So the Flower is Called YURI!!!

The name of the flower is YURI...could it be a hybrid??

In my yesterday’s post, I have asked what could be the name of the flower that I bought the other day. It was my first time to see that flower. My friend, Rey Ventura, scriptwriter of Manila Kingpin, lyricist of the film’s La Paloma and based in Japan commented that it is called Yuri and it belongs to the family of lilies.

Yuri [Lilium rubellum -Hime Sayuri, or Otome Yuri in Japanese) is believed to be thriving in Niigata, Fukushima and Yamagata mountains. [Read the article: mt-sumon-niigata-july-8th.html]. Rey says that the flowers I bought must have come from green houses. I find what I got to be more interesting than others that I’ve seen in the internet. It must be a hybrid.

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Editing A Tikoy Aguiluz Film_Manila Kingpin Director’s Cut

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

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]

Last Day_CineManila International Film Festival 2011

Today is the last day of the on-going Cine Manila International Film Festival. Unfortunately, I do not have enough time to watch many good films from other countries. But of the few that I have seen I liked the South Korean films — POETRY by Chang-dong Lee, and BLIND, a suspense-thriller film by Anh Sanh-hoon and NIGHTFISHING by Park Chan-Wook. Because of wrong info re projection time, I missed watching Brillante Mendoza’s film in QUATTRO. I only saw probably the last five or 10 minutes of the film. Stanley Kwan’s film was of the lot most well-thought of. Last night, I saw THIS IS NOT A FILM by Jafar Panahi. Very personal. Quite interesting. Defied the usual docu form, that’s why the title. The viewers had a peek of a day in his life…on how Jafar lives as a “banned” filmmaker in Iran. [Hope I find our photo with Mr. Jafar when he attended the CIFF some years back].

This afternoon, I am sked to watch Rey Ventura’s docu, DEKASEGI [The Migrants / Dayo], a film on TNTs in Japan. I have read some of Rey’s books. If on printed form he was successful in making the readers “participate” while reading his books on the same subject because of the richness of details, texture and drama, I do expect that in documentary form the viewer’s heart will most likely sink. I haven’t seen any of his docus but based on his writing style, I expect a very interesting and engrossing docu film. Rey, is by the way, the co-writer of Kingpin Asiong. We worked together with Tikoy in Pagsanjan for that film. Rey wrote the needed sequences for the day while Tikoy was directing in the set. My role was to help in restructuring the film, prepared storyboards for the sked sequences, if not, shotlists. For a break, we ate halo-halo near the Pagsanjan bridge.

Kingpin Asiong_More Trailers

More trailers of Manila Kingpin-The Asiong Salonga Story surfaced these days…the film which took so many days, and so many overnights to finish…a film that took us longer time than usual, to make and to get paid. Ha!Ha! Ah! only a few knew the difficulties Tikoy had to go through from the writing stage, up to time he shot the last sequence [kadamay kasi kami]. And yet, his real “baby” sadly remains, shall we say, in an incubator. We have worked on so many films, but this film gave us entirely new experiences we never thought we’d encounter. Anyway, since they are on You-tube, I can now embed them right here.  To edit the film, Yuka and I viewed over 200 cards — because majority of the sequences were shot using two cameras. I needed two long, yellow pads to catalogue the shots and I had to devise a way to help me in my work. Unlike when celluloid are used, or when cost and use of film materials are limited,  digital filmmaking makes possible the shoot at times, of more than necessary materials. However, it had been a challenging work. Any new film is a challenge anyway. For short, I have always called the project “Kingpin Asiong”. I met some of the Asiong boys, Tikoy calls them at the CineManila opening night last Friday: Yul Servo, Ketchup Eusebio, and Ping Medina. Met Rey Ventura, fim’s script writer and La Paloma lyricist; Carlo Mendoza, cinematographer, and also met Gov. E.R. Estregan who came with John Regala. Had photo sessions with all of them–Sunshine was there, Xyrel, Yuka who came late because of traffic straight from the printer with the poster-brochure, and of course Tikoy who looked really so tired. After Asiong shoot, he had to busy himself with Cine Manila needs. Unfortunately, am so tied up with my Rizal project because of the deadline which I have to meet that I couldn’t join them as I used to.

 

 

Anyway, next week, I hope to come up with my own trailer for my project A mi Patria – my anthology or omnibus film on Rizal’s poetry. There are five of them threaded by one theme: Rizal’s nationalism from the time he was a teenager up to the time of his death. Actually this project, embarked earlier than Asiong…

“A Small Victory BUT An Important One”

Indeed! Rey Ventura’s name finally credited as lyricist of La Paloma arranged and performed by Ely Buendia in the new, and must be the third and fourth version of 2011 Kingpin Asiong film is “a small victory but an important one,” as Rey said.

Yesterday, I saw that new trailer with English subtitles, with better resolution uploaded by Maylyn Villalon, film’s line producer. But today, as I was about to link to the site, I couldn’t find it anymore!!! Bakit??? Kasi naman, I was looking for Kingpin Asiong Salonga.. No! it is titled “MANILA KINGPIN MTV”. Here it is:

At least Scenema Concept was prompt and fair on the aspect of recognizing writer Rey! Kudos to you! But I do hope that you’ll do the same thing in other aspects when you produce some other big projects in the future.

La Paloma Lyrics by El Rey

I’ll look for the original copy of Rey[nald] Ventura’s lyrics that he wrote for the film Kingpin Asiong [for short]. And compare it with the final rendition of Ely Buendia… He gave me one when he planed in from Japan to write the rest of the screenplay for the sequences Roi Iglesias did not complete. Roi submitted only one-liners for some major sequences. Tikoy waited long for him to finish the script. A screenwriter was needed very badly then. Rey came over to help Tikoy solve the problem.

Rey deserves to be credited if La Paloma’s thought, idea, and lyrics were taken from his original creation. Not that Ely is claiming it. He is not. He arranged the music composition, and sang it beautifully. That’s what he did. But Rey originally wrote lyrics for the La Paloma song I remember now. If his lyrics were used, Rey should be recognized. Credit should be given to the one who deserves it. As Rey said, para fair. Will get back to this when I find the copy Rey gave me…Abangan!

La Paloma by Ely Buendia in Kingpin Trailer

Yesterday, I met Tikoy and Yuka, and they told me about the trailer that they have edited. It’s posted on Youtube, entitled MTV Kingpin – The Asiong Salonga Story. Unfortunately, the quality is not good.

Then, this morning I received a text message from Gov. Jeorge Estregan informing me of the same film’s new trailer they posted on facebook. But I have no facebook account, so I can’t get the link.

Both trailers are interesting. Afterall, Asiong was an interesting guy. And the treatment of Tikoy is quite different from all the previous Asiong films made from Erap’s time. La Paloma has become the film’s theme song. And Ely Buendia’s rendition will be remembered and loved by many because he sang it with his heart and soul strongly felt by the listeners.

“Kingpin — The Asiong Salonga Story” starring Jeorge Estregan Jr. is the comeback film of Tikoy Aguiluz. The screenplay was written by Roi Iglesias and friend Rey Ventura. I edited the film with Yuka’s assistance.

Back from Pagsanjan

Returned from Pagsanjan, Laguna last night. Rather frustrated because I wasn’t able to see the earlier footages shot by Tikoy which I am bound to edit — a remake of Asiong Salonga, interestingly, in black and white. First time it happened to us — not being able to see the rushes after the shooting — I could have edited already the shot materials while they were shooting. Felt like I wasted some of my time…

But not really — when I think that at least Rey Ventura was there to write the additional sequences and dialogues missing in the script of Roy Iglesias. I work with Rey as a “reactor.” He writes and passes them on to me — then I read and “react— we brainstorm, then later discusses with Tikoy. Of course, there were earlier discussions before that. Final script sequence will be storyboarded — by me — my extra work. So, even before I see the actual footages shot, I already know more or less, or is familiar with the sequence[s]. Whether the storyboard is faithfully followed or not is unimportant. It is merely a guide anyway. But having imagined the scene beforehand quite helps a lot more when I edit. So, Tikoy and I work by pre-editing the scenes. That saves a lot of time and effort. And with cooperative and open-minded writer the work flow becomes smoother and faster. Right now, I received some more sequences for study and storyboarding… I wasn’t able to attend to it last night after coming from Pagsanjan because I fell asleep. Namahay kasi sa Pagsanjan!

Met Laguna Governor Jeorge Estregan, main actor of Asiong Salonga-remake; one of the few character actors I admire, Baron Geisler; Ketchup; Ping Medina; and saw other TV faces like Dennis Padilla, et al…had breakfast with Carlo, cameraman and been with other production staff members–Kuya Soc Jose, PM Arnel, PD Fritz, etc. And got contacts from Syrell, makeup artist.

Finally, I “met” the patron saint of the town Mama Mary of Guadalupe. [My friend Edel will be very happy to know that am sure.] Visited the church twice. I came to learn that the first Flores de Mayo was held in Pagsanjan. That was in 1898. I also saw again, after 20 years? some of the scenes from our first film, “Boatman.” To come to think of the new people I met, and what I have learned — going to Pagsanjan afterall, had been in a way, worthwhile!