Posts Tagged ‘Miranamedina’

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In Promotion of FSL as National Sign Language of Deaf Filipinos_A MI PATRIA / To My Motherland/ Inang-Bayan

January 10, 2013

Sa pagsusulong ng Filipino Sign Language Bilang Pambansang Wikang Senyas ng mga Bingi sa Pilipinas

Inihahandog ng

 DLS-CSB School of Deaf Education and Applied Studies

Philippine Federation of the Deaf

Support and Empower Abused Deaf Children

Filipino Deaf Women Health and Crisis Center

at

UP College of Arts and Letters

Ang KAUNA-UNAHANG INTERPRETASYON sa

FILIPINO SIGN LANGUAGE ng

LIMANG MGA NATATANGING TULA NI DR. JOSE RIZAL

A MI PATRIA / TO MY MOTHERLAND/ INANG-BAYAN

ni Miranamedina

3 p.m., Saturday /  FEBRUARY 2, 1013 / UP FILM CENTER THEATER

Diliman, Quezon City

A MI FINAL POSTER FINAL POSTER

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Meeting this afternoon with Dr. Belen Calingacion, UP CAL Representative and Program Facilitator to discuss the program and related acitivites with Deaf org representatives led by Giselle Montero, SDEAS OPD Director.

2 pm., Faculty Center, UP Diliman

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Editing A Tikoy Aguiluz Film_Manila Kingpin Director’s Cut

January 4, 2012

As I’ve earlier promised, I’ll relate how it is to edit a Tikoy Aguiluz film. We undergo the same age-old process in film editing— from assembly to rough and fine cutting a film. But here, I’ll go straight to give a fine example of how it goes when we finalize his film. From Manila Kingpin, his latest feature-film, the following is a true account of what happened when we edited, in particular Seq. 7 of Manila Kingpin, described in our script outline as “Fidela jealous, away si Asiong”, shot on Day 6 using video cards numbers 31 and 32… the one scene memorable to the audience because of the acting exaggeration displayed by Jeorge Estregan Jr. in the sequence where he as Asiong Salonga kissed/smacked his wife Fidela 10-11 times. I would like to quote verbatim one of my favorite comments re the scene where Carla Abellana in the role of Fidela first appears onscreen:

“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!!!!” [Comment on I EDITED…see the post dated December 22, 2011]

     by BiEm Pascual December 27, 2011 at 5:47

A day or so after that, our lady boarder told me that she watched the movie. Referring to the above scene, she said: “Tsansing na yun.”

Now, why chose this particular scene??? Simply because this was a problematic sequence and the first in Reel 1 of Manila Kingpin where Tikoy’s reaction really made me laugh. It kept me quite awake until I solved the edit problem it gave me. The first cut or rough cut of this scene by the way, was left untouched by Gov’s expert cutters in the Producer’s Cut. Hindi nila pinaghirapan,  di ba?

Anyway, ang sumusunod na eksena ay totoong nangyari:

EDITING ROOM. SCENEMA CONCEPT BLDG 5TH FLR. GABI [Madaling-Araw na pala sabi ng aking Starbucks planner].

October 8. Huling araw sa Fine Cutting ng Director’s Cut. Karag na kami dahil sa paghahabol nito para sa Berlin Film Festival. Dahil matagal nang aprub ang opening scene [Asiong-Viray], mabilis ang naging usad. Pagdating sa Seq.7, eksena na kung saan unang makikita ang galit na si Carla Abellana na gumanap na Fidela nang dumating si Asiong, at hinalik-halikan siya ng 10-11 beses, napapalatak at napahampas si Tikoy ng kanang kamay sa kanyang noo, sabay ang sabing: “Naku Mirana! Pagtatawanan tayo nito sa ibang bansa!” Sympre natawa ako. OA naman talaga ang dating e. “O sige matulog ka muna,” ang sabi ko. Humiga si Tikoy sa sofa habang nagbabawas ako ng mga halik ni Asiong kay Fidela. Makailang sandali, ginambala ko si Tikoy. “Tingnan mo! Baka pwede na,” sabi ko. “Ilan na?” tanong nya. “Anim na lang,” sabi ko. Umupo sa harap ng computer at pinanood uli ni Tikoy ang eksena. “Marami pa rin,” aniya napapailing. “Tulog ka uli,” sabi ko naman. Nag-isip akong mabuti kung paano lulusutan dahil wala talagang pang-insert para makadaya at makatulong sa paglutas ng continuity problem. Dahil wala sa mga good takes ang anumang panlusot dito, puzzling para sa akin kung paano sosolusyunan ang problema. Ayoko naman magdissolve-dissolve; o mag magfade in and out na walang dahilan tulad ng karaniwang ginagawa ng mga trailer editors. Tulad yung eksena sa tulay nang mamatay si Asiong hanggang sa funeral scene?? Paepek lang ang nangyari. Trailer na trailer ang dating. Uncalled for transition device!!! Senseless!! Hindi pinag-isipan!

Nang hindi kayang lusutan, hinalukay ko uli ang lahat ng takes. “Eureka!” May nakita ako sa NG [not good] materials. Kinuha ko, inedit hanggang finally, tatlo na lang ang halik ni Asiong sa eksena. Ginising ko uli si Tikoy para panoorin nya. Tumahimik ang Tikoy, tandang okey na sa kanya. Tawanan kami pagkatapos. FADE OUT. Next scene……..

The above is a typical example on how to finalize a Tikoy Aguiluz film. From time immemorial, it has always been like that. He watches. Tells me how he feels, or what he thinks is the problem. I am left to solve it without being told how to do it. Leaving me alone to solve a creative problem has always been a challenge. Since I know generally his tastes, and our creative instincts jibe and are nearly similar, we do not usually take time in judging whether a scene should be deleted or not. We discuss and brainstorm to always make a scene better. We do not think of producers when we work. The film is always above anyone else.

Background on how to edit a Tikoy’s film. It is never Tikoy’s practice to sit down with me while editing his film especially in the rough or first cutting of his movie. That’s how confident Tikoy is when I handle his film. E bakit naman hindi? As early as the writing stage, I am already a part of his team, at times even during the writing of the premise or even before the story goes to the scriptwriter. Then, I always pre-edit the script, which means I already delete unnecessary scenes, and/or dialogues; works/discusses/brainstorms with him and the writer, and if the latter is cooperative and open-minded like Rey Ventura the work gets done faster. I also help in the structural study of the sequences in timeline form as we graphically see how the story will flow, a practice I adopted from Bagong Bayani days [see below]

Manila Kingpin Timeline_Script Structural Study_Page3_June 3, 2011

I even draw thumbnail sketches, imagining scenes from the script to make storyboards, like the one shown below to serve as Tikoy’s guide, to remind him of the shots that we need.  They are all subject to his final decision of course when actually shooting the scene on the set. Whether he would shoot them as in the storyboard is always his call. It is a take it or leave it proposition. They are just suggestions from my part since I am not on the set and I do not know the physcial or geographical problems the storyboard may present. The storyboard only serve as guide. Tulad baga ng map?…[Binayaran ba ako ng hiwalay sa mga gawaing ito? Hindi!!!]

Thumbnail Storyboard_Erning Seq Before Cemetery Scene

For those who have already watched the film, some of the actions on the storyboard [highlighted in yellow color] were implemented.

So, I am not one who is just thrown in the circle to destroy somebody else’s dream film. I help create, solve continuity problems, give suggestions to better a scene, help improve, and collaborate to make a good film but I never destroy other’s original concept or film. I respect, recognize, accept comments, and implement valid suggestions, all for the betterment of Tikoy’s film, all for film’s sake. It is because, I believe that film making is a collaborative effort. That his film, is also my film, so better do it well.

Tikoy comes in when I am ready, or when I call him midway in the cutting stage when I believe he should be there, especially when more sequences are scheduled to be shot to show or explain the additional inserts that are lacking. Our SOP is for him to come when the rough cutting of the sequences are all done; especially so, in the fine cutting stage when his final creative decisions are needed.

So, may idea na kayo paano kami magtrabaho? Although Tikoy saw the above sequence during the rough cut viewing session, and did not react — which then meant it was ok with him; it didn’t mean though that that was the end of it. We always have the semi-fine cut, and ‘final’ fine cutting session. Semi-fine cutting is the phase where we still keep what we think are necessary. We brainstorm on what should be kept. Fine cutting is where brutal editing is employed, the phase when we have to to throw away a whole sequence or sequences because of length requirements without sacrificing the story flow and fluidity. It used to be our practice to show it to people close to us for their reactions, like Tikoy’s wife Minky, or key members of the production team, or those who will give their honest opinion re the film before even showing it to the producer. Valid comments are incorporated. I don’t know why but the practice never happened in Manila Kingpin. I never saw Minky around, our most believable and honest critic.

In Manila Kingpin, it was in fact unbelievable, [or should I say, a stupid act?] that when I arranged for Tikoy to watch the rough cut [2hr30min since it included all the sequences that they shot] on big screen, the line producer called a barangay of I dunno who to watch it, when the viewing’s purposes were just to check whether boom mics or wires were in the frame, or a production crew member was having a peek at the shoot, to check on the flow of the scenes, and to double check if there were still problem with continuity of physical action as we might not have noticed them on the computer screen, etc. The strict order of Tikoy even then was not followed — to limit the very first viewing to him and the producers only. By then, I could already sense that there was something wrong going on.

After editing the Director’s Cut, I did not show up anymore to work on the Producer’s Cut because I knew that what they wanted were quite contrary to the DC version. I did not want to be a cutter. I am not a producer’s robot. And I won’t get paid for that anyway. That I knew. I can work WITH them up to a certain extent but to tell me what to do, where, how to edit. Di ko yata kaya yun. Because I have enough respect for myself as an editor who knows, applies and destroys the principles of editing if and when necessary…IF and WHEN NECESSARY, I repeat. I do not edit just for effects sake, or use devices suitable for trailers and wedding films. Otherwise, GO! GO! GO! EDIT IT YOURSELF! You need cutters without minds of their own. For in cases like this, walking out will be my scenario. I’ve done that before…

By the way, I am Miranamedina, the editor of the Director’s Cut referred to by Gov. ER na mabagal daw ang pagkaedit sa Manila Kingpin kaya inantok ang manonood dahilan kaya daw pinalitan ako ng mas magagaling!!! [Read: i-edited-tikoys-directors-cut-of-manila-kingpin-slow-paced-daw-talaga] Ang galing nga! Ang galing maglagay ng hindi dapat ilagay dahilan sa pagkawala ng consistency ng action ni Asiong Salonga tulad ng paluhod luhod na drama nya. Ang corny! Ang galing nga! Ang galing sa pagsira ng konsepto ni Tikoy! Nasaan na ang floating soul na ideya niya. Alam nyo ba yun? Nagputol nang nagputol nang walang dahilan. Nang hindi ginagamit ang isip. Nalito nga sa bartolina scene e. Obvious. Siyanga pala, ilang percent ang ginawa nila o contribution sa re-edited version? Sige nga, hamunin ko kayo, Manila Kingpin producers, laluna ka na Ms. Maylyn, mahilig ka sa percentage2. So, percentage-wise, ilan ang ni-reedit nila vis-a-vis ours? Pag sinabing ni-reedit, yung iniba talaga pag edit ha? Yung hindi nagbawas ng crane o panning shots lang, o nagtanggal ng crucial shots para makatulong sa pagbuild up ng eksena. O nagfade to black lang. Yung edit lang talaga nila tulad ng gunfight scene na may paso??? Sa kanila yun. At yung may pag iyak iyak ni Gov kanila din yun. Ano pa ba? Ang itreat na trailer ang buong pelikula! That’s their biggest contribution – kaso biggest contribution din pagtanggal ng nuances sa pelikula. Ay naku! Truck-truck na bigas pa kakainin nyo! Ha!Ha!

Sign the online petition to release the Director’s Cut!

pinoy-cinephiles-release-the-directors-cut-of-manila-kingpin-the-asiong-salonga-story

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Launching of Project Rizal

June 18, 2011

In connection with the launching of Project Rizal which features the premiere showing of my short film MI ULTIMO ADIOS [in Filipino Sign Language], RJ of DLS-CSB SDEAS designed a beautiful poster for the activity this coming Tuesday June 21.

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3rd Araw ng May Kapansanan sa Daet

December 12, 2010

Night of December 8 [Wednesday] when we left Pasay Philtranco terminal for a 7-hour bus trip [8 hours when we returned] to Daet, Camarines Norte. We took a long, and winding zigzag trek starting from the Quezon boundary at dawn the following day. [I was informed that the zigzag road actually starts at Sta. Elena, which they call the gateway to Cam Norte]. It was raining at 4:30 a.m. when we reached Daet. We were fetched and brought to Bagasbas Lighthouse Hotel in an area famous for surfing, the Bagasbas Beach.

Bagasbas Beach and the Hotel where we stayed

It was my first time in Daet, and my first time to travel with DLS-CSB School for the Deaf and Allied Studies (SDEAS) group for Silent O and Alyana presentations as part of the celebration of the 3rd Araw ng May Kapansanan sa Daet. [Last month’s showing in Camarines Sur was initiated by HELP Learning Center with Autism Society Philippines].

1st Provincial Forum on Inclusive Education, Daet,Camarines Norte

L-R: Giselle Montero, May Cabutihan, Bea Francisco, Annabelle Salazar (Deaf)

Through SDEAS, I was linked and later invited by Mr. Rex Bernardo, 2008 Mabini and TOYM Awardee,  and Director, Research and Promotions  of Mabini Colleges to take part as one of the resource persons in the 1st Provincial Forum on Inclusive Education and Disability: Towards an Inclusive Society. Anyway, my having studied under the Filipino Sign Language Learning Program (FSLLP) of SDEAS made me feel quite a part of their mission since Silent O advocates for the promotion of FSL in the Philippines.

Rex Bernardo

The two day event started with the  Forum last Thursday, Dec. 9 from 2:00 to 5:00 pm which was held at The Lobby of the Mabini Colleges and the showings of Alyana and Silent O the following day at Central Plaza Cinema.  The speakers during the forum were: Ma. Giselle Montero, Director, Center for Partnership and Development of DLS-CSB SDEAS on “Orientation on Inclusive Education: How Does It Work”; Rex Bernardo on “Implementing Disability-Inclusive Development at Local Setting”; Councilor Rosa Mia King on “Initiatives of LGUs in Implementing Disability-Inclusive Development,” and Miranamedina [this blogger] on “Advocating an Inclusive Society Through Cinema.” I showed excerpts from my film Alyana [watch?v=tk_cDBq8F9Q], the Silent O trailer [fFUeGiYyH6I], the coverage of PWD Indignation Rally held last July [watch?v=E2qR38Lq1cA] and ended the

Screening of "A Blind Architect"

presentation with the screening of A Blind Architect: The Vision of a Non-Handicapping Environment produced by APCD. In all the films that I showed, the issue of being excluded or included caused by barriers, physical and attitudinal exist — the reason why there are misconceptions as to what PWDs can do— “disability” not “this ability” [or PWD ability] is quite often stressed by uninformed or misinformed people. I just hope that the information in my films contributed in making some people in the audience think deeper about the integrative role of PWDs in our society. Change of wrong perceptions or ideas about them is one of my docu’s aims.

Intermission numbers were performed by the CNSC Little St. Vincent Deaf Class, and the heart-tugging song renditions of Vhon Brian Asis of Daet SPED Class, and Princess Necy Gonzales, blind student of BS SPED, Mabini Colleges.

I was actually late in the forum as I arrived when Giselle was about to finish with her talk. I had to fix and check the DVDs that I brought, and the sound system at Central Plaza Cinema. It wasn’t rare that I encountered problems because of lack of simple gadget like a sound split jack. As the LCD projector is fixed for current HD presentations, especially of Harry Potter’s film, I couldn’t forced the actual format [4:3] in which my docu was shot. Anyhow, everything went on smoothly. We finally managed to at least visit the first monument built in memory of Dr. Jose Rizal [1898] and Daet’s small heritage museum. It was quite windy and suited for surfing. There were actually a few surfers enjoying the sea last Friday. The weather was quite good by then.

Silent O and Alyana's Screening at Central Cinema Plaza

 

With Mr. Rex Bernardo and his students from Mabini Colleges

We left Daet with fond memories of having met Rex and Mariz Bernardo, and the hospitality that they extended to us. We felt quite at home with them as well as with all the other people that we met in the process. Many plans are being hatched by Mabini Colleges through Rex and the CSB-SDEAS through Giselle heavily slanting on Deaf teacher-training education, research and outreach programs. The future is bright for our Deaf brothers.

Finally, we were introduced to Daet Mayor Tito Sarion, a simple-looking, unassuming, but receptive man.

Our group with Mayor Tito Sarion and Mr. Rex Bernardo

With Members of Autism Society Philippines_Daet Chapter To Be

Incidentally, the Autism Society group of Daet is eagerly waiting for Ranil Sorongon, Autism Society Philippines Executive Officer for their induction. A small group attended the showing of Alyana.

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‘Special’ Movies

January 14, 2009

Last Monday January 12, Manila Bulletin’s Ina Hernando-Malipot published her compilation of “some popular films that have created an impact on people with special needs.” Among those in the list are Alyana and Silent Odyssey. She writes:

“Alyana” and “Silent Odyssey” documentaries on autistic and deaf people megged by Miranamedina are probably the latest and most enlightening films about people with disabilities.

For the complete article click

YTCP20090112145384.html+Miranamedina&hl=tl&ct=clnk&cd=36&gl=ph&client=firefox-a

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Sino si Alyana?

December 20, 2008

As part of reconstructing my thoughts to trace the trail “from Diliman to Silliman” of my film Alyana—A Study of Autism in the Philippines, covering the period from July 2006 to December 2007, I dug up my files—of virtual memories and actual materials on it. A message entitled “Sino si Alyana?” by Dang Koe, Autism Society Philippines (ASP) President, which was published and distributed by ASP-Bacoor Chapter is hereby reproduced for those who are curious to know who Alyana is.

Sino si Alyana?

Yan ang tanong ng mga kaibigang inimbitahang manood ng kauna-unahang Filipino documentary film sa autismo sa Pilipinas.

Ang sabi ng filmmaker na si Miranamedina, ang Alyana ay dapat mapanood ng mga taong walang alam at walang pakialam sa mga taong me autismo. Ang sabi ko naman sa kanya, dapat ring ipalabas ang Alyana sa mga taong gusto nating makialam, ngunit kulang pa lang sa alam.

Isa sa mga maling paniwala tungkol sa autismo na tinalakay sa nasabing dokyu ay ang paniniwalang ang isang taong me autismo ay “gagaling.” “Walang himala”… walang himala na isang araw ang isang taong me autismo ay magiging normal.

Ngunit gaya rin ng sinabi sa pelikulang “Himala,” ang himala ay nasa puso ng bawa’t nilalang.” Sa bawa’t Alyana, ang himala ay nasa pag-unawa, pagtanggap at pag-aaruga ng mga taong nakapaligid sa kanya upang siya ay matulungang maging isang kapaki-pakinabang na myembro ng ating lipunan….Sa mga tulong ng mga pamilyang “nakikialam.” makikilala ng lahat ng ating mga kababayan kung sino si Alyana at ang mga gaya niya.

(Click below to see excerpts from the film)
watch?v=tk_cDBq8F9Q

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Who is Alyana?

That was the question posed by friends who were invited to watch the first [feature-length] Filipino documentary on autism in the Philippines.

Filmmaker Miranamedina said that Alyana must be seen by people who do not know anything about autism and who do not care at all about persons with autism (pwa). I told her that it should also be shown to people who care but lack knowledge.

One of the myths on autism that the documentary tackled is the notion that a person with autism can be cured. “Walang himala.” [There is no miracle]…no miracle that one day a person with autism will become normal.

However, like what was said in the film Himala “miracle is in the heart of each person.” In every Alyana [person with autism], the miracle is in inderstanding, acceptance and caring for pwa’s by the people around her so that she will become a useful member of our society.

…with the help of families who care, people will recognize who Alyana is and many others like her.

Note: Before one of the screenings of Alyana in Mindanao, I was asked by one of the organizers whether Alyana is a real person. [Surprisingly, no one among them had seen the film yet! Banking on word of mouth that the film is worth seeing, they got enough courage to schedule and show it. The screening turned out to be one of the most successful movie roadshows that we had].

Anyhow, I told that organizer that Alyana is real! And Alyana, the real Alyana (photo above) is my grandniece. — MM)