Posts Tagged ‘Film editor’s role’

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Meeting Gov Jeorge Estregan

September 11, 2011

Yesterday was my second face-to-face meet with Laguna Gov. Jeorge Estregan. I met him for the first time a couple of months ago in his house in Pagsanjan when Tikoy [Aguiluz] introduced me to him as editor of the film they have then started to shoot, the Asiong Salonga remake. We never met even during the viewings of the film’s first cuts —and there were already several of them held.

It was past 10 p.m. when he came in. However, I was so engrossed editing the new materials [34th day] that I didn’t know he was already in the room. Bench, the one assisting us later said that he was motioned by Gov not to tell me he was there. I did not know he was coming. Tikoy and Yuka did not know he was coming. And since I am used to people coming in and out of the room, I never really bother to check whoever comes. When he came, I was working on the segment on Ely Buendia singing La Paloma as Asiong, being played by Gov. and his wife Fidela, being played by Karla Avellana dance. Buendia sings the song beautifully, his style cool and it wasn’t boring to watch and hear him sing…I was enjoying working on it. Only when Gov sat down on the chair right beside me that I noticed him. I was surprised… We viewed and edited the film until Tikoy joined us at past midnight. We started to shorten the film based on the list of Gov. himself, Tikoy’s and mine. It was a concerted effort. There were discussions why a certain sequence can, or should be totally edited out. Others were trimmed down. Despite that the film remains long. I have a new list of sequences that I believe can be edited out, and/or trimmed down further. But since a day more is left to shoot the remnants, shortening the film continues…

By past two a.m. Sept. 11 na yun, I was amused to see both Gov and Tikoy falling off to sleep. I wished I had a camera. Ha!Ha! Nevertheless, it was also inspiring to see hard-working men waiting for their “baby” to be born — an essential part in the process of creation. Thinking of it now, we, film editors are likeĀ  comadronas. We help in giving birth…and in doing surgical operations when we try to solve problems in continuity. The formless takes shapes. The film forms with our help. What a thought! A wonderful thought though! It shows how important the role of a film editor is. Everything sweated for during the production, and by everyone in the production will be given life in the editing room. However, the film — a film, as I have always said and believe, is a product of everyone’s contributions–from the producers to the littlest workers in the field. All are as important as the others in the filmmaking process. But the director, of course remains as the conductor of the ‘concert’ed efforts. He conducts and gives the final touches to the littlest requirements and elements of the film. He fathers or mothers the “creation” as it will carry his/her name forever. Good or bad the creation is, the baby will be his or hers, the director’s name attached to it, not anyone else in the film.

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30 Sequences Edited_KINGPIN

July 25, 2011

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 theĀ  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