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The early films of Weng Weng were for the longest time shrouded in mystery, which Boy Vinarao's provocative statement ("at least ten films") could only hint at.
A collector friend of mine unearthed a newspaper ad for a Liliw production, Chop Suey Meets Big Time Papa (1978), which paired Weng Weng with the reigning Bruce Lee of the Philippines. All that remains of the film these days is the newspaper ad, starring popular martial artist and comedian Ramon Zamora as ‘Chop Suey,’ reprising his character from the 1975 Bobby A. Suarez production They Call Him Chop-Suey, and a twenty-year-old Weng Weng playing ‘Big Time Papa.’ The poster even lists Weng Weng’s vital statistics: "Weight 30 pounds, redbelt master, blood pressure 120/80". Most astounding of all was the fact that it was released a full three years before For Y'ur Height Only. The bees in my head were buzzing furiously - what other early Weng Weng treasures might still be buried?
The hunt began in earnest with a chance meeting with actor Rez Cortez in July 2007; the famous screen villain was at the Film Academy for a Screen Actors Guild meeting, and happened to mention in passing that even HE was in a film with Weng Weng. Of course he couldn’t remember the name of the film, or the year, or his other co-stars. It looked like another dead end.
Back in Australia, I chanced upon a note I’d scribbled down while in the ABS-CBN Film Archives a few months prior to the meeting: a Liliw film produced by Peter Caballes and his wife Cora from 1976 called Sila… Sa Bawa't Bangketa/“Them...On Every Sidewalk” starring Rez Cortez. I immediately rang Rez long distance: “Is this the one?” “Yes it is…”
I met its director Dante "Boy" Pangilinan mid-2012 via the Film Academy. The old goons of the FAP were downing brandies and congealing goat soup on a drinkery's first floor verandah just around the corner from the FAP's old Octa-Arts building parallel to Quezon Avenue, and opposite the long-closed Magnatech. Dante happened to notice Weng's face on my business card. "I was Weng Weng's first director," he announced gravely. "Chop Suey Meets Big Time Papa?" I shot back. "Dante 'Boy' Pangilinan?" We embraced like lost brothers, and he seemed genuinely shocked at my Weng Weng tattoo.
Cut to June 2013. A week before my interview with Boy Pangilinan, I spent a morning in the CCP's library digging through twenty years' worth of articles on Pinoy cinema and censorship. Near the back of the library I discovered an article in Manila Bulletin's weekly Panorama insert. Dated 4th February 1982, it was published a week after MIFF 1982's closing night, at the dizzying heights of Weng Weng's fame. Instantly the article challenged one of my most ardently-held assumptions: that Weng Weng's story had never been told, and that no-one had ever asked. The two-page article did more than just tell Weng Weng's tale. The writer interviews Peter and Cora Caballes and Ernesto himself, discloses the first personal facts about the Caballes, and it gave me an invaluable framework onto which I could pin my questions for Boy Pangilinan.
The day before the Boy Pangilinan shoot we'd been optimistic about the weather despite bleak reports of a typhoon sitting south of Manila in the Bicol region, and had packed up the camera gear just in time to watch the Sky Gods dump their bedpans for several hours onto Metro Manila. All we could muster was a dry spot at a faux-Mexican cantina, order beer and street tacos, and watch Facebook reports of endemic flooding in Quezon City drown our next two interviews like unwanted kittens. Typhoon season in the Philippines lasts for around eight months, and the remainder of our Search For Weng Weng shoot seemed poised precariously in the lap of the Film Gods.
Luckily for us the following day's torrential downpours were intermittent, and even Manila gridlock couldn't prevent us from reaching Blumentritt Extension, the main vein leading to Sampaloc in old Manila via the President's Malacanang Palace and through the neighbouring Pandacan where Weng Weng's producers once lived. The cab pulled up outside a house atop a karaoke bar which our interview subject rents out to his sister-in-law. Inside, various female relatives lounged around the bar as hostesses to the local drinkers honking Bon Jovi "tunes" into microphones. Someone once described the sound of Manila as chickens, car horns and off-key karaoke singing, and on Blumentritt they were bang on the money.
Dante ‘Boy’ Pangilinan - 60, jockey height, polite - guided us past the plastic tables to a private karaoke dungeon in the back. Inside the concrete walls, painted red over pockmarks of decay, were lit by a harsh fluoro strip, giving skin a garish body-under-the-ice-blue tinge. I turned to Jordan, mindful of the morose thump-thump of Beyonce from the karaoke machine in the main bar. "Should we film in a more quiet spot upstairs?" "No way, man," Jordan foamed as he fired up the Canon C300 camera. "This is going to be some of my best work ever!"
Dante "Boy" Pangilinan: Oh yes, my father, Johnny Pangilinan, is the old, old scriptwriter of the Filipino film. He made plenty of movies for several directors - during those days, direks Villar, Armando de Guzman, and plenty more.
What kinds of films was he making as a director, or writing as a scriptwriter?
As a scriptwriter he made several different kinds of movies, like action, drama, in fact he won FAMAS Best Screenplay for Sapagkat Kami'y Tao Lamang (1963) with the stars Eddie Rodriguez, Marlene Dauden, the start of the "triangle".
With your father being a director and a screenwriter, obviously this has an effect on you. What were your ambitions as a child?
During my early days I was so lucky, I have a scriptwriter like my father, so when he talks to his director, "Please put my son as the child actor of the film", obviously the director will say okay! So whether I like it or not, I am included in the film! So I made plenty as a child actor, mainly I'm the sidekick of Dolphy during those days, with Utos Ni Mayor (1968), Mga Bagong Salta (Sa Maynila) (1966), and many more. And even with Joseph Estrada, I'm already the sidekick, and Chiquito, Pulis Walang Kaparis (1964), I'm already the sidekick. And even the late Eddie Fernandez, Clandestine (1967), Bernard Bonnin - I'm their sidekick.
And you were also involved in many international productions being filmed in the Philippines?
Oh yes. I'm very happy that Mr Vicente Nayve noticed my acting ability. So he made me as the child actor, whatever American movies were making here, like Ambush Bay, The Longest Hundred Miles, Special Star (??) - namely I'm the one, the child there, along with Mickey Rooney - I'm very proud of mentioning I'm the only child actor, American movies.
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As a person, I have another ambition, but I already loved to, the way my father is bringing up as a filmmaker, so "Father, can I join you in another project?" "Are you serious?" "Yes" "OK" I started as Assistant Director of my father. Namely Gomburza (1977), the story of three priests, namely Gomez… So I started as Assistant Director and plenty more. And, my father made the greatest movie ever made here in the Philippines. Dugo At Pag-ibig Sa Kapirasong Lupa (1975). Five episodes, beginning in the Spanish era, up to Martial Law. My father was the one to organize, and he gets the other four directors, namely Chat Gallardo, Armando Herrera, Romy Suzara, and he as one of the five directors.
You were also acting in that film?
In the last episode, my director is Romy Suzara, I played there as the activist, I'm the leader of Kabataang Makabayan. "Mabuhay Kabataang Makabayan!" I'm the one shouting that in front of many soldiers. Together with Vilma Santos, Walter Navarro, Rudy Fernandez…
Did you continue your acting career after that film?
Yes. In fact I made, after Asiong Salonga, we made Asiong Seven (1962). I'm one of the Asiongs, I play Asiong Tirador. That's a nice movie.
How old were you at the time?
I'm about eight to nine years old.
After the mid-Seventies, when you were in your mid-twenties, did you also act?
My last film, when I was already 19 to 20 years old, together with Rudy Fernandez, the title, I already forgotten the title, but we played as one of the lead roles. After that I am very lucky. I am supposed to be the assistant director of Ms Maria Saret. We are supposed to make Sila…Sa Bawa't Bangketa. I am the Assistant Director and Maria Saret is the director. But eventually, direk Maria Saret is already pregnant and almost to deliver. So my producer, Ms Cora Caballes, "Oh direk, we're supposed to shoot this coming week!" "Oh, Ms Caballes, I'm already delivering this baby!" "Who will direct the movie?" I'm very lucky, direk Maria Saret pointed at me, "Boy Pangilinan will direct the movie!" So I'm surprised! "Oh direk…" "Yes, you can do that." Cora Caballes is my godmother, as Ninang, in my first marriage. "Boy, can you make it?" "Oo [yes], Direk Maria Saret said I can make it, so I can make it." (laughs) After my producer left, I talked to direk Maria Saret. "Direk, can I make it?" "Yes!" I'm very happy direk Maria Saret gave me the strong.. . That's where I started, my first film, I'm very lucky.
Cora Caballes is an Ilocana. She is a relative of, during that day, the chief of… Olivas, General Olivas [Maj. Gen. Prospero Olivas, Chief of the Metropolitan Command (METROCOM), was cited as one of General Ver's collaborators in the shooting of Benigno Aquino in 1983]. They are related, with Marcos' time. So Cora Caballes is the one responsible for doing one of the biggest films, Gomburza. In fact the producer of that film is Cora Caballes and General Olivas.
Mrs Cora Caballes is the relative of during that time, General Olivas, the one next kin also to President Marcos. So, General Olivas gave Cora the opportunity to produce a film. So one of the films Cora made, Gomburza, and Sila... Sa Bawa't Bangketa, that's where it started, starring Rez Cortez and that one, here comes…Weng Weng! When Cora introduced to me Weng Weng, I was surprised…what can I do with this little boy? No…he's not a boy (laughs), it's already 24 years old, I think. What? You make this boy one of the partakers in Sila... Sa Bawa't Bangketa? All I can say is, "Ninang? Are you serious?" "Yes" "OK, Ninang, what talents do Weng Weng have?" So I began screening Weng Weng. Wow! Weng Weng do the martial arts… the only thing is the dialogue, I cannot… "What? OK, subject for dubbing!" (laughs) But, I like his voice, originally, I don't make dubbing. That's why when you see the film, Sila... Sa Bawa't Bangketa, original voice of Weng Weng.
How would you describe his voice?
Very small, like coming from the balloon? Understandably he's a small guy, but with a big heart, big strong… If you can feel him, he's very strong.
So these are your first impressions of Weng Weng?
When you stand up here, he's just this tall…
What were your impressions about his mental abilities? Did he seem like a child…?
Mentally, Andrew, Weng Weng is I think half-half. There is a time when we I talked to him, straight answers, and eventually he says, "Hey, look at that girl, wow!" So he's normal. "Wow, direk, she's sexy!" He's normal. But there was a time, I think, when small kids started playing with him, he also played. "Oh you're playing, you're already a big boy!" But then, "Just look at the legs of Ingrid Salas, my leading lady!" "Hey Weng Weng, she's your leading lady!" In fact, Weng Weng asked me, "Direk, do we have a kissing scene?" "What? OK, I made a scene where you have a kissing scene…" You can look at the face of Weng Weng, shines. But eventually, I think he's already thinking, "How can I do that?" "OK, just relax!" So, as the shooting goes on, I think Weng Weng is thinking their kissing scene! "Just relax…" He was thinking, when will that scene be taken? Weng Weng is eventually a normal guy, a nice guy.
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No… During that day, Sila…, we consider that film not pito-pito [seven days to shoot, seven days to edit]. Why? Because that was 1976. I made that film in 35mm with I think one of my goals there is to shorten my film shooting days. So hopefully I don't offend another director or another film producer, during that day they made a film in 30 days, one month, but Cora and I, Cora Caballes my producer said, "Direk, can we make this film about eight to ten days?" So I told my producer why? "We have just a limited budget." So I said, "Ninang, why me?" It's a challenge to me. We even don't have a complete fully-equipped shooting unit! Just a cassette, one camera, and a number of lights. I said, "Ninang, I will try my very best in doing this film." OK. So I started my first day film. My lead actor Rez Cortez, Weng Weng, and the first film of Vivian Velez. That was the first lead role of Miss Vivian Velez as an actress. So we start shooting, together with Ingrid Salas, one of the leading ladies, and Ramon "Boy" Bagatsing, that was his first starring role - the villain opposite Rez Cortez, the father of the actor Raymond Bagatsing, now a big actor in television.
So, we started shooting. First day, second day, third day…here comes the seventh day. So I told my Ninang, "Ninang, this is my last day." "Oh…are you sure?" "Yes." "How many film did you expose?" I already exposed during that day - other directors expose 35 to 40 film rolls - so I already exposed 25 rolls. When I edit that film, I will already compress it to 12, the maximum reel to be exact in the theatrical film, it's already good. So when I make that last day of shooting, even my whole staff, and together with my Ninang we celebrated. For the first time we made an eight-day shooting. Here comes the editing process, so my producer, my Ninang was nervous. How come I made that film in 8 days, but my editor, "Oh, there's so many more excess!" I made more excess! So there's more plenty of materials. My producer was very happy. So even my film Sila… is not yet shown, oh, you make your next movie! "OK Ninang, we just wait the outcome in the theatrical showing." When my first movie, cross my finger, Sila… was shown, I thank God it made, not so big, but eventually it made money.
What kind of budgets are we talking about?
This time Ninang Cora Caballes gave me an even higher film budget, because this film already, one of the lead roles, Ramon Zamora, is already proven as an actor, and box office, during that day. So she gave a little bit higher cost of production.
How much?
(Laughs) During that day, around 300,000 to 400,000, it was already a big budget, excluding the publicity. Just for filmmaking. For Chop Suey...
And the previous budget for Sila… was much smaller?
It's already from 100,000 to 250,000. During that day. That was 1976, already a bigger compensation, the value of the peso during that day is very big.
Rez Cortez remembers Weng Weng riding in a utility service. This was to cut costs?
Yes. During that day, Rez Cortez has already made so many films, like sexy films. But I find Rez Cortez is a real actor, is a good actor.
Do you roughly remember the plotline to Sila…? Rez Cortez was a syndicate member…?
As much as I remember, the plot of the story is…Rez Cortez is a jeepney driver, and Weng Weng is the barker. Like, "Pandacan, Pandacan, going here…Quiapo, Quiapo…" That's the role of Weng Weng, he collected [from] the payer. And Ramon "Boy" Bagatsing is the villain, he's the leader of the syndicate. When Rez Cortez happens to bump the organization of Ramon "Boy" Bagatsing, that's when the conflict started. So, I think Ramon "Boy" Bagatsing started to chase the two, being I think they happen to bump the organization of the syndicate…that's the theme of the story, as far as I remember. And Vivian Velez is a sexy dancer of the bar which Rez Cortez happens to work in that place. So Vivian Velez dancing, Weng Weng went, "Ooooh, sexy…" But already Weng Weng begins to feel the danger, because on the other side of the table there's Ramon "Boy" Bagatsing, the villain. So, he started to make Rez Cortez note him, "Hey don't be so…" That's the role of Weng Weng, the people like Berting Labra, the sidekick. That's the viewer notice to Weng Weng, he's a good feeder in the movie.
Were children used as drug couriers?
Yes… In fact I think they used this guy, Weng Weng, they think that Weng Weng is a child, but they don't know that Weng Weng penetrated the syndicate. At the time. But Weng Weng is, again, the eye of the policemen inside the syndicate.
So he's an informer?
The exact word. Informer.
And Ingrid Salas plays…?
She plays the rich girl in love with Rez Cortez, and Ramon "Boy" Bagatsing is the suitor of Ingrid Salas. That's where the conflict begins, the triangle of the three.
Sila... made enough of a profit for Cora to invest more money in Chop Suey... This is Weng's second film, right? He plays a secret agent…
Ramon Zamora played the karate instructor where Weng Weng is practicing his expertise. But eventually Ramon Zamora, as the trainer of Weng Weng, is agent, is already involved in the activities of Weng Weng. So Ramon Zamora, "Let me join, you're an agent, I'm just an ordinary instructor." "No, help me…" Weng Weng has the belief to Ramon Zamora, because he's an expert in karate. So they join force in breaking the syndicate. Weng Weng's "You're very good…" So the title itself, Chop Suey Meets Big Time Papa, collaborated.
Do you remember who the head of the syndicate is?
I think…as far as I remember, an American actor - Mike Cohen. He's the leader of the bigger syndicate. But he's already well-versed in Filipino [film]making. Mike Cohen. he already understands more Filipino dialects, and he even talked Tagalog when I directed him! Mike Cohen's a good actor.
He was also in some Tony Ferrer productions, and For Your Height Only.
What I most admire about Mr Mike Cohen, as far as compensation is concerned he understands the budget of the Filipino filmmaking.
And this is the first film you worked with Eddie Nicart?
As my assistant director.
Can you talk about Eddie and his trainer Mando Pangilinan coming to work on your film?
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| Eddie Nicart in The Search For Weng Weng (2013) |
For Chop Suey..., were Eddie and Mando training Weng Weng to be a stuntman?
Yes. That's when Mando and Eddie Nicart already started Weng Weng training more on the stunts, more on action, whatever, fight directors. So Weng Weng became more. I mean, in this small size, become more effective as an action star, or whatever they call him.
He was trained as a stuntman to become a leading man?
Yes. That's why, I think the next movie is Agent 00, I think Eddie Nicart gave justice to that film. As Weng Weng, as a good stunt man. Even Weng Weng overpasses other action stars!
Eddie told me that he thought of Peter and Cora as parent figures. Was this your experience as well?
More. I think of Cora and Peter Caballes more of my parents. Why? Because they treated us as a family, not as a worker.
In what way?
Especially when you have your personal problems, they're the one attended to personally.
The story was that Peter and Cora would take Weng Weng into their home like a son. Is that how you remember it?
Yes. I remember Cora and Peter Caballes took Weng Weng as their own son. They treated him as their own son. Even their children introduced Weng Weng as their oldest - youngest? - brother. You could imagine Weng Weng during that time, their children thought Weng Weng… But they feel the heart of Weng Weng. Weng Weng is a real person, not just a…
Why do you think they felt this connection with Weng Weng?
I think Weng Weng as a person, even a normal person, cannot do what Weng Weng did to the family of Caballes. As far as I know, Weng Weng even washed dishes too! I saw it with my own eyes. Even Weng Weng has already made two films to me. I saw Weng Weng wash dishes to Caballes family.
Why did the Caballes take Weng Weng in? Was there something special about Weng Weng?
I think so, yes! Because Weng Weng as a person, you can easily love him. Weng Weng is so, in Tagalog, he's so "malambing". Nice to talk with, even with "po" and everything, he's nice. Even when you are smoking, Weng Weng will give you ashtray. That's Weng Weng. You're already thinking, "Ah, Weng Weng, sip-sip…" "No, Direk…"
Personally, as an ordinary person, not as a director, in my experience to Weng Weng, I can feel Weng Weng is extraordinary people. Why? Because he has touches of luck - lucky guy. Like in my part, when I directed him, the luck comes through, force to me. God's will. I'm a Catholic, but still believe that if you believe in God, I feel Weng Weng is special child or guy that comes to me and gave me a bigger plate, a bigger luck, and even a bigger person.
Can we talk about the Caballes' initial films for Jo-An Productions?
I think Jo-An Productions is the first name of their company before Liliw, because Jo-An is the first child of Cora and Peter Caballes, that's where they put that production. Jo-An Productions made I think two or three films. One of the films made by Jo-An is scripted by my father. That's when my father and Cora Caballes began their relationship as producer and scriptwriter. So when my father did that film to them, they made during that day, I was to marry my first wife. So, they made Cora as my Ninang, Godmother. So as far as I remember, my father worked for them as a scriptwriter, to that Jo-An Productions. Even, as far as I remember, Silakbo, made Cora one of their films in Jo-An Productions.
Silakbo is also a film where Weng Weng appears as an extra?
No. Not yet.
So his very first film appearance is Sila…?
Yes. The first film participated by Weng Weng is Sila… That's when they met Weng Weng, I don't think, someone introduces Weng Weng, and that begins their adoption to the kid Weng Weng. And then they made Weng Weng as an actor during that day, in my film. That's the first time Weng Weng appeared in a film.
So he never appeared as an extra before in any films?
No, not yet.
Do you remember hearing how Cora and Peter met Weng Weng?
I think, as far as I remember, somebody went to the house of Caballes family and introduces Weng Weng because, sad to say, they are poor. Lack of financing to make… As far as I'm concerned, Weng Weng had four other brothers, and fifth is Weng Weng. So, their parents have no money to spend for the five children. So they made Weng Weng to adopt, they ask Caballes family to adopt Weng Weng as their whatever, as their washboy or whatever, just to make Weng Weng survive. But Cora Caballes, that's where Cora Caballes is good. My Ninang is a bright woman. She saw something to Weng Weng aside from household. Being the producer, she saw Weng Weng has a potential as an actor. So Sila… is the start of Weng Weng. "Direk, can you make Weng Weng as the co-star of Rez Cortez?" So I made him as the barker, that's where it started. So when we previewed the film, Cora saw Weng Weng can be more, more, as an asset of the Filipino film industry, as an actor etc.
We don't know a lot about Peter, who sadly passed away in 2007. From what I understand he was a big movie lover…
Dante "Boy" Pangilinan: Peter Caballes, as my Ninong, the husband of my Ninang, I make him as the villain in my first movie Sila… he's the villain, contrabida of that movie. The big guy - well, he's handsome - before I started that film, it happens I talk to my Ninong, "Boy, who is your contrabida in that film?" I can feel he wants to be. "You," right there and then, "you will be my contrabida in this film." "Oh, can I make it?" "Yes…" So I can see in his eyes the glow that he wants to be a movie actor whatsoever. He makes his part OK in my film, you can see in Sila… he's the villain, the husband of my producer.
Can we say that Cora is the businesswoman and Peter is the movie lover?
Yes, I can feel my Ninang, Cora Caballes, goes to this business, this show business, because of my Ninong. Why? Because my Ninong is a frustrated actor, I can feel that! That's why when I said, "You are the villain in this film", "Aaaaah! Can I make justice?" That's why my Ninang Cora continues doing movies, because of him.
Peter's from Liliw?
My Ninong Peter Caballes is from Liliw, Laguna. That's where they adopted that production, Liliw Films, because Peter Caballes is from Liliw. I can say that Peter is not so rich, not so poor, middle family in Liliw, Laguna.
Do you know how they met?
No, I cannot say.
Cora stopped making movies because she went into politics?
No. I think Cora and Peter Caballes started making movies because, as far as I know, Peter is, sad to say, a frustrated actor.
Why did they finish?
As far as I know, Peter got involved with another movie actress. That's when my Ninang, I heard, they separated ways. Sad to say. I'm honest - as far as I know, Peter got involved with another woman, and my Ninang, sad to say, felt lonely. So my Ninang stopped this moviemaking. Why? Because as a brain, Cora is the brain of the filmmaking, sad to say, not Peter.
We heard Cora went into politics, and for that reason they stopped.
I don't think politics will stop. I fact, politics will make her more known in the movie industry - why will she stop?
Their home was in Pandacan, but they also had a home in Sampaloc?
As far as I know, in Pandacan, in the start, they only rented that small apartment in Pandacan. Before I started the film, they only renting the one-space apartment. But when I made these films Sila… and Chop Suey…, they already own that place. Why? Because of the outcome of my movies. That's when I visited them, wow, they already owned that apartment.
They were making a very good profit from their first two films?
Yes. She's not yet involved in politics during that time, only movies.
Do you remember when Weng Weng went to the Palace to be made a secret agent?
During that time I'm already in Regal Films but I still monitor the activities of Weng Weng. I heard, I'm very glad, that Weng Weng was invited during that time, I think Marcos' time, at Malacanang to congratulate him as a goodwill or something in other countries, I'm very proud. President Marcos and even First Lady Imelda Marcos invited him to the Palace - imagine that.
The story also goes that because Cora had a relative who's a General, they awarded him with a badge and a pistol, and trained him as a paratrooper. This was before Agent OO. I learned that.
Do you think it was a PR stunt, or was he genuinely trained as an agent?
I think that was a genuine. You can just imagine a small guy, penetrating the bad guys - I mean, who is this guy, he's short but he's well-trained! That's why Malacanang was amused to give him that award.
What do you remember about the Caballes as a family?
As far as I remember, their family was too close, and I think even their children were enrolled in nice universities. Cora and Peter Caballes were good parents, they provide all the goods for their children.
You then went from the first two Liliw films to making over fifty features for other companies. You were a very busy director, and we can say most of your films were action. Why action?
Why? Because as an ordinary person I experienced going out with these kinds of hoodlums, so I can relate myself to their activities. Like OXO - I made OXO vs Sigue-Sigue, because I know what they're doing, especially with their aims, their motives. As a person, why they do that. That's why I made all "versus" movies here - vs Sputnik, I made these films.
At some point, action films were no longer popular. Why?
I think it began when our movie king, Fernando Poe, died. Because FPJ is the King of the Action Film, then followed by Rudy Fernandez, also fades. So the Action Movie King so weak, so the love story began to bloom, especially our film now is manipulated by two movie companies, let's face it. Only Star Cinema and GMA are now making money. They monopolize. They control marketing. How can small producers to be shown in SM? They control SM movies. And the small theatres are already closed, where our small producers will show their movies. I'm a Regal director - a big one. But, we joint venture with GMA or ABS-CBN, before we can make a project? Sad to say that this movie industry was dying. Why? Because they monopolize the industry, especially the marketing. Plus they monopolize the star system, they handle their own stars. When you try to get that star, how much will it cost you?
Let's go back to the late 70s, what was the market like then?
During that day, it was brilliance. You can do your thing as a filmmaker, you can make your movie free for marketing, especially these small producers were very alive. Why? Because they expect more movies to be showing their films. Not like now, when no movies to be shown. That's the biggest comparison. During those days, there are plenty of theatres to be shown, not like only SM is monopolized this marketing. How can our small producer make film without marketing? So, limited marketing, limited money, limited everything.
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