1
They
asked me to help them with their script for Human Elective short film project.
I loved to help but I then remembered how things went through during my
time.
Five
over fifty of the stories written were chosen to be made a short film.
One of those was mine. The writers—would be group leaders—were
called in front and the classmates were given their free will to whose writer
they would want to be with.
The
ones I expected to join me approached a different writer. At that moment,
I thought that maybe I was not that trustworthy for them to put their
confidence in my written story [screenplay], or perhaps they did not find me
competent to become their leader. Yes, that was it. Then I noticed
some of them were the ones who always underestimate me; some were the ones who
really think I am under them; and some were those who just go with the flow [mga
hipon]. I could still remember the look of their faces—the envy, the
bitterness, the burn—merely because my story was chosen.
Suddenly,
I realized that I was not alone, for some of our new classmates joined me.
I was touched to know that even though we did not know each other, they
still came to me [or maybe they had no choice]. I first thought it would
be hard to handle them because, of course, we were new to each other. I
took the unfamiliarity as an advantage and as a challenge. They didn’t
know me well and all they saw was that I was huge and strict and steadfast
[yes, I’m huge but I’m neither that strict nor that steadfast… if only they
knew]—and that’s it… a way to control them.
My
priority was to my actors. I took the responsibility to direct and edit
because I believed that no one could interpret what I have written better than
me—considering I have an extensive knowledge about people empowerment, editing,
and photography.
The
meetings and the shootings went by and I was satisfied about our efforts.
The bad news was our professor had a very diminutive contentment over our
output. He commanded us to edit this and that: to change the angle,
settings, and whatsoever, but I did not consider anything he said. I
fought for what I believe is artistic and more independent. I also
considered the schedules of my members. They were having difficulties dealing
with their major subjects and I could not risk some of their time just to spend
for a minor [pamajor] subject.
There
came a point where I thought our film was inferior to others. First, my
editing software was the simplest. Second, some of my actors were the “shy
type”. Third, we did not have an HD camera. Uniquely, only our film
showed a documented interview of the real person I subjected in my story—our
edge. I finished the movie still with some doubts and yet I just believed
that the judges would grasp the beauty of what I wanted to picture out.
Luckily,
our professor was not one of the judges [if he was, I’m dead]. He favors
his stories. Some groups followed his suggestions to the point that the whole
movie was all that he suggested—a clear reason why he hated mine.
The
day of the event came and we all displayed our films to many audiences.
While other movies were rolling, my confidence level went up because some
of the other groups’ works were garbage. We may have a cheap editor; so
what? Others have cheap ideas. A drama should be dramatic, not a
laughingstock. A love story should be a story of love not a music video
or a shampoo commercial.
The
judges found and appreciated the important elements in my movie. I had
not expected anything from my output but when I saw them clap their hand after
my film, I felt a sense of fulfillment.
My
group got almost all of the awards: best cinematography, best screenplay, best
musical scoring, best picture, best director, best scriptwriter, and to my
actors, best actor and best supporting actor. I still have not received
the certificates until now. Well, I don’t care. After all, I always
don’t care about credits or grades [they do not precede]. I’m more of
self-actualization and furtherance than physical rewards.
Many
were very happy for me but some, after that, were eyeing me with eyebrows
raised. I again felt their envy, their bitterness, their burn and one added…
their regret—regret of not joining me in the first place perhaps. Then I heard
some muttered “huh dili bitaw na major” “gimajor jud niya ang hum elec
oh, BSA major in Hum Elec.hahaha” even though we all knew we spent our
efforts and did our best to be recognized. In fact, some devoted time,
money, and effort more than I did—it’s just that, I did better. Truly,
insecure people will see differently no matter how well you do things, most
especially if they do not expect you to do better than them. That was
then I realized I was right. They left me; I pushed myself; I proved
something and I nailed it. I did it on my own—yes, I was right.
*****
2
Because
of my experience, I also want others to discover their talent: that everyone is
given a chance to show what they can do for their own betterment. That’s
why I refuse to help hands on to anyone who asks, but my doors are not closed
to those who want my advice.
Well,
aside from the technicals, people are the key—directors, scriptwriters,
cinematographers, editors, and of course, actors.
Actors’
empowerment is the most important consideration in directing. The
director should see to it that every role, whether big or small, should
flourish on each rendition. I don’t mean to say that everyone must be
emphasized. What I mean is that a supporting role should be highlighted
as supporting the lead role, as well as the lead role should be seen as
leading. In my time, I let my actors craft their own interpretation of
the role and made them explain the core of every sequence. In this way, I
empower the uniqueness of the actors’ perspectives on how they will carry their
roles. Remember, no actor is the same, no role is equal: every act is
unique. In addition, the directors should have the eye for what’s beauty and
what’s better because the whole act will depend on his subjectivity.
A
good scriptwriter is not thinking how to write but instead, imagining what to
write. This person must have a good imagination on how he describes every
character’s emotions through writing. Dialogues are the hardest to make
because the writer must place himself in every character. “If I were
the father, what would I feel? If I were the mother, how should I act? If this
is the situation, what will I do? If I were in this position, how will I
move on? What will I say if he tells me this?” So then, an extensive
research, internalization, and emotional wisdom are needed to satisfy the
scenes—most especially when the attitude of the character is far from the
personality of the writer. I remember when I wrote my script, it took me
one day to finish one sequence because I needed to internalize on a scene where
a person is verbally degrading someone. Writers must also consider
practicality in wordings—not too flowery and not too overly delivered: just the
natural flow.
Cinematographers
and editors must work hand in hand. They are the magicians of movie
making. They make things possible by placing special effects. They
make the moment live or dramatic by inserting the right sounds and music.
They see patterns, rhythm, time, and connections. Patience is the
key. You get to work day and night just to cut and cut and cut and
connect and create and then edit again and again. Having a good editing
software helps. My editing software, as I said, is the simplest and
frankly the cheapest that was why I had a grave difficulty in
editing—especially in placing background music. That time, I concede that
I could not get the best editor award.
The
actors are the players. It’s up to the actors how they will handle roles
through character sketching and internalization based on the instructions given
by the director. It is also important that actors should know their
position as the ones who respect and follow the ideas of the director—no to
bolshie actors.
