kingpin Asiong sa Buhay Ko

As the year starts, I want to reflect on Jose “Pepe” Rizal and Asiong Salonga -  ang 2 Astig na kumuha sa oras at panahon ko noong 2011. From the time I started working on the films focused on them, they automatically became part of my subconscious…my being, having been part of the team that helped in resurrecting their acitvities. I am still in fact, still unfinished with my Jose Rizal film.

Salonga, the Manila Kingpin, and Dr. Jose Rizal, the Renaissance Man cannot be compared, SHOULD NOT be compared. But I have reason to compare the two because I got involved in glorifying both…as editor of the DIRECTOR’S CUT of the first, [Tikoy Aguiluz's version]; and as director-editor of the 50-min medium length film, A mi Patria /Inang-Bayan featuring Rizal’s poems, including Mi Ultimo Adios. The poems were all interpreted for the first time in Filipino Sign Language [The FSL version of Ultimo Adios is the 132nd translation since 1897]. Both were shot in digital format: the first used Alexa, the latest pro-cam; the second used simple DSLR’s, Canon 7D and 5D. The first spent P75M to produce; the latter, less that P1M. Technically, they too should not be compared at all because of that. The first is outright commercial; the latter, purely educational. Should I stop comparing the two??? Of course not! I have just began.

It was in summer 2011 when I started alternately working on Manila Kingpin: The Asiong Salonga Story; and A mi Patria. Why since summer? Because I was asked by Tikoy to join him in the pre-production of the film, that is, from studying the incomplete script, storyboarding the OK’d scenes, and brainstorming with him and the writer, Rey Ventura on the story ideas which Tikoy wanted added to the film. All the new ideas you find in the film— the calesa chase, the fight at the lahar-looking zone they call Magdalena, the prison scenes with Guardame, etc. all came from Tikoy’s fertile mind. Those were his ideas, not the writers nor the producers.

Asiong Salonga was a gangster, a badass; Dr. Jose Rizal was a scholar, a well-educated man. But both are heroes: Asiong Salonga to Tondeños during his lifetime; Rizal to all Filipinos, not only in Manila where Tondo is located but wherever there are Filipinos in the world, during his lifetime until now. Asiong’s life has been filmed four times; Rizal, many times over of course since he lived 150 years ago. The first film on him was made in 1912; the latest and the one that would inarguably be the film that will come out a hundred years hence is what we are doing now, in digital form though.

Both of them lived not too long in this world: Asiong died at the age of 28, some says at the age of 27; Rizal at the age of 35. Both were killed by a bullet: Asiong was assassinated by Erning Toothpick; Rizal by a firing squad consisting of 8 Filipino soldiers working for the Spanish government. Asiong was shot behind the back by Erning; Rizal was ordered to turn his back and face the sea towards Cavite. Rizal died facing the sky; in Kingpin, Asiong fell with his face towards the ceiling since it was shot indoors [Director's Cut version]. In the film, he died in the morgue. In reality, Asiong was reported to have been killed in front of a store. Both were killed in Manila: Asiong in Tondo; Rizal in Bagumbayan,now Luneta. The GUN was Asiong’s weapon; the PEN was Rizal’s. Asiong used violence to become what he was: feared but said to have a good heart for the poor; Rizal used non-violence, and wasn’t sold to the idea of a revolution without preparations- but feared by the Spanish government because of his mighty pen that sparked the revolution. Both were jailed, and both continue to be models and inspirations to whosoever fancy themselves to be like any of the two. Gov Jeorge Estregan loved Asiong’s character so much that he wanted to remind the present generation of Filipinos about Asiong. He already made one in 1991 but again spent millions with SCI to produce it. I am making a small film that will preserve Rizal’s poems in sign language – the first-ever in Philippine history – to remind all Filipinos of his greatness and nationalism with a budget equivalent to the value of making a day’s sequence [a couple of days at the most] of Manila Kingpin.

In the editing room while watching tons of footages of Asiong Salonga in the making, I couldn’t help but muse on the above thoughts. When told that in editing out a scene, I should consider that P500K will be thrown away so just trim the scene here and there, I couldn’t help but think on how I struggle to  raise that amount to be able to make a decent film that will glorify the thoughts and wisdom of a great, inspiring and learned man. But I did despite odds! And responses, especially of the Rizal descendants are my gauge in shouting to the world that — yes! the Deaf succeeded in getting their message through – that FSL can possibly touch the hearts and minds even of the hearing viewers too, as exemplified by ULTIMO ADIOS; that FSL is indeed beautiful and Deaf Filipino poetry is possible; that FSL should be recognized as medium of instruction to Deaf students because it is their VOICE.

Sino talaga ASTIG: Si Asiong o si Pepe? Interestingly, both were on the front pages of the newspapers when they died…bongga sila nang mamatay! The only difference being the fact that there is not one monument in honor of Asiong in the Philippines. Well, I am not aware of any. Can anyone tell me if there is one so we can post it here? Rizal monuments and markers can be found in almost all places in the Philippines, even abroad. ULTIMO ADIOS and the 50-min FSL film INANG BAYAN / A MI PATRIA are the simple monuments that I built in honor of Dr. Jose Rizal, a great man for all seasons, for all peoples…in celebration of his 150th Birth Anniversary.

Sound as Important as Picture

That is my belief! I give  equal importance to sound vis a vis pictures in filmmaking. Of course, to my Deaf friends, sound means nothing! But in the film that I am doing for them — A mi Patria — sound is yes, very important. I am a hearing person so it is honestly difficult for me to appreciate moving pictures only. Yesterday, Bert de Santos, sound designer continued to work on the layin and pre-mixing of effects. We are waiting for the music, another very important and essential component of Project Rizal. In making a “Deaf film” effects and music are crucially important. Without them, my films won’t have the spirit that I need. Or, what the hearing viewers would need. The film A mi..is meant for the Deaf but with the Blind and hearing viewers in my mind as target audience as well, sound should be there. Otherwise, it would really be incomplete and won’t touch even the most sensitive of the hearing viewers. I want them to appreciate Filipino Sign Language; learn it if they could. Because that would make the gap between the Deaf and the hearing closer. Until one day, they would find themselves at one with the Deaf. At home in the Deaf world

On Venting Out ANGER

I actually pushed through with the shoot last Thursday after shouting out my “anger.” Nang mahimas himasan, one of my guiding sayings that: “It is not what is happening to us that is the problem. It is your [our] reaction to the happening that is the problem,” I started to cool off and think. Coordination is one of my biggest problems when shooting and cancellation would I thought really “disturb” my plans and future sked, so I looked for another person to shoot for me – Dennis, a super responsible Deaf person – the reason why he deserved the Go Negosyo Entrepreneurship Award I guess. But of course, the lost of time, of more than 3 hours in fact, did give me a problem as a result. I did not reach my usual target of shooting nearly everything that I  have in my shotlist. I shot a few, but nevertheless important elements that I need for the film. So be it! I have ways, other ways of solving production problems. My point is that irresponsibility really causes harm to others… and it did harm me some way. But — past is past. It tested me once more anyhow, of mainly how to cope up with anger. Some says that VENTING ANGER MAY DO MORE HARM THAN GOOD [click to read on Angerl but shouting out is really one of my “techniques” to vent out anger. I luckily do not belong to those people listed in the fore-mentioned article.

Sometimes one can’t avoid to be like a pressure cooker. Anything negative, and not good for health should be out of our system. Afterall, I am not a retaliatory person. Now I can laugh. And I just laughed in fact at Oliver who is used to sleeping on top of the computer. Our white and loveable cat must have really dozed off to sleep, dreamed. He rolled over, and fell right down on the keyboard that I am using! Ha!Ha!

Editing Kingpin Asiong Salonga 2011_Payment Through Progress Billing_A Joke or What?

Editing Tikoy Aguiluz’s Asiong Salonga 2011 is NOT my first film editing assignment. In fact, I have edited all his feature films produced by Viva Films, Neo Films and other production companies. But this is the first time ever that I heard of getting paid as film editor following the progress billing policy. To quote the line producer: ” I have to assess the percentage of accomplishment wid the viewing.” OMG!!! If that is so, then percentage wise, I should get paid for 75% of the work already done by now because I have finished editing all the sequences that are in the studio except what I call the appendix scenes or sequences that are not in the final script. And they were already previewed by Gov. Jeorge and Tikoy. Surely, it is most favorable because I am going to finish with the editing in a couple of weeks— if things run smoothly. They were still shooting yesterday I heard, and the footage from the remaining three-day shoot including the remnant shots will account for the rest of the film materials to be edited.

PROGRESS BILLING—that was my first time to hear it being applied by a film production company!!! What was my reaction? The same as when I was asked to sign an attendance sheet when I went to Pagsanjan to work with Tikoy and the writer on the script timeline. He!he! I did not report for an office work, right? So, what was that for? Besides, I did not go there to work as film editor. I worked on the timeline, helped put structure to the story, and worked on storyboards. Did I get paid for that extra work? No!!!

How can producers ever quantify the amount of overtime efforts being exerted by film industry workers? Most of them do not see that…Only the actors and actresses are the apples of their eyes! They do not realize that the littlest jobs on the set and in all phases of production should all be given weight. All should be treated equally except of course those who are not performing their duty properly. Because a film cannot be what it should be without all those people behind the camera.

Weekly payment is the standard operating procedure by established production companies that I know of and familiar with, so I was expecting the same SOP. But no! I have to make a request to be paid for what I am doing. Isn’t that the duty and responsibility of any producer to pay when they should be? Is it because the contract has not yet been given to me? Or, is it the very reason why that contract is being held anyway?

Contract or no contract, I am doing my work professionally, so I demand no less than what I should be compensated for. I am not a simple cutter. I am a film editor who uses my brain creatively to juggle shots so as to put order and sense to thousands of unedited clips, doing ‘surgical works’ at times because of continuity problems, trying to save even sequences to avoid reshoot [the original OBB is an example], and really making the best out of the footage handed to us. Tikoy need not sit with me in the editing room because he knows that I will do the best for the film. His film is also my film, and our film belongs to all the people involved in its making and the audience the film is intended for. It doesn’t belong to the producers alone. Their proprietary and economic rights are there but intellectually they cannot own ever the creative artist’s contributions—whether in front or behind the camera.

Mama Mary of Manaoag Behind the Making of Alyana

Part of my reply to the interview questions of Vim Nadera, Manila Bulletin columnist was this: “…I am not a religious person but the reversal of my faith back to Mama Mary, specifically to Our Lady of the Rosary of Manaoag while I was making Alyana, helped me finished the film. People may believe it or not, but Mama Mary provided me the final push. I’ve been hanging on to that belief since then.”

That was in 2005. And from then on, yes! I am hanging on to that belief which has made me ever stronger and confident that I can finish whatever film I have started even if I do not quite have what I need — finances especially. For as long as my belief is there, in Mama Mary and myself, and God above all else, I shall overcome all hurdles.

Faith can move mountains, so they say…

[For the complete article [Part 4 of Vim's column at MB] published yesterday, Monday, July 25, please click Mirana Medina: Independent Advocacy Filmmaker (Part Four)

30 Sequences Edited_KINGPIN

As of last Saturday, a little over 30 sequences of KINGPIN, Asiong Salonga story remake, Tikoy’ comeback film have been edited. That’s the first cut edition, or what others call a rough edit. When juxtaposed with other sequences, they are still subject to trimming down, and further editing to make the edit tighter. Having over 24 days of footage [as of this writing] definitely adds to viewing time before edit, lengthening the edit period automatically. With more scenes to shoot, the amount of materials would eventually be like editing two films. Most of the major action scenes are edited…a few minor ones remains. Dialogue scenes are faster to cut but requires more thinking as to where the best possible cut should be, especially if there is dramatic action going on. Emotion has to be timed. Pacing is quite important. In action editing, it is more of physical cutting of the images, though of course, we can do jump cutting of shots too. When two camera set ups are there, editing takes longer time because viewing of materials doubles. That’s the difference between editing using celluloid as materials. The expensive cost of film limits the coverage. Use of cards spoils a filmmaker as I have noticed. They indulge…nevertheless, it is more challenging for a film editor to be faced with tons of footage, and even more challenging when continuity problems are there. Yung nga lang nakakainis din because they waste our time as much as they have wasted their time, effort and production costs while shooting because of simple neglect. Continuity is quite important…the work of the one responsible for it should not be taken for granted.

And the film editor’s role is as important as anyone in the production team, one of the most important in fact. Film editors can make or break a film… when given footage with continuity problems, we turn out to be surgeons at times. Ha hay!!! Anyway, I intend to edit overnight tomorrow…

By the way, google yielded what it says to be the  photo of the real Asiong Salonga. For materials on movies earlier made about him starting from Joseph Estrada to Jeorge Estregan Jr. [who is doing the fourth remake now but with a story based on AS story, and quite unlike the earlier movies,] and headline news about his death, please click OCTOBER 7, 1951: \”ASIONG SALONGA,\” TONDO\’S No.1 TOUGHIE, SHOT DEAD

NCCA’s ‘SPEND FIRST – PAY LATER’ Policy

Sudden defocus…I can’t help but think of the problem that is confronting me now, regarding the possibility of not being able to finish my Project Rizal in time for November Deaf Month 2011 because of the sudden imposition to ‘Individual Grantees’ of the SPEND FIRST  –  PAY LATER policy by the National Commission for Culture and the Arts Commission on Audit. This would mean, according to the official communication I received yesterday June 30, but dated July 1, that, ‘INSTEAD OF THE USUAL RELEASE OF GRANT AS CASH ADVANCE AND IN TRANCHES, YOU ARE EXPECTED TO SPEND FIRST FOR THE PROJECT AND SUBMIT THE LIQUIDATION -proof of expenses- OF THE GRANT BEFORE WE RELEASE YOUR FUND.

If individual artists are moneyed, rich, affluent — there is no problem. They won’t even bother to approach NCCA. Who seeks for assistance but those who like us can only possibly make the project roll when financial means are extended. As I replied to Vim in his interview questions re budget matters– I may have ideas, have the will power and determination to make worthwhile films, but I need equipment. I need cameras, materials, and manpower to help me. Not all people will voluntarily work because you will be eating up their time, will waste their energy, will exhaust them. They must receive what is due to them. Making film is not easy. It is just easy to watch and criticize. But the making of a film –even a minuter—is not like magic. Not so many people know  about the difficulties filmmakers encounter especially, independent filmmakers who make no-star documentaries.

We all need to eat when we work, need transport to go to our location. Now, where to get that—the money ‘to spend first’ is the question. Will the people I work with agree to be paid later.. is something i will know these coming days because i will lay to them the cards that affect us all…on second thoughts, why should i be bothered by this when the most sensible thing NCCA COA should be doing is to respect the MOA I signed with them before this new policy came up. It disturbs the current smooth flow on policies that they are enforcing. They themselves are breaching the contract they have prepared. What have we got to do with what COA found out re their old policies that should be enforced is not the grantees problem anymore…they should first be resolved internally. Why shouldn’t they think of our concerns as well before demanding us to suddenly impose the spend first policy, especially when the MOA signed months ago is already being enforced.

This afternoon, I had an immediate meeting with the key people in the project, emailed those who could not come—and we ended up with the consensus that NCCA have no right to just dismiss the MOA grantees signed before this issue came up. So, my stand is to let them know that respect for the MOA I/and the rest of the other grantees who signed before July should be respected.

Project RIZAL must be done. With God’s grace it will materialize. And with production crew members who trust me and believe in what I am doing, WE SHALL OVERCOME. Though we maybe late in production because of this policy, let the right course be taken. We prefer to take the Daang Matuwid.

Tiga-Isla / The Islanders of Corregidor

From deep slumber, I was awakened when I received an unexpected call from Kristine Castro of Suncruises day before yesterday asking me whether I have plan to “sell” copies of my documentary in the island. Why not, I thought. For years, I have managed to stop the selling of the film [I do not know if there is under the table dealing though] by an Australian who started selling it without my knowledge, or at least, without the courtesy I expected of someone whom I believed to be a gentleman. My reason is valid having an attorney-friend studied the agreement which that supposed gentleman prepared, he being an attorney, and which I stupidly signed simply because of trust. Well!  That agreement turned out to be favoring him more than I do, and in fact, it was written in such a way that I would be on a losing end. It had no closure, and he can sell until eternity!!!  That is why my friend told me to talk him out about some revisions on what he had written. I have asked him to do the change. He has agreed in the beginning to do the change on our personal agreement but dilly-dallied later saying he was busy, probably thinking of what he would lose should he do it. Until I came to know that he resisted the clause on accounting for the sales which my attorney-friend included. He actually even detested the action of my friend. Then, so suddenly, and unexpectedly, when I visited the island with a Balikbayan relative, I saw his well-packaged “product” — my film — being sold at Corregidor Inn! My trust having been betrayed, I fumed with anger. I met with the Corregidor Inn authority and went to meet the manager in Manila to tell them the situation. Knowing that I worked on the docu for a year-and-a-half, she immediately phoned the Inn to stop selling the docu.

So, he turned ONLINE. My documentary started selling from his end in Australia for years now, and what do I get? Not a penny! That is how he proceeded with his business. Marketing somebody else’s work. He is selling it online for $25. Click below to see:

px_islanders.html

I am not a business-minded person, and I have never thought of my work as a commodity but he did, and he did it in such a way that gives the perception of a good and honest collaborator…emphasizing on the words “produced in co-operation with the Corregidor Historic Society. The article below do not mention the other collaborators nor my name. Click below to see

index.cgi?board=general&action=display&thread=161

He banked I am sure on my status as a “poor” person who won’t have the means to run after him in Australia to sue him. Well! He is right. For one thing, I have many work to do that requires my attention. I let him yes! Until conscience, if ever he has one, or delicadeza tells him that he had been unjust. I let GOD do whatever he deserves. In God’s time, it will come. I know it.

He may be laughing for my inaction, for letting God to do His way. But being a positive person, I did not take everything negatively. For he should not forget that my film is a vehicle of my expression. When I was working on it, selling the output was never in my thought. I was just thinking of preserving our cultural heritage, of preserving our history which are not found on books. So, I am at an smiling end as well. For I have my consolation. For the people who bought from him thinking that he was the producer and those would who would watch my docu would know, especially the Americans that I detest War; for viewers would see how Corregidor was like, and how the family of Dr. Selma Calmes lived in Topside; the Philippine Scouts in Middleside, and our family in San Jose in Bottomside—simple yet happy. No monkey business despite the literal presence of monkeys!!!

I have learned my lessons too — for I continued to make my docus, but I have refrained and have been conscious of people’s interest in them. Because of that, I have found true, honest, and transparent partners.

I have been quiet for years but now yes, I will make an abridged version of that docu…and for the respect that was gained and lost by a big monkey in it, you will get what you deserve.

Thanks anyway for multiplying copies of my film which you are marketing as if they are yours. I will pray for you so that your conscience guides you on the true and right path. That money alone will not make you live happily ever after!!! That art is long, life is short. Mass duplication of my film will outlast us — you and me!

For the person this blog is meant for…happy reading! From deep slumber, I got awakened to yes!!! the idea of making a version with as I’ve said, sans monkeys. May your tribe decrease!

Rewards of Patience

Sense of accomplishment. Joy. Victorious feeling. That I can still be capable of handling bigger problems head-on without fretting. Very small, and seemingly trivial problems serve as my warm-up, or part of a bigger design, or a test on how long my patience can last. And I am happy because I can gauge my capacity from simple problems that had taken away some of my precious time.

In the previous post, I wrote about the amount of time and effort that I had to spend because of negligence. With the technical problems that I encountered to make a DVD, I marveled at the patience that I had until I came to know and finally solved the problem that I faced. Seems petty but the first problem that I got was that of having a one-frame problem when I fused the sequences. [I use Pinnacle Liquid which is actually not being used anymore...but since it serves my purpose in editing, I don't mind using it even if they consider it as something that belongs to the past or passé). I blame that familiar action of Pinnacle to virus problem because I encountered that before...and much worse than that. Because of that one frame problem, I had to rework on making another image file. Call it perfection but I did not let that one-frame problem pass. Next problem that I faced was the stoppage of the video image on the same spot after burnng [tried it twice]. Again, I made another image file which I thought was OK until I reached the last two minutes of the film. It stopped right when I was already sighing with relief because of the thought that my problem was over. I finally declared that conversion into DVD I.S.O. was my problem because the conversion into mpeg wasn’t. I switched to Nero since it was already ready for pick up. I had it repaired, and just retrieved it yesterday. I used the mpeg files created by Ulead and burned them using Nero 9. Just a few minutes ago, I finally finished what I have been trying to do since last Saturday. I feel very happy and rather triumphant at this very moment because I passed the test of my patience and determination once more. It also means I need not go elsewhere to have my project done. “Try and try until you succeed,” they say. I did try hard! And I succeeded!

Patience of a person will be tried in many different ways. My experience is a macro sample of tremendous patience that I would need in the bigger tasks that I am bound to do in the coming months when I start with my next work for the Deaf, and the Filipino students in general.

Thoughts on the Suicide of a General

I am writing this as an ordinary citizen of the Philippines; someone who loathe politics because of corrupt politicians and government officials; who stopped voting because I felt cheated when my vote was not counted [the polling place where I voted reported 200+ against zero votes in favor of the ruling Mayor then here in Pasay City. I voted for the opposition. Had they reported that one voted against him, I would have thought that that was my vote. I was so disappointed. I stopped voting for long and transferred to U.P. where I worked and lived in the campus with my brother and parents. I voted there until we left the campus because of my brother's death.

Why do I, as an apolitical person compelled to write on this matter, you may ask. I don't really know. I just feel I have to be out with my thoughts on the recent suicide of Gen. Angelo Reyes who was accused of receiving "send-off money" and the like. A reaction to what is happening no matter how distant I am or however apathetic I feel to what is happening in Philippine politics. No one can escape the media news everyday on corruption issues. I feel the need to react on why he opted to commit suicide rather than face the accusers probably because I hoped that as an insider, he could have helped in providing more needed information to expose real big fishes involved in military corruption. To be honest, my immediate and instinctive reaction when I heard the news on his suicide was: "Nokonsyensya siguro. The accusations must be true. If not, he would have fought with all his might to counter all allegations and accusations to protect his valued reputation." That was my reaction, an ordinary citizen's reaction to a sensational happening. As public property, government servants and officials are subject to public scrutiny and opinion because of their responsibility to the people they vowed to serve. But I was wrong. More than the conscience's doings, it was the sense of destroying / trampling his HONOR that pushed him to a tragic end. And I base it from the final statements he made before he died. [Click to read: the-final-words-of-angelo-t-reyes]

The following are my reactions to purportedly Gen. Reyes’ statements published in the above article of Ms. Malou Mangahas of PCIJ which would have been too long to put right there as a reaction or if posted under comments.

To start with, some say that his suicide was his form of sacrifice to protect his family and institution [PMA/Philippine Military Academy]. Was it?

Part of his final statement reads:

Living life without honor is a tragedy bigger than death itself.

That I think explains clearly why he chose death over life— living life without honor is a tragedy. He felt dishonored, and publicly disgraced in the senate hearings supposedly centered on Comptroller Garcia.  But his suicide act appeared to me more than anything as that of protecting and thinking of himself, above anyone or anything else. Had he not, he would have thought of the people he would leave behind.

There must have been some feeling of guilt or remorse as he admitted to not being guiltless but “not as evil” as he said:

I might not be guiltless/faultless, but I am not as evil as some would like to portray.

Indeed, he valued hIs honor. Was it still part of the arrogance felt and referred to by those who used to deal with him? And why on the tomb? It was indeed so dramatic, and cinematic even, to have committed the suicide there. I could understand his being there though as I also go to the tomb of my parents at times to unload heavy feelings, and when I have problems. It lightens my load, the same manner when I toss and pass my burden to God. By doing it on the tomb of his mother, I could imagine his dilemna: To Be or Not To Be [alive and fight to preserve his honor and to continue in helping to protect his family and the PMA institution against allegations].

He also said:

We are now in the situation where my honor and the family name are at stake. My family, my children, my grandchildren could say with a lot of truthfulness and pride that in the family, we value honor and integrity. Strength to live it and the courage to face up to the truth. This is the legacy I would like to leave with them.

Unfortunately, he did not really have the courage “to face up to the truth” when he finally decided to shoot himself. By committing suicide, he ran away from whatever liability he talked about, and from the consequences the corruption he walked in would probably bring to his Honor.

I speak the truth not to whistle-blow or to seek neither immunity nor protection nor to escape from any form of liability. As a matter of fact, I speak the truth to accept responsibility for whatever liability I may have.

How would I interpret his commission of suicide except that of acceptance of his so-called liability, and that he really thought more of himself than his family? He thought of HONOR more than how aggrieved would his family be, and not how weak they would be without him. I saw how he was loved by his family. How bitter they were against those who maligned him, and his honor. But without him now, how could he clean that challenged honor? Had he guiltless, he could have fought tooth and nail to protect that honor, his name, his family above all.

I did not invent corruption. I walked into it. Perhaps my first fault was in having accepted aspects of it as a fact of life.

He used the word “fault” or “mali” or “kamalian” in Filipino. By accepting the regularity of corruption’s existence and by walking into it himself, he became one in the process. As Sen. Trillanes said, he could have stopped it when he was the Chief of Staff. But it persisted until the case of Comptroller Garcia was brought into the open. Before he walked in or while he walked into corruption, Gen. Reyes was serving the country for many years. The problem was, he did not expose what he witnessed, and eventually became part of the system.

And by admitting that his fault was that accepting aspects of corruption as a fact of life, the idea of returning offers of bribes seems difficult to believe.

In my 48 years of public service, I have tried to live up to the highest levels of professionalism and integrity. Whether it’s my assignment with the AFP-RSBS or with the Anti-Smuggling Task Force, I never received any offers of bribes; in fact, I returned them.

All the charges against him would not have come out and prospered, no one could have questioned him and charged him against corruption, above all, would not have resulted to depression leading to act of suicide if nothing of the sort really happened.

Filipino people easily forgives and forgets. But committing suicide did not give any closure to corruption issues he was accused of, or allegedly a part of. How I wished he opted to live for his family at least who would for sure given him all the strength and support that they could muster, for the country and the people to know more about what he knew beyond what Lt. Col. Rabusa exposed, for his exposure of truth that could have added to restudying, cleansing, if not, demolishing of the rotten “pabaon” system.

CASE CLOSED! Only to Gen. Reyes would it apply… I pray that his family will not be subjected to the repercussions of the “liabilities” he was referring to. But if they are really not party to it, they do not have to worry. They can hold their heads up high and look straight to the eyes of the accusers.

Overall, I find Gen. Reyes as a VICTIM of that damned, decayed system of corruption allowed to grow and flourish by the powerful among our so-called government SERVANTS who actually serve themselves not our people. It is getting to be very clear now why many of them want to stay in POWER, and how the hocus focus is being done with the people’s money. The probe should not end when Gen. Reyes ended his life. On the contrary, it more of signalled the many worms that will come out of the can. They do horribly exist. Especially so, because I literally do fear and hate worms.

It is most unfortunate that Gen. Reyes who admittedly walked into corruption found himself in a quagmire.

These are thoughts and musings of a very ordinary Filipino citizen…on a rare, and not so ordinary event like the suicide of a general.