By Clifford Hilo
Director Chris Martinez talks to APA about his theatrical background, actress Mylene Dizon, and making movies in the Philippines.
If there is anyone right now who can become the leading figure of Philippine cinema, it might just be writer and director Chris Martinez. What is so compelling about him is the agreeable and palatable tone he brings to the writing and directing of his film 100. His skill caters to the very popular Philippine tastes of broad, raunchy comedy, and also its reverse of bleary-eyed melodrama. Perhaps the best way to describe his gift for writing and story development can be said simply: you laugh during all the funny parts, and you cry during all the sad parts.
But what is so amazing about Martinez and his film 100 is that it is a very popular film, and yet it is also very smart -- a film not only with heart, but a brain as well. It is smart because it can, while in the midst of entertaining you with its rich dialogue and characters, encounter much more serious themes of dying and family with respect and without turning them into the last word in an absurd, cruel punch-line. In the end though, Martinez is a great storyteller, with characters that one really wants to embrace. Martinez has said of himself that he wants to make stories that "transcend culture and the unidentifiable Filipino identity," and he has done just that.
Asia Pacific Arts: I am very curious about your artistic background. You're an excellent writer, and you've also got a good eye for directing dramatic performances. Can you tell us in what capacity you've worked as a writer and director in the past?
Chris Martinez: I've been writing since 1989. I've been writing plays since then and up to now. I've won prizes for my plays including some Palanca awards. I've always been active in the theater -- sometimes even directing my own plays. I worked for an ad agency for the longest time until I quit and joined a production house to direct TV ads. That's where I got my training, doing TV spots. During that time, I also write screenplays for other directors namely Jeffrey Jeturian (Bridal Shower, Bikini Open) and Chito Rono (Sukob, Caregiver). Last year, I decided to fulfill a part of my "list" and that is to direct my own film.
APA: 100 is your debut as a film director. Can you describe the transition for us?
CM: The pressure was greater, of course. But the vision was more fully realized. When you write a screenplay, you tend to imagine and visualize the film during and after the writing process. When you direct your own script, you get what you imagine and you get what you visualize -- 100%.
APA: For me 100 is a very deep, meaningful, and even very philosophical movie. But it is not too serious either. It can be fun and quite humorous at times. Where does the origin and influence of this story and its themes come from?
CM: It's a composite of different experiences I went through as a friend and as a family member. It is also very Pinoy in approach -- that's why humor played a strong element in the film. I think we as a people tend to use humor as a defense against despair and heartaches. We tend to laugh crisis off in every opportunity we can. It all started with a pitch line: what if you have 100 things to do before you die and you're actually dying. The idea came originally when I came from the necrological service of a theater professor friend. He was almost like our barkada -- us who grew up in UP Theater. He was a flamboyant, cheery, and bitchy character. And so was his necro service. It was touching and depressing at both times. It became a celebration of friendship too -- as we all cried and laughed together. There was even a drag show at the end of the service. It was held at the Guerrero Theater in UP where we all performed at one point in our lives.
APA: Mylene Dizon, the lead actress of 100 is regarded as a celebrity over in the Philippines. Not only to mention how truly gorgeous she is, but she's also a very excellent actress in your film. She gives a very controlled, toned-down performance. Can you describe working with her on this film?
CM: Mylene was the first choice even at the conceptual stage early on. There were no other actresses considered. I liked the way she exudes strength and invulnerability even at the "default" stage. I wanted that presence, that beauty, and the willingness to stretch her limits and talents. She was a gung ho actress. Very intelligent, very instinctive, and yes, very, very beautiful!
APA: Is it true that you were able to shoot this entire film in 14 days? This is quite an incredible accomplishment if true, because the film itself seems so elegantly and perfectly constructed. It doesn't seem rushed at all. Is this typical of shooting films in the Philippines?
CM: I don't know how the rest of the other filmmakers do it, so I can't say it's typical. I've always been around "mainstream" film sets and commercial shoots, so I tend to emulate their work style. I plan a lot. I make sure everything is set before shooting. I also take pains in planning my shots -- even storyboarding them at some point. The filming went smoothly because I already had in mind how I wanted the film to be realized. I also think I am blessed with a great co-creator, Marlon Rivera, my co-producer and creative consultant, who used to be my creative director when I was a wee copywriter in the ad agency. His guidance was a big boost for me.
APA: Tell us about the state of the Filipino film industry from your perspective. Are there any recent changes or shifts in the industry that have greatly affected filmmaking?
CM: There are two kinds of films in the Philippines now. Award-winning indie films that garner international acclaim, and mainstream popcorn fare churned out by the big studios. My only wish is for us, indies, to get maybe just 10% of the mainstream's audience share! That would be enough for us, for now.
APA: Your film is very highly regarded around the global film circuit now. What kind of reception has 100 received in the Philippines?
CM: We had a limited commercial run in 5 theaters in metro Manila. It was successful by indie film standards. Whereas a [typical indie] film would only run for a week, 100 ran for more than 3 weeks in mall theaters. We also got a lot of nominations and awards from local award-giving bodies. Mylene Dizon just won best actress last week!
APA: Many people have said great things about your film at the LA Asian Pacific Film Festival. Can you describe any feelings you might have about premiering the film here in the States?
CM: I'll be honest with you. I was totally disappointed with the LA Asian Pacific Film Fest. It was the most dismal festival I've been too. There were less than 20 people in the audience -- mainly people who I invited on Facebook. My classmates from way, way back! I felt insulted, humiliated, and embarrassed up to the point where I was questioning myself. "What the hell is my film doing in this festival?" 100 has always enjoyed full capacity audiences in all the fests it has been to, modesty aside. So I was really miffed that the festival didn't take time and effort to promote our film among the Filipino residents in LA -- which is huge! So that got me thinking about being more careful about choosing festivals. I thought it was a waste of my time, my money, and theirs too. It was a an opportunity lost for most Pinoys in LA. They would have loved the experience of seeing 100 and getting a glimpse at what indie films in our country have been able to achieve. So, yes, the festival was a nightmare for me.
APA: Have you been able to make any distribution deals for your films? Will 100 be screening theatrically in America sometime soon?
CM: I am not sure about the status of our distribution deals. Unico Entertainment handles this for us. I really hope we can share our film to a wider audience anywhere -- in the US or in Asia.
APA: The rumor is that your have finished another screenplay. Will you be working as a director again? Have you received more financial support because of 100's recent praise and success?
CM: I've finished one for another director. It's a campy comedy that is independently produced but aspires for a mainstream audience. It's the solo film of one of my actresses, Eugene Domingo, who played Mylene's best friend in 100. I am also working on several screenplays, two for myself and a few for other directors. But whatever comes first, it will surely be an all-out comedy. Something lighter in theme.
APA: A final question. Name five things, Filipino or otherwise, that you are very interested in right now or that have caught your attention recently.
CM: I only have three: finding a comedic story that transcends culture, the unidentifiable Filipino identity, and poverty as porn.
Published: Friday, May 22, 2009
