For decades, Baldo Marro - born Teodoro Galan Baldomaro on January 1st, 1948 - was one of the toughest guys in Philippine cinema. He’d done it all from the ground up – stuntman, bit player, fight routine and stunt instructor for the country’s top group SOS Daredevils, and later leading man and director. He was also personal trainer for some of the Philippines’ greatest action stars including Rudy “Daboy” Fernandez, which is why in 2015 I came to interview the great man at the Fernandez Family Archives in Quezon City for our documentary feature The Last Pinoy Action King (you can watch it on Youtube in its entirety HERE). Baldo preferred to converse in Tagalog and was straight to the point, but he also spoke from his heart. Then our business was over and he was back in his car for the long drive back to his province. I never saw him again, but was deeply saddened to hear of his passing in 2017.
For the record, if I ever get a Last Pinoy Action Hero tattoo, it will be of Baldo’s face.
Baldo Marro: My name is Baldo Marro. A stuntman, in SOS Daredevils. I knew Rudy in my movies, as a stunt or fight instructor.
Andrew Leavold: What year was it that you took on Rudy?
I knew Rudy around 1976, when we did Baby Ama. Before that we were in one film, three episodes [Nahirit!... Nasipol!... Ang Biyaheng Bikol, 1976] starring Rudy. He’s a good actor, not yet an action star. The producer, Dr Martinez, and Baby Martinez, asked me could I help him do some action - he’d be good for Baby Ama, handsome, looks like him. After the first film we went to an apartment in Little Baguio and started to train in a small garage. I taught him how to punch, shoot, look like an action star, for two to three weeks. The producer, Dr Martinez, told me to [???] him as lead star. After training I went to Dr Martinez, told him Rudy is ready to take Baby Ama (1976). “OK, tomorrow we start the script conference.” We started shooting in Muntinglupa, the national penitentiary is the set. After filming, two months later, it was a hit. People lining up. Derby was still driving a jeep, which was handed down to him by his grandfather. After the film he was given a Toyota as a bonus. After that all his films are hits. One day he said “I’ll buy you a car.” “Really?” “Tomorrow. Go to my house.” He saw I’m still driving an old jeep. Gave me a key. Orange, two door Mazda sports car. When I drove it back to my house, people couldn’t believe Rudy Fernandez gave me a car! He’s really kind. Before he would not shoot an action film without me. “Let’s wait for Baldo.” He knew how I move, my hands and my feet. He has a fear of heights, so he always waits for me to help him. He’s also like a son to me. And I am his trainer from the start.
We did a film, Pader At Rehas, with Rudy and Eddie Fernandez, it was filmed in Escolta. He was supposed to jump. Although it’s not that high, he didn’t want to jump. I usually double him, but there’s so many people around. I went up and told him that you’re crazy if you don’t jump, you can’t earn millions if you don’t jump, so jump! I was so angry. I told him if the director said “action” I will push you! There was a close-up shot, then he jumped. After that he continued to do more work. Rudy is a nice boss. Whenever he saw me and the other stuntmen looking tired after the shoot he would normally ask us, “Do you want to drink?” Then he’ll give us money to buy beer. He’d say, “Two crates only, because tomorrow we have shooting!” Rudy had a drinking problem. Sometimes if he had a problem I’d tell him not to… “Don’t do anything foolish, because there are so many people depending on you - stuntmen, your siblings, will go hungry if you’re not working, and if you make a problem.” Whenever I saw him angry and his eyes were red, he would hug me, call me, “I don’t want any more.” Then I would hug him and he’d stop. I’m like a father to him. He’d listen. Because of him I was able to provide for my children, and them finish high school. I have one orthodontist, one ophthalmologist, because of him. Because of the films that we made, I was paid handsomely because of him, and I became so busy because I trained him. Other actors like Phillip Salvador, Bong Revilla, Tony Ferrer, Erap [Joseph Estrada], Ramon Zamora. One time, because I’m so busy, “Who’s available?” Because sometimes I’m shooting a film and it’s far. I recommended Val Iglesias. Until the end, he’s been using Val Iglesias. But before it’s just the two of us.
Val Iglesias with Andrew Leavold, UPFI in Quezon City, 2023
You were mentioning Val Iglesias because you did work as a team together for a long time.
Yes, we were friends together in SOS, batch mates. So our styles are the same. I told Val that Daboy has thin legs, and didn’t know how to run like an action star, doesn’t look good on film. You do the double. So do only close-ups.
Other stuntmen have said that Rudy wouldn't move unless you are there. Do you think that's a fair comment because you guys have worked for more than 15 years.
No, his stuntmen were really good, and the enemies should also be good. You’d see that they were performing well. Most of the stuntmen have been with him, including Robert Miller and others. He’s the only one with so many films at the same time. We’re together in the Seventies and Eighties. Nineties, we’re no longer together.
Back in the 70s and 80s, the period you were talking about, there were so many action films. How many films were you doing in maybe one month?
During the Seventies, sometimes we would do two or three films all at once, so maybe in a year we could do thirty films, almost showing simultaneously every week as we did not have TV. All of us in the films, we had so many films, and we’re all earning handsomely. And Rudy, he was so kind. That’s why he’s blessed.
When you went to the film industry in the late 60s, the action stars were Tony Ferrer, Jun Aristorenas, later on Ramon Zamora as you said, Jess Lapid Sr, and of course FPJ and Erap… Then in the mid 70s there was a new generation. And it was actors like Rudy Fernandez, Anthony Alonzo, Bembol Roco, Ace Vergel. So you got to see this change from one generation to the new generation. What made the new generation stars like Rudy different from the older guys like FPJ and Erap?
In the older generation, of course it’s FPJ, but the new generation, only Rudy Fernandez is the new FPJ of his generation. Because, of all the young actors then, the producer would say, “You need to get Baldo because he helped Rudy…” If you get Phillip, “You get Baldo.” And Bong Revilla, same thing. So all would say that they have to tow the line, Rudy’s the first. So Ace Vergel, Bong Revilla, Phillip, they all followed in Rudy’s footsteps, for the generation of the action stars. That’s the way I would describe him.
Out of all the stunt groups in the Philippines, and there were a lot of stuntmen, SOS Daredevils was always the king of stuntmen. What made SOS Daredevils so respected?
Before there’s only two groups of stuntmen. TNT [Boys]. Rick Bustamante, the president of SOS, and Totoy Torrente [of TNT Boys], their stuntmen were like extras, so they didn’t train regularly. But Manong Carding, head of SOS, he concentrated on stunts. He went to Hollywood before to learn the stunts and train. Then he’d do them here, he’d train us three times a week, Wednesday, Friday, Sunday. So SOS stuntmen are well trained in high pole, tumbling, acrobatics, boxing, fencing, arenas - we studied all of it. That’s why before, the main actor would always say, “Get someone from SOS,” including their nemesis. “We don’t like other groups.” So SOS worked with all of the lead stars, from Erap to the new generation. Because SOS were considered experts. Until our president died. The members of the group started their own stunt groups. So before there were only two. But now, including me, I have my own called Apache Stunt Group, Val Iglesias has his own group of stuntmen, and Rudy Blanco. So everything we learned from our president, from SOS, we’re doing that. That’s why until Manong, the president of SOS died, I’d say SOS were Number One.
When you were first training, who were your trainers? The guys who trained you up to become a stuntman?
In SOS there are so many instructors then, they have their own gym. [Charles Bronson???] and Jess Lapid were also there. Jess Lapid was my inspiration. He used to be “matador” in Pampanga. Then he became rich doing stunts, and had a mansion in New Manila. I was a taxi driver then. There were so many people training at the SOS gym. I saw a guard breaking there, he was also a stuntman. I asked him, can I also train there? He said sure, watch them first. I saw that it was really difficult, with high pole, and they jump without a mat. They’re so good. He then asked me, can you do it? I said I’d try. After that I became a member. I tried with them until I learned all the stunts. After two years I was promoted as an instructor, until I became an instructor to the stars.
Who were your instructors?
There are no particular instructors. SOS is a gym, with membership. So if you’re a member and they saw you’re good, you’d be promoted to instructor, so there’s a promotion. For example you made a film and you jump, and it’s good, you’ll be commended in SOS. If they’ve seen you leaping from a car, you’d be commended. Because of that, at the end of the year, usually December, they will promote you to become instructor, because you’ve done a lot. So you have to do all those things to become an instructor.
Rudy was very close to Bong [Ramon Revilla Jr]. And Jinggoy, and Philip, and they were like a barkada. Do you remember them being close team, those guys.
Yes. All of them are close because they’re all lead stars. And I handled them before. Whenever Rudy Fernandez has a film, somebody would go and visit, and then they became close, especially if they’re not shooting they’d usually meet, drink or eat together, until they became very close. Although when I left and was no longer handling them, they all had their own instructors. Although they continued to meet, and because they’re all kind or good-natured, that’s why they hit it off. In this industry you can’t be arrogant, otherwise people will avoid you.
Let's talk about the directors. There was Jun Gallardo, Bebong Osorio, Joe Carreon, later Boy Vinarao, Romy Suzara. Who were the good directors of action films during the 70s and 80s?
I can’t compare them. They’re all the same, they’re good. And you know that, because they’d been doing a lot of films; if no-one’s getting you, you’re not good. But all the directors during that time you mentioned, Boy Vinarao is director and editor, Joe Carreon is director and scriptwriter. Jun Gallardo, although young, is good, as his father Chat Gallardo is also good. I’m with the group of Jun Gallardo with Daboy, and with Daboy we started together. So for all of them are very good. You can’t choose.
Back in the 70s and 80s there was always the henchmen, you know, the goons. Just even ringing at this poster people like Vic Diaz, Fred Esplana, Jay Grama, Eddie Nicart… The henchmen. The goons. And it's almost like the same group of guys each film. Like you become really recognizable, kind of stars in yourself, you remember being recognized as being goons.
Yes, we are always recognized as goons because we are always, Eddie Nicart and those you mentioned, were always requested by the lead stars themselves. They say they liked Eddie Nicart because he is a good nemesis. And the same with me. So if you’re always requested, then you are recognized. And even if the lead stars are not that good, even if the lead star didn’t know what to do, they could carry them. So I would say that the lead stars are very good because they ARE good in action. And that’s why we are recognized, and get a lot of work.I mentioned before people like Paquito Diaz, Max Alvarado, Romy Diaz... Who were the great kontrabidas?
For me it’s Paquito Diaz because he’s everywhere. Sometimes they’ll get others if Paquito is unavailable but in every FPJ film he’s always there. The same with Daboy, he’s always there. We’d get fed up with his face! So if Paquito is busy they’ll get others. They’d say, “Paquito is not available, we’ll just get you.”
What was it about FPJ that made FPJ the King?
FPJ is not only a good actor, he’s also blessed, because he helped so many people. For example, I got sick when we went to Bohol. And because, as a stuntman we don’t usually have money to pay for our hospital bill, our pay is so meagre, especially in the Philippines. When he heard I was sick, around 1976, and the hospital bill came to 14,000 [pesos], he gave a cheque for around 17,000. We were always together, and our work is hard. We’re the ones being pushed, dropped and shot! So he’s the King because he’s not only a good actor, he’s also a good person. He helped a lot of people, sent people to school, gave money for hospital bills, paid for medicines etc. So every time he has a film showing it’s a blockbuster.
Then of the new generation, it seems like Rudy Fernandez was the "King" of that generation. What was it about Rudy that audiences connect with?
First, because he’s like FPJ. Aside from being a good actor, he has a heart. Remember, he bought me a car. And he helped a lot of them. He gave both a business. And he helped a lot of them. All of those people asking for his help. So Rudy Fernandez, like FPJ, is helpful, he’s kind. He’s not stingy. Even though we’re not asking, whenever he saw us, he’d give us money. Five thousand, three thousand. He’d say it’s for gas money. Even to some other stuntmen. He’d give money and say, “For your fare.” But he’s not vulgar about it, because he’d fold the banknote and give it to you. So I guess he’s blessed, because many people would like him to become a superstar, and he became one.
At some point in the 1990s, action films and motion pictures start to decline and the use of television start to you know. Why do you think there was that decline in the 90s?
During that time, the Nineties, we scarcely made any films. Many were sad, especially when FPJ died, because they were the ones doing that kind of film. So when stuntmen went back to their provinces, others went into TV like me and Val Iglesias. We were able to penetrate TV. Others died, got sick from stress perhaps. And then, especially when Rudy is gone. During the Nineties we were asking ourselves, Why? Where are we now?” We had no more work. Before, I’m popular in Manila, especially in Paco, during drinking sprees. But now they would say, “Don’t talk to him, he doesn’t have any films now.” So I was thinking, “Idiot! You forgot there’s TV.” So before, all of us were in films, now, me, my people, and Val, his people, and other members of other groups, are now in TV. Because we have no films after the Nineties. That’s why TV is very good now. It’s like the films, because the actors who came from films are now in TV. But really, the Nineties, the decline, many of us got depressed, died, got sick, went to the provinces. Pitiful. Then FPJ died, then Rudy.
The elements? For Filipino viewers they like drama. They like underdogs. Especially the leading man. And then action. That’s what Filipino moviegoers want. Should be an underdog. Especially if you’re poor. And when they see you fighting, people will clap their hands, especially poor people or poor moviegoers. That’s the secret of the action films from before until now. Although it’s different, because it’s hi-tech now.
For Filipino audiences, they love the hero but they also love the antihero. The gangster, the NPA commander, the Moro from Mindanao... They love the bad boy. And Rudy can play the bad boy. Why do Filipino audiences like the bad boy?
For example, Muslims are often labelled. For example, if Rudy has a role as a Muslim, they would say that he’d be good at it, because he can carry any character, like a man from Tondo, a Muslim or a soldier. Because he’s a good actor. So whenever he talks to the scriptwriter, he always talks to him and tells him, “This is what I want,” He gives him his piece of mind. “I can do this, and this is what people want. And people will not get angry with me. If I’m a Muslim in that film, show them the Muslim traits, the culture.” If it’s from Tondo, show a simple bad boy who’s pro-poor. And don’t ever swear, because Muslims will get mad with them. So Rudy is like that in his roles.
For, especially Filipino audiences, it seems like they need a hero for their lives. Someone they can idolize. An idol, and Rudy is an idol, same as FPJ. Someone they can look up to. Why do the common person, the audience, need a hero especially here in the Philippines?
Because the audience wants someone who could reach them, reach their heart. And they would say, “We’re like that. We’re the same.” So if the hero is poor, and he’s depicting their lives, the audience will say, “It’s me, that’s right.” So the audience, most of them are poor, because many of the moviegoers are poor. Rich people don’t watch Tagalog movies. Hence Rudy is an idol in Tondo. Whenever he showed his fighting with those rich people, answered back, made them squat, poor audiences like it. That’s why he was idolized. That’s the secret. If you’re going to make a movie, say for example with FPJ, FPJ should be the underdog, the one that doesn’t talk, and is being slapped on the head, the poor audience don’t like that. That’s why whenever he would fight back, the audience would clap. That’s the secret of FPJ. While Daboy, on the other hand, is like a Robin Hood, protector of the poor. It’s always been his role, and the audience loves that. That’s the Filipino audience.
At some point in the late 80s, you started working with Bong Revilla more than Daboy. It seems as if you became Bong Revilla's fight instructor. What were the differences between Bong as an action star and Rudy as an action star?
Even before, I made sure that Rudy’s action is different from Bong. For example, with Ace Vergel, Rudy’s way of punching, I created only for him. Whereas with Ace Vergel, it’s wallop, wallop. So whenever I’m coaching them, I’d say I’ve already seen that with Ace, or if I’m working with Bong, I’d say I’ve already seen that with Daboy. Because I’m the one training them, actions that are appropriate for them, you cannot copy Rudy’s action. Of course he’d get mad at me - “You already did that with Rudy!” So if you’re talking about action, there’s no comparison. Sometimes I see that in films, but basically it’s the story. It depends on the fight director’s discretion. If they want to use many cars, or if the producer would try to cut costs… But then if Bong or Rudy would give me the script for me to study, and then I tell Daboy what to do, then Daboy would tell them to support me. So we make changes. That’s why, in terms of action, there are always differences.
What about those SOS guys that became leading men, the stuntmen who became bida like Dante Varona, Lito Lapid... What were they like as action heroes?
In SOS gym, Manong would always tell us that for us to become famous, we’d have to sow miracles. If you show them what you’ve got, they’ll see you. So if you’re a director or producer, and you’ve seen Lito doing the double. and he looks like Ace Vergel… If you’ve seen Lito Lapid doing the work of the leading man, and he really jumps without a mat from the rooftop down to the ground, ride a horse, then the director and producer would say, “Let’s make him the leading man.” And then workshop him. So it’s the same thing with Dante Varona, Bernard Bonnin, Bernard Belleza, and Fernando Poe. But Dante Varona used to double. You’d see that he was really good, especially in gymnastics. He’s very good in tumbling. We’re together before. So when Artemio Marquez made him the leading man, that gave him a break. The title of the film, Siete Bandidas, although the main actors are seven women, he is the leading man. Remember his running along Quezon, not the San Juanico Bridge… after that he was given another film as the leading man, The Magnificent Stuntman. I would say it’s not impossible, anyone can be a lead actor if you have talent and your heart is in it as a stuntman, you’ll become a leading man and their action hero.
If you read the book Break Of The Stuntmen, in the end, when he left, I’m the only one left. I did all the stunts, so many people tried to copy me, but they all ended up in hospital. Because it’s not only about having a heart, you need to know those techniques. That’s it. That’s why, until now, I’m the only one who can do these stunts, even at my age. I tried to train them but nobody could do it all. It’s a waste. So I tried to train Eddie [Manalac?], especially the speed, but he’s taking it for granted, and it’s money, this work is money making. I told him it’s a profession, it’s not about money. Those who do it for money, they’re not here anymore. So if someone asks you to make a car flip, and he would say, “I’ll do it cheap, but after the stunt I’ll get the car…” Of course the director, the producer is expecting you to really flip the car. When you say that, then the producer and director couldn’t get anything from you. So you have to do what they want. You have to make the director and producer happy. For me that’s it.
Do you remember the time when Rudy start to become ill? Do you remember that time leading up to him passing away?
Until he’s about to die I have so many memories. I could never forget Rudy. Like I said before, because of him I was able to provide for my children, because of the films we made together. And he’s done so many favours for me. That’s why when he is in Heritage Park about to be buried, nobody knows that my tears are falling for him. LT [Rudy's wife Lorna Tolentino] knows that. They know I’m like a father to him until he died. That’s why I can never forget Rudy. Because if there’s no Rudy, there’s no Baldo Marro. Because of him I learned how to direct a fight. Because there’s no stunt director - the director then would just get the right angles. But we’re doing all the fight sequences, how to jump, although we’re not the one handling the film. But with Daboy, because he trusted me so much, we’d been together for a long time, he’d always tell the director, “Direk, let Baldo do it, because he knows how to angle the fight scenes.” That’s how I learned. They gave me a break and started to work on the action sequences. So it’s really Rudy who brought me into this. So when they edit it, the product is commendable. From then on it’s always been me. In all of Rudy’s films, the director would always say to me, “Baldo, take over the fight scenes.” From then on, stars including Bong would do the same thing, let me take over the fight scenes. Those were the things I cannot forget about Rudy until he died.
How do you think Rudy will be remembered in years to come? What will be the memory of Rudy as a person, as an actor, as an idol?
I would say there’s nothing I could say about Rudy as a person or as an actor, I’ve said it all. There’s no more. I really would say that Rudy’s the best for me, and I’m not the only one who’d say that. All of my friends, people from the industry, would say he’s really the best, because he’s not only really good in acting, as an actor in movies, but he’s also very good as a human being, as a humanitarian. That’s the real Rudy Fernandez. He’s really the best.
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