A chance phone call to former child star Nino Muhlach led to a late-night coffee near my Stonehouse hotel room in Quezon City. Nino was roughly the same size as Weng Weng when they used to show up to festivals together in the early 80s. “he used to get angry when I tried to play with him,” laughed Nino. “I thought he was a kid like me!”
Nino eyed me over steaming polystyrene cups and empty Nescafe sachets from across the table and said, “So how close have you got?” I told him all I knew. He snorted. “This is bullshit. Who do you need to talk to?”
“How about Eddie Nicart?” I shot back optimistically. “He was Weng Weng’s director, and trained him as a stuntman.” Nino flipped open his mobile and dialled. “Talk to Rene the Legman,” he said as he shoved the mobile towards me.
Sure I can bring you Eddie, said Rene. He was schedule master during the crazy days of Pinoy cinema and knew where all the Old Boys lurked. 3pm tomorrow, National Bookstore in Quezon City. Yep, I know where it is. See you then.
It was too good to be true – I was finally inches closer to the truth about Weng Weng! Sure enough, I found a table of aging goons at the National Bookstore coffee shop. There was Roland Dantes, former martial arts superstar, and his co-star in Arnis Sticks Of Death, Rusty Santos. Franco Guerrero, the One-Armed Executioner himself, was seated next to director Romy Suzara. It was a veritable Goon Convention, the stories were sparking off each other, and I let the camera roll.
I then spied a guy in a baseball cap escorted past the security guards by a shorter chap. “That,” said Franco, “is Eddie Nicart.”
I ran across the shopping centre to shake his hand. “I am SO happy to meet you,” I beamed. “I rang you several years ago on your mobile, and you told me to meet you in Manila. Well, here I am!”
“Yes, I remember,” he said. Such a quiet, humble guy. We all sat at the table, the stories flew thick and fast, and by the end of the afternoon Eddie agreed to an interview at his home several days later.
Tikoy Aguiluz and I hired a cab for the hours-long drive to Taytay, the Western part of Rizal province bordering Metro Manila. “When you get to Taytay, just ask for me,” were his instructions. “Everyone knows who I am.”
And know him for a good reason. As Barangay Captain for ten years, Eddie held an exalted position akin to Village Chieftan. Barangays are like subdivisions within larger towns and are the smallest division of government. At the time of our visit Eddie had only just stood down as Captain, but was monitoring the upcoming Barangay elections. Across the road from his home in his bamboo recreation room, the walls were lined with Barangay paraphernalia, not to mention countless trophies for basketball, movie props, Betamax tapes, framed photos with co-stars Fernando Poe Jr and former President Joseph Estrada, and what was obviously an object of immense pride: a FAMAS Stuntman of the Year award for 1988.
Eddie is still regarded as one of the Philippine cinema’s greatest ever stunt performers, rising through the SOS Daredevils’ ranks from stuntman to fight director, character actor, and eventually film director, starting with a series of midget spy spoofs. He’s not the most confident of English speakers, but we understood each other well. I was in awe of the man who created Agent OO, and he knew it. Here’s our conversation, published for the first time.
Your career started in the Sixties as a stuntman?
1961 or ’62. Maybe ’60. My first film was Sigaw Ng Digmaan [actually 1963] with FPJ. I was a Japanese.
Can you tell me what it was like making action films in the Sixties?
During the Sixties up to Seventies I worked hard as a stuntman, then Burt Reynolds comes to the Philippines. He made a film and I was the co-star, trainer, contrabida of Burt Reynolds. Both the stuntmen, we are jumping from the building. Impasse, Burt Reynolds. That was 1969.
You were a stunt director since which year?
When I was a stuntman, that’s 1962. Up to 40 or 45 years in SOS Daredevils.
I heard that Burt Reynolds gave SOS Daredevils a car or motorbike after the shoot because he was so impressed?
When we are shooting in Pasay, in that building where I am running, the jeepney is around, and I jump to the jeep. That’s why Burt Reynolds is “wow!”
I also heard you and an American stuntman once rolled down a hill – the American was battered and bruised, and you got up without a scratch?
There were many cactus. I rolled down the hill.
Obviously you trained as a stuntman for many years. Someone told me the pay for a stuntman was very low.
At the time (in the Sixties), fifteen pesos, up to twenty pesos a day. Now is a thousand.
No union of the stuntman here. I formed a stuntman association, I am president with FPJ. I worked for one year to make an association, no film, just to have an association. A group of stuntmen from Cubao, Cebu, come here to Manila. That’s Ronnie (Fernando Poe Jr), Dolphy, (Joseph) Estrada – my three backers.
It seems both Estrada and FPJ did a lot for independent producers.
I think that’s good, but now it’s very hard. FPJ passed away, Joseph is under house arrest. Maybe ten years ago, the movies were in boom. But now very hard because of political (reasons).
If you had no union and therefore no protection if you were hurt, then you were out of work, no money?
There is no union, no protection here. When I made Robo Warrior (1996), when I made stunts, we have a contract for insurance.
I saw you in an Agent X44 film, the Infiltrators (1969). Do you remember how many films you did with Tony Ferrer?
Maybe fifty as a stuntman. After that, my producer Liliw (the Caballes) convinced me to direct a film. That was Weng Weng. At the time I was also directing foreign (films) as an action director, also local action director. So I got experience directing movies. It’s very hard to direct a small guy that did not know what he is talking about (does a high-pitched voice). It’s very hard because he did not know how to speak English or to read the script. So the most I was going to do was dubbing (dubbed over?), and most scenes are action and with gadgets. He’s like a stuntman – jump from the building, jump from the bridge (laughs).
What was the life of Weng Weng like before Pete Caballes came along?
I think before that he is selling cigarettes, a vendor in Baclaran I think. The name of Weng Weng is I think Ernesto. The family name, I don’t know. The first name is Ernesto.
Did you ever meet Weng’s family?
One time only. When I went to the house of Weng Weng, I meet the mother, she was very old already. In a small shanty in Baclaran.
They were very poor?
Not so poor, but one meal a day.
Was his father there?
His father had already passed away. Only the brother, or sister also.
Was the elder brother supporting the family?
Yes. The brother is Bin. Ricardo, I think, and Bin.
I heard a story where Weng Weng was dressed as Sato Nino in the parades in Baclaran.
Maybe my instructor knows. When Weng Weng goes out, my instructor accompanies him. Even to the province to make a casual appearance, I think. The brother in Baclaran knows that.
Do you remember how Peter met Weng Weng?
I remember only that Peter saw him in Baclaran, and Weng Weng was selling cigarettes in a cigarette stand (imitates a high-pitched voice).
Is that what Weng Weng’s voice sounded like?
Very small. But you could understand it. (Squeaks) “You want cigarette?” Very small. But when he tells a story, he’s very aggressive to tell the story. Sometimes he cannot do it, because he’s thinking that he did not remember the other (details).
How did Peter discover him?
I think in Baclaran. The brother of Weng Weng is a big guy, they had an idea to offer Weng Weng in the movies. So the producer got Weng Weng, brings Weng Weng into the studios. The studios say, “Who’s Weng Weng?” And then at that time Marcos brings Weng Weng to Malacanang (Palace). Because Caballes is Ilocano, also the President is Ilocano. “There is a small guy…” The President laughed and laughed, especially Bong Bong Marcos, the son of Marcos, already at the time was a kid. That’s why they have a friend. Then they say, “We make Weng Weng as an agent!” (laughs)
A real-life agent. That’s why Peter Caballes brings him to the studio. “This is a real-life agent!”
They made a badge for him?
Yes, a badge and a gun.
A little pistol?
25 calibre pistol. Then they have an idea to make a movie of Weng Weng. Then they talked to me after the director of Caballes, Boy Pangilinan, made a movie – Weng Weng is already in the leading role.
Do you remember what film that was? (Almost certainly Agent 00 [1981])
No. Then the Caballes told me to make a full-length movie with Weng Weng. So we collaborate on the story. At that time, For Your Eyes Only, that’s James Bond’s story. So we make For Y’ur Height Only!
Someone once told me Weng Weng worked at the airport?
Because Caballes is an Ilocano, and the head of the airport is the best friend of Caballes. When foreigners arrived, Weng Weng is already there! So the foreigners, they appreciate Weng Weng.
We was like the Welcome to Manila sign?
(In a high pitched voice) “Welcome to Manila!” (laughs) That’s the life of Weng Weng.
Boy Vinarao told me there were six Weng Weng features and four cameos. Who would know exactly how many films he made?
The details (are with) Cora Caballes. They sell Weng Weng to other producers in that time, before I handled Weng Weng. Up til I handle Weng Weng, already up. Cora was elected already, selected as a politician, so she stopped producing. Maybe before he has cameo roles with Dolphy, maybe cameo with other outfits.
Do you remember meeting Pete Caballes?
I think it was in Pandacan (in Manila), I have a nice stuntman and they were making a movie also, they have a movie at that time before Weng Weng (Chop Suey… or the earlier Sila... Sa Bawa’t Bangketa [1976]). And then they hired me as a stuntman, and then they have an idea. The director of Weng Weng in that Liliw production (Dante “Boy” Pangilinan) cannot easily make a film with Weng Weng, so the producer contacted me to make a movie with Weng Weng. I said maybe we can make a film with Weng Weng, but we are going to practice first with him in the gym. So I bring Weng Weng into the gym, then make him do his own stunts, martial arts, everything. And then they gamble the money to produce Weng Weng.
I watched Da Best In Da West and saw you were a stuntman, Peter Caballes was an actor, and Weng Weng was Dolphy’s deputy sheriff.
I think that was filmed in Baguio.
Did that film come before For Y’ur Height Only?
Yes, before For Y’ur Height Only.
What do you remember about Da Best In Da West? It was shot in Baguio, and Dolphy sings.
And Lito Lapid. I’m a stuntman, and I was instructor of Lito Lapid at the time. All the fights of Lito Lapid, and the horse of Lito Lapid goes into the bodega. I made candy glass. On the mountain, the horse jumps into the water – I was the one who jumped into the water.
So you were the main stuntman?
Stuntman, instructor…
As an actor, what did you do?
I fight with Lito Lapid, that’s my role in the film. Lito fights with Dolphy.
So you’re a bad guy?
Bad guy (laughs) at the time.
Do you think Pete working on Da Best… inspired him to make For Y’ur Height Only?
After Da Best, Weng Weng guests in that film, then Cora has an idea to make a movie. That’s why they contacted me to make For Y’ur Height Only.
When you were first introduced to Weng Weng, did he know martial arts?
He did not know. We teach him, we practiced in gym with my instructor. Stunt acting, karate, fighting scenes, everything.
How long did you train him?
A couple of months, I think.
In D’Wild Wild Weng, he takes off his shirt and starts doing martial arts patterns on the hill – he’s quite good. So by the time you made D’Wild…, was he quite good?
Yes, the instructor teach him very well. We only had to count – “Weng Weng, go! One…two…three…four…” So he knows the numbers to do it.
How was he as a stuntman?
My instructor taught him, and whenever he did a stunt, there were other stuntmen to assist him. Maybe not afraid if it is very high, because there is a stuntman below, “C’mon, Weng Weng!”
The company Liliw Productions was Pete and Cora Caballes. When did they form the company?
I think it’s in 1968 or 1969.
What kind of films did they make?
Action, drama. For the Tagalog market only.
For Y’ur Height Only was their first international film?
Only (the films with) Weng Weng were his international films. And they made money on that film, so they can have a mansion in Cainta. Ten or fifteen million (pesos) worth of mansion.
The Caballes really did well? Yet you weren’t paid very much.
(Laughs) Not satisfied.
So the only people who made money were the Caballes?
Right. But because they are kind, they are so good…
So you’re not unhappy?
When it comes to the financial, I’m not happy. Nut it’s OK for me, because they are like my mother, they treat me as a brother.
There was a real family feel?
Yes, so I worked hard for him, five pictures I work for him. Maybe financially I’m not happy but it’s OK. It’s not we are only for money, but for our heart.
He allowed you to direct your first film. Then you started making films for other producers. What was your first film after Weng Weng?
Lito Lapid, Alamat Ni Leon Guerrero ("Legend Of Leon Guerrero", 1982). Like a Lone Ranger, there’s a Tonto, there’s an Indian village…
It’s a Pinoy western?
There was a rumour of an Agent OO TV series?
No TV series. Film only.
There was a film called Agent OO?
That’s a different film.
With Ramon Zamora?
I think so. Zamora. I think only five pictures. For Y’ur Height Only is the one that makes dollars.
The film was shown at Metro Manila Film Festival, then Dick Randall saw it, and sold it all over the world?
Then brings Pete to Cannes festival.
The film was sold everywhere – Australia, the Middle East, Mexico. Because the idea of a miniature James Bond is insane! Were the other films taken to Cannes as well?
I think so. The Impossible Kid, D’Wild Wild Weng were also taken to Cannes by Pete Caballes. But I don’t know if they made money.
He jumped from the seventh floor of Midland Plaza with a big umbrella. I made a gadget with piano wire, then a tie with a harness. I made the piano wire so that if the wind blows up, I can control the umbrella with Weng Weng.
There’s a great scene in For Y’ur Height Only where he punches someone in the balls and runs between their legs! (laughs) And the scene where Weng Weng slides down a Ferris Wheel.
Right! He’s doing it all. It’s in Angeles.
Yes, I had a crane, and a small gadget mounted. It’s in Sapangbato and Olongapo, the island in Olongapo.
So that’s where the lair of Mr Giant is? The idea of Weng Weng, a midget, battling Mr Giant, a dwarf, is a crazy idea! Is that Cora’s?
Cora Caballes’ idea, in cooperation with the writers, and my co-director, assistant director, my instructor.
Who is that?
Mando Pangilinan.
Is he the guy who worked on D’Wild Wild Weng as well?
Assistant, stuntman also. He’s my instructor. All in SOS Daredevils.
Ruben Ramos…
Ruben Ramos, my instructor also.
He was in a lot of films as an actor. With his bald head and moustache, he’s very good!
Ruben Ramos, he’s a good actor. He’s very good playing with a knife!
He passed away?
No, I think he’s alive, but very old.
Yehlen Catral, I think she’s abroad. America I think. She’s a designer. But Carmi Martin is here. Beth Sandoval, she has already passed away. The ending, when Tony Ferrer arrives…
“Irmaaaaa!”
Yes, Irma.
What can you tell me about Rodolfo “Boy” Garcia?
He’s in a lot of films, because here he is number one like Paquito Diaz, number one contrabida. He’s a big name, like Max Alvarado, Rod Navarro, Paquito Diaz, Romy Diaz…
How about Romy Diaz?
He’s passed away. Tongue (cancer).
He’s one of my favourite bad guys. I heard he and his brother Paquito were professional basketball players, but chose to become actors instead.
Romy is a good actor.
And a good friend?
Yes, he’s my kumpare. His role is always the bad guy!
Is it true Weng Weng lived in the Caballes’ home?
Yes, in Pandacan (an upmarket district in the City of Manila).
Boy Vinarao told me he was dressed by them, and he pretended to be a little mega-rich superstar. Did they pamper him?
Maybe…
Did he used to wear his white suit around?
All in white. Sometimes I also wear only white!
He was happy because the Caballes are a compadre. That’s why if there is no money involved…
So Tony did a favour to the Caballes. I believe Weng Weng became quite famous from For Y’ur Height Only. Did he make a lot of TV appearances?
As guest, not like the others in TV. Because when it comes to an interview, Weng Weng did not know how to answer the interviewer. He needed an interpreter.
He couldn’t speak Tagalog?
He could speak Tagalog, but even in Tagalog he cannot answer. Because he is like a small boy. Sometimes he’s angry…
Like an uncooperative child! But what was he like as a person?
He is cooperative. When we are going to shoot a movie, he wakes up in the morning, and then, “Weng Weng, get dressed. The costume is like this.” “OK!” Breakfast, he’s on the set. “You’re going to jump through that bridge.” “OK!”
He was happy to be there?
Yes, very happy.
If you consider he was very small, the opportunity to do something outstanding was slim. Yet he became an international actor – that’s an amazing thing. Someone else told me he never became arrogant. Would you agree that fame didn’t change him?
I think he’s quite a tiny man, he’s very quiet. When I said run, he’d run, when I said jump he’d jump. When we were off camera, he’s very quiet.
Maybe sometimes angry when they say he’s a small boy. “No, I’m already a man!” That’s why when you say, “Weng Weng, this girl is mine,” “No, this is my girlfriend.” “No, this is MY girlfriend!” He makes jealous. “Where’s my gun?” (laughs)
He does seem very innocent.
Like a small boy.
Is that why people took him into their hearts?
He’s a very friendly guy. But Pete Caballes, “Don’t talk to Weng Weng.” Because Weng Weng maybe knows everything. The only ones who could talk with Weng Weng were me or the instructor. The others, not talk talk with Weng Weng. He kept him only in the room.
What kind of relationship did Weng Weng have with Peter – like a father?
Like a father, but when outsiders come to their house, (they treat him) like a dog. “Go up!” When there is a visitor, he go up(stairs). So the boy, when the visitors are coming, he run to the top (of the house), he’s scared.
Because he was yelled at by the Caballes?
“Go to your room!”
But Weng Weng didn’t mind?
No, Weng Weng didn’t mind, because Weng Weng is like a boy.
Physically he’s like a little boy – tiny head, perfectly small body. He’s very unique.
Very unique.
You’ve never seen another person like him.
It’s the first time, I saw him. The other (short) persons, they’re like a crab, but Weng Weng is proportioned in the body.
All your films have big endings… My favourite ending is in D’Wild Wild Weng where Weng Weng has a gatling gun, and there are guys in sombreros…
…like Mexicans! (laughs)
…mown down with the machine gun. How long does it take to shoot a scene like that?
I think three to four days. That’s in Pampanga, in the desert. Like Mexico.
Everyone’s dressed as Mexicans, it looks like the Wild West, but they’re driving a jeep, and it’s modern day Philippines!
It’s like a Volkswagen, a jeep.
This is a crazy idea for a film!
With a big man, Max Laurel.
Weng Weng is a small size, Max Laurel is twice as tall. So when they’re walking through the desert, it looks incredible!
“How can we enter that house?” (Makes a throwing motion)
He throws him like a football!
Like a javelin throw – pow!
And then at one point Weng Weng’s in a bag around Max Laurel’s neck, and Weng Weng sticks his head out, looks around, then ducks back into the sack! And at the table he’s eating bananas like a little monkey! In The Impossible Kid he walks between two buildings – is that on a tight rope?
That’s a tight wire. Also piano wire, he’s on a small motorbike, he jumps to the other cliff. I had a gadget of piano wire together with the motorbike. I hung it from the bridge (makes sliding noises). But it’s very tiny, you can’t see it in the camera. Now it’s done already by computer, but at that time you do it actual.
It was not made already, because Cora Caballes was elected as a Councillor in Manila, so they stopped producing.
Everyone has a Weng Weng story, and some are about him in public with girls on his arms. Did he believe he was a ladies’ man?
It’s only his dream. When he embraces a woman, the woman says, “C’mon, Weng Weng…” Sometimes he makes you jealous – “Weng Weng, she’s MINE!”
He loved the idea of being like James Bond?
Like James Bond. Embrace a couple of women, two or three.
Did Weng Weng ever see any of the money? Was he well paid?
Not very well, because the producer did not give so much money. But when the brother came to the producer, one thousand or two thousand.
Pesos?
That’s for For Y’ur Height Only. I think it made one million dollars.
So Weng Weng only saw a fraction of that money?
Hmm…. The last one I made (The Cute, The Sexy & The Tiny), with Berting Labra, Weng Weng, Pia Moran – the last film with Weng Weng, he is a convict, like an Al Capone, he’s in prison and he gets out.
You don’t remember what else happens?
I think Cora has a pile of scripts and photos in her office. But she is in America now.
And Peter is…?
Missing! ‘Cos he’s married to another girl. He split with Cora.
Do you remember when?
I think ten years ago.
When Weng Weng stopped making movies, was that because Peter decided to stop? Do you know what happened to Weng Weng after he stopped making movies?
They stopped the movies because Cora Caballes was elected Councillor in Manila, I think three or two times in six years. When she is already Councillor in Manila, she cannot have a business of making movies. Because she is a public servant. That’s why Weng Weng brought my stuntmen, they’re drinking in the clubs. That’s why the heart attack.
From too much drinking?
I think so.
Do you know when he had a heart attack?
The year? Maybe 1996 or ’95. (I found out days later Weng Weng passed away in 1992)
How long after did he pass away?
Only a couple of weeks, I think. Very quickly.
When was the last time you saw Weng Weng?
In the 80s. ’89 I think.
You didn’t see him when he got sick? Someone said they remember his family on TV asking for help.
Maybe, I think so. I did not see the television.
Maybe the Actors Guild could help him, but I think they didn’t know that Weng Weng had troubles. The producers can help, because Weng Weng was living in the house of the producers, Cora Caballes.
That’s a question for Pete and Cora – why was he left alone? He was so famous, and then suddenly forgotten. No one really knows what happened to him in the last few years.
If you can talk to the producers, to Cora, maybe she will tell you, “It’s OK for me…” But the people know they maltreated Weng Weng in their house. They earned money, but they did not give the share of Weng Weng.
You really believe Weng Weng was treated badly?
Not really that (badly), because Cora is a friend of mine. When I go to the house, Weng Weng is very (smiles), he is going to embrace me…
Your last film til now, what year?
1996 (the film was Kokey, released in 1997). You know Mahal the midget, in Baguio with Carlo Aquino, the boy now is big. At that time I became Captain (of Tay-Tay village), I was elected as a Barangay Captain here, so I served here almost ten years. I have no time to go to Magnatech (a post production facility in Quezon City) to make a movie, because there are many problems here in my place.
What kinds of jobs do you do as Barangay Captain?
My job is to explain the consequences of what the (government) project is to the people, health, to improve the barangay. Now already after ten years I’ve quit.
At the moment you’re looking after the barangay elections?
Maybe this coming election I am a candidate also, a Captain in this barangay.
It seems the mid 90s, when you stopped making films, was also the time when others stopped.
That’s the time movies go down.
I see a lot of the old guys drinking coffee at National Book Store and Tropical Hut. It’s quite sad to see the industry shrink so much.
You see Magnatech is already closed down? At the time Magnatech was many people making pictures. Now it’s like a ghost office.
There are hardly any films now, only television.
That’s OK, but… That’s why our main actors are in TV, like Eddie Garcia, Rudy Fernandez…
Everyone loved Filipino films in the Sixties and Seventies. That must have been a huge boost, that there were always movies to be made?
Now I think people consider movies, how much – it’s a hundred pesos plus. At that time in the Sixties, only five pesos, or two pesos.
Now shopping malls are the only places to see movies!
A lot of money to see movies. And Jollibee!
That’s the only one? You were also on Siege Of Firebase Gloria (1989). That was the time when foreign producers were still coming to the Philippines. Then in the 90s it stopped. The presidents after Marcos weren’t as welcoming?
For me, Marcos is good. When it comes to the movie industry, he helped, because the Americans came to make movies here. After that, Cory, Ramos – it’s only once a year. In the 90s they stopped.
So the end of the Marcos era is the start of the decline of the film industry?
The presidents now are not helping the movie industry. Rather than like Marcos with Imelda, Imelda having a Film Centre, the American producers come here. Now, no mind.
When you were a young man, what made you decide to be a stuntman?
Well, at that time around 60s, when I did the first movie with Fernando Poe Jr., as a bit player - Sigaw Ng Digmaan ("War Cry") ’62 or ’61, that’s the time of the start of my career as a stuntman. Then, I entered SOS, until I became an instructor. So, that time, as I was already an instructor, I was also a bit player, and then the second lead role, up to director. And the first assignment was Weng Weng’s movie, after Boy Pangilinan. That was my first movie - that was For Your Height Only. After Boy’s Agent 00.
What made you want to become a stuntman?
Because at that time I was only a fruit vendor in Baclaran. No. I was just hauling fruits. So when my cousin invited me to be a stuntman, I agreed. I became part of an FPJ film. That was my first time. Because the movie industry was going smoothly that time- although they were just paying me five pesos per day as a stuntman- and that’s ok already. As opposed to getting four pesos a day hauling fruits- a stuntman has higher pay than a laborer. And I tried my best so my career would boom. And I reaped the benefits.
When did you join SOS Daredevils?
Around ’67 or ’68. Because after with FPJ, I joined stuntmen clubs, but I didn’t like most of them, so I joined SOS- well, somebody invited me. It was well managed, and strict. So that’s where I started practicing, three times a week. And I lasted up to 30 years with SOS. Training with them. My career blossomed with SOS. I even became Burt Reynolds' partner one time. I respected him, he respected me. And we made a good set-up. With Burt Reynolds. That started everything. When I was getting recognized in Philippine movies.
Before the SOS Daredevils, what were the other stunt groups that you joined?
No-name groups. Ala Hao-Sioao. Because that time, during the height of filmmaking, there were around 50 stunt groups, but the no. 1 was SOS. And TNT. But TNT was for effects. And SOS were for stuntmen.
Who was in charge of the SOS at that time?
The head was Rick Bustamante. But that was a long time ago. He’s dead now. But he was there since the time of the Japanese (1941). He was an acrobat. And then he founded SOS. He even went to Hollywood to study stunts. And it boomed. Because all the stars who got famous that time all started with SOS. Mario Montenegro, Jess Lapid, Lito Lapid - a lot. Johnny Monteiro. They were all SOS.
In Herran (Taft Ave.). But before that, it was in Mandaluyong, we’d get there by boat… And then we transferred to Herran. We were there for almost 20 years, and we only transferred because it was torn down to build a new building. And then we transferred to MH Del Pilar (Malate), in a vacant lot, and that’s until (Rick?) died. When he died, we all went our separate ways.
Who were the fight instructors at that time, when you were just starting out with the SOS?
There were a lot. Jing Abalos, Avel Morado, Ruben Ramos, Ben Datu. They’re all dead now, but they were the famous ones during that time. Because you need to follow their instructions. You have to practice, so they will see… Within two years, I became an instructor as well. Because almost every day, night and day, I was practicing. I really wanted to learn. And it paid off. I became head instructor. And I even became the president of the Stuntman’s Association of the Philippines, which I started during FPJ’s time.
What was a day like, training in the SOS?
Training was good. Training days were Monday, no, Sunday, and Wednesday. While I was training almost four times a week. Including Fridays and Saturdays. I was with my group, and we all want our fight scenes to be awesome, we’d really practice for that. Because Sundays, there were check-ups. There would be big-time visitors like producers, and you’d show them your moves, how you execute your routine, and the results were good. They’d clap. Imagine, you really practice hard for that, before showing it to them. That’s every week. You have a new routine. Of course, you always need something new, so they won’t say that you’re just copying it from somewhere. So you really need to practice hard for that.
Around what time do you start training?
Call time is one pm. Up to six. But it really ends by eight pm. Because after training, lessons. That’s the intense part, the lessons. Because they really pick your brains with that. Call time is always 1pm. Until 5, 6pm. And then after, just change clothes, and then lessons up to 8pm. Ala sermon. Of instructors. They’ll teach you how to conduct yourselves in the set. That you should not be fresh, that you should not take advantage of others. That you always have to be obedient. We were trained not to eat unless our instructor has eaten. You can only eat when the instructor says that you can already eat, regardless of the time. You cannot move unless your instructor tells you to. It’s almost like a military training. Because if the instructor tells you not to move, then you could not move.
Because SOS was the biggest and the busiest, how many people were there, and how many films were you doing?
A lot. Every practice, the trainers would be more than 50, up to 70. Sometimes, 100. If there were big scenes, then we would get others and train them… Because if one enters, then it’s like they're SOS already. So they need to be trained as good and as disciplined as the SOS. Because that time, all the movie outfits were hiring SOS. Every day, there would be calls, five to ten calls, and I was the one they wanted the most, because I was already known at that time… Nicart, you have a job tomorrow, and then Nicart, go to this location, you have a shoot.
Can we talk about the stunt man as lead actor?
They all used to be stuntmen, so they do their own stunts. His brother is the father of Lito Lapid, a cameraman at Premiere (Productions). So Jess sometimes visits Premiere, sometimes with his older brother, to help. One time, a stuntman, Puling Mendoza, sprained his ankle, and they said that Jess could replace him. Jess visits Premiere because he was selling chicharon (crunchy pork skin) at the gate of Premiere. Because (Jess is from Pampanga) Pampanga’s specialty is chicharon. Jess has a big physique, so they all agreed that he could do it, so after, in the shootings of Efren Reyes, he became a stunt double. And that’s where he started to get better at it. And then he trained with us at SOS. Jess has a good physique, and he’s alert… That started it all. He really has a good body. And Premiere at that time was really looking for stuntmen who they can build-up to be stars. Do you notice, that time, we don’t have a short/ small leading man - except for Berting Labra. Before, most of the leading men were big. Zaldy Zshornack, Bernard Belleza. They were all big. Fernando Poe… They really were big (in physique). Unlike now that even the short ones become lead stars - before, only a few, select could be that. There were only two studios then - Premiere and LVN, and then another one at Malibay. Everlasting.
Dante [Varona], however, came from the Boy’s Town (reform center). He got jailed by his own mother because he was hard headed. He came from Marikina. And when he got out, he trained with us. He became disciplined in Boy’s Town, and then he went to us. He was good, and was very courageous. And so, he became a stuntman, and then a lead actor. And when he jumped off of San Juanico (bridge), he would not have been hurt had he listened to me. But of course, he was hard headed… I gave him a gadget so he would not have an accident… Because at that time I was one of the leading stuntmen who was teaching them about safety, so I did not have a lot of accidents, because I was always prioritizing safety, I was studying how (to make the stunts) safe. And Dante was also a big man… Had I been big, then I would have been a lead star way, way back as well. I became lead, but only for a few films. Of course, here in the Philippines, you won’t click if you’re not big and handsome. So I really had to show them that I was good in fights, in action. So they can see that I’m a good stuntman. That’s why the audience appreciate and sometimes, somewhat recognize me.
A mohawked Eddie in Impasse (1969)
You start becoming a prominent actor in the late 60s after a film with Burt Reynolds called Impasse…
It had a big impact on Burt Reynolds. Cinematic. Almost true to life. I had lots of wounds and bruises that time, because he was making it real already. In his stunts. He was chasing after me, so I had to think ahead of the stunts that he will do. We was running after me, so before he does a stunt, I did it first. If he jumps, I jump too. And the ending of it all, during the production’s farewell, everyone was being given his memorabilia, different things, gifts. But he did not give me anything, so I complained. Apparently, he felt shy towards me. He gave me his photo, and he wrote on the back – To Eddie, you are the best stuntman in the Philippines, Burt Reynolds. That’s the only thing he gave me. And I was proud, that Burt thought well of me. And so when he invited me to go to America, he said, Go to America, I’ll take care of you. And so I went to America, there was a shooting with Lito Lapid. I did not see him there. But it was nice. I made him see that the Filipinos are on par with them.
At some point, you became the personal trainer to Lito Lapid?
With Lito Lapid, that time, he was just my stuntman. I was already an instructor, because, his uncle was from SOS, and so we know him. He was just my assistant in SOS. "Lito, buy this…" We made him do all kinds of stuff. And then I made a passion play, Jesus Christ, and I made him St. John, and I told him, just get a blanket, that will be your costume. So, when he started becoming famous, because I was his trainer, me and Jun de Guia of SOS, he got me as his instructor. Right from the start, wherever he is, I was there with him. Until he became famous, up to America. So, when he went to America, he could not travel there without me. That was hard. Imagine, we were only four there, for the movie. I did everything. And when he was really, really famous, nothing. We separated, because Lito has a different (career path) then. And then he became a senator, and I don’t go to his place anymore. But when I do, I’m still somewhat welcome. Even in the senate.
Those windows… It’s candy glass. I mix it myself. Even in America, when I made it, even my American counterpart could not do it, I was the one who mixed it, because I know how to do the clear candy glass, the resin. And when Lito did stunts, before, we use candy glass, the ones I mix. But now, it’s live. Candy glass cannot pass for the real thing anymore, because the movie audience and the bystanders will boo you if you don’t use live (real) glass. That’s why I have lots of scars, here, when I broke the hospital glass- that’s where we passed through- because there were lots of bystanders (watching the scene). They will criticize the stuntmen if they don’t see live action. And yes, after, they said that, Oh, that’s how the stuntmen do it. Even though there’s danger, they still go for it.
And so that’s how it was with Lito. Even on horses. Before Lito mounts it, I test and ride it first. Especially if it’s a new horse. Because I don’t want him to get into an accident. And so I have to test the horse first, and then I report to Lito how it is- Here are the horse’s cues- when you ride it, it has to be like this… So when he (Lito) rides it, he’ll already know how to treat the horse. That’s how it is. You have to give him tips, and protection, because if he gets in an accident, the shooting will stop.
And the thing we did with Lea (Productions), a building in Makati - 20 floors up, rooftop to rooftop, to cross the opposite street - the film where he becomes a snake (Haring Cobra [1979]), I was the one who doubled. I crossed that building, I crawled… There was no gadget, no safety net, because it can be seen in the camera. I crossed that. That’s why this is slashed. Because of rope burns. Because it was far. Almost 12 meters. From one end of the street to another. Building to building. And not just the distance, but you get nervous because if you fall, fuck, only a few cartons were there to catch you. And would cartons be able to cushion your fall, when it comes from 20 floors up? Right?
So when the stunt is as dangerous as that, I do not allow Lito to do it. But in the end, when I was no longer with him, maybe he was the one who’s doing it already. Or not. It was dangerous. Like in helicopters before, before he does it, I would test it first. Because, again, if there would be an accident, it’ll be my fault, because I’m the instructor. I will be blamed because I allowed it. Right?
When did you first meet Cora and Peter Caballes?
Because Cora was already a filmmaker (producer). Although not unlike the other outfits which were big, but they were doing lots of films - even non- Weng Weng. So I sometimes join those films as (fight) instructor, or actor. So when Weng Weng arrived… Ninang (Godmother) Cora knows me. So when they did Weng Weng, Boy (Pangilinan) did not have his crew, unlike me, I have a five-man crew, and we can already make movies. It’s all there - the caterer, the crew, we were all working. Even though I’m the director, sometimes, I’m still the caterer, I would be cooking… We all were moving, working. We can do it cheap. So when I say that we can finish a film in one week, we can do it. Fifteen days, seven days… We can do it. We were intact. We were together. It was teamwork.
Was Chop Suey Meets Big Time Papa was the first time you worked with Peter and Cora as a fight instructor?
I think so. With Ramon Zamora. I don’t remember that much. Because when they get me as an actor, that’s just the scope. Unlike when they got me to direct Weng Weng, I had more concern (responsibilities). The others, I do not remember well.
And your fight instructor that time was Mando Pangilinan?
Oscar (Reyes).
Mando was Boy Pangilinan’s cousin. Is that right?
I think. They have the same surname.
Were they training Weng Weng to be a stuntman as far back as Chop Suey…? How? Where?
Mostly at SOS, and at the Karate Club of our friends. That’s where we train him karate. And for his stunts, he trains at the SOS gym. That’s where we teach him. It was okay. The kid was obedient, even though he was like that. Because he’ll do whatever you tell him to. When you tell him to jump, he’ll jump. We does not have any fear. Probably because he’s slow in the head, but it was good because he was obedient.
What kind of training did you make him undergo?
Karate. Jumps. Fight scene. Most especially the fight scenes. It should not come off awkwardly. And this is because Peter and Cora want to turn him into a leading action star.
According to Boy, you were assistant director…
Because at that time, Boy does not have assistants, and his father, Mr. Johnny Pangilinan was my friend - I used to be an instructor and assistant director for him - so Boy got me as an assistant director and fight instructor for Chopsuey… with Weng Weng. There were other leads too, Ramon Zamora… Weng Weng that time was still second lead. The lead was Ramon Zamora. And for the second film that Ninang Cora wanted him (Boy) to make, and he could not do it because he had another project for another (production company), so Ninang Cora said that I should do it, and I said, okay, let’s try. But this was not supposed to be my first film. But I was the one who thought of For Your Height. Because For Your Eyes, the James Bond film, has just hit the theaters, and so I said, let’s make For Your Height..., based on that. And it was agreed upon. And Ninang Cora and I did the script, plus my script writer, and that’s how it was formed. And yes, Boy was the one who recommended me to Ninang.
Did you have ambitions to direct before this?
Yes. And, in SOS, when they get me as assistant director, sometimes, I get to direct as well. It was my ambition to direct even before, but not for Weng Weng… Because it would be a big (complicated) task to direct Weng Weng, but I accepted it, but it was full fledged, so it was okay.
Boy asked Eddie to replace you on a project?
That time, I was a fight instructor of Boy, and he said that, Man, if I’m not available to direct this, then you should. You can do it, he said. That time, I was still unsure if I could do it or not, but Boy encouraged me, and so, I was forced to do that movie, with (Ramon) Zamora and Weng Weng. My second film is For Your Height, and the third is Wild, Wild Weng. And I think there’s still another one… And it was okay. Because Boy knew Ninang Cora first. And so when he could not do that project, he passed it on to me. And Ninang Cora (was supportive). Even though I was just a newbie (in directing)… Because that time, 100,000 pesos is almost equivalent to one million pesos now… She (Ninang Cora) said, yes, you can do it. I’ll be the one to gamble on you. And she did not think twice. And it was good. It paid off, and they sold the films abroad.
So that project ended up as Agent 00. What did you remember about the film?
Well, me and Ninong Caballes, may his soul rest in peace, we were the ones who created this. Because (Tony) Ferrer had X44 - it started with Ferrer and his X44 - so let’s make Weng Weng Agent 00, because there’s already a 007, that’s James Bond. He’s an agent because he’s always in a coat. Clean looking. Because he always visits the Malacanang and Marcos that time. And he flies in a parachute, with one of Ninang Cora’s friends. So when (that friend) is parachuting, Weng Weng goes with him.
He was already trained as such. So when we started shooting, he was never afraid. Imagine, in a parachute… That’s probably why the kid (Weng Weng) developed nervousness. From all the things that they made him do. That’s why he had a heart problem. Plus, he’s a heavy drinker. He can drink up to 12 bottles. He’s a heavy drinker.
One time, I took him with me to Samar, it was the height of the NPA (rebel group), there was no shooting, I just took him there with me. The NPAs, instead of kidnapping him - and Weng Weng was not afraid - the NPAs all left. That’s how much Weng Weng is loved by the people, no one plots against him.
That’s when Agent 00 started. Because Dante and the others had their own ‘names’, Zamora is Dragon, ala Bruce Lee, and him (Weng Weng), we made 00. And Ninang Cora said, okay, let’s make him Agent 00 for the film. That’s when it started.
What is the story of Agent 00?
I’m not quite familiar with that first film. It was so long go. And I only started to focus on For Your Height, because it was the one that boomed. The first one, the one with Dante, he (Weng Weng) was just the fourth lead, because we were just building him up then.
Around this time Weng Weng was made an honorary agent. Do you remember that moment, and was it just a PR stunt or was he really trained…?
He was probably trained, because he was issued a gun. A small gun, from Malacanang. Everywhere he brings his gun, even though he’s just like that. His gun is a senorita. A real gun. And so you cannot kid him. The staff do not joke around with him, because there could be problems, and he might shoot them. And that’s why he’s always so well dressed too. And that time, the masses were always fawning over him. He was famous. That’s why he was given protection - because Ninang Cora has close connections with the Malacanang. So he was given authorization to be a secret agent.
So he was really going on infiltration missions?
Yes. Sometimes, he was given… They make him come with them him because he could enter small passageways. That was the time of MetroCom. Because one of them was Ninang Cora’s uncle. The big, dark skinned one. That’s Ninang’s connection in Malacanang.
Who were those missions against…?
Crimes. Because that time, drugs were not prevalent. So, just crimes. And sometimes, syndicates. Because Peter Caballes also joins them (the MetroCom), and that's why Weng Weng was there too.
And round about this time, when the movies were being made, Weng Weng was adopted by the Caballes…
(The Caballes’) treated him well. He lived with them in Pandacan. When we would visit, he was just there, and he was okay. Of course, you cannot tell him to do stuff (around the house), and he was not allowed to go out, because he might just wander off. He was just there at the house. Except when he goes out (with the Caballes’), he was always well-dressed. They had given him tailor-made white suits. He was treated well. They always attended to his needs.
Do you remember the first time you encountered Weng Weng…?
The first time I saw him… They said that he was discovered in the streets of Baclaran… When I first saw him in the (Caballes’) house, it was okay. I told myself that if this kid will be dressed and trained properly, his (career) will fly. Because he can comprehend (understand) things. He obeys. And when I (teach) him karate, he has good footwork. And I said that if he will be trained properly, he will have better moves. And that’s what happened. We taught him. We brought him to the gym. That’s how it started that Ninang…
Everyone said that he was a blackbelt in karate before he started in films…
I do not… It was with our trainings that he became a blackbelt. Because when he was with us in the gym, he was given done (?), and was made to wear the belts. First, the white belt, and then he was promoted to brown, and then red… Because of his abilities. But at first, I did not notice that. When he was still not with Ninang Cora, I did not know how he was. I know that he was just a stand-by in Baclaran. Because nobody was really taking care of him. His brothers did not know that he would turn out like that.
The film For Your Height Only, it seems that it was always planned to be an international release. Would that be correct?
I don’t know, because they were the ones who marketed it. I only realized it when the film was in the Cannes Film Festival. Because before, the purpose was not for international (market), just here, locally. Because it was low budget, and the aim was just to break even. And then, it was entered in Cannes (film market), because they have a lot of connections there. So they went there. I think even Weng Weng went to Cannes with them. That’s when it started to have a following abroad. That’s how they sold it.
I think so. I think there was someone that they were talking to, but of course, they did not tell it to us, they might have thought that we will demand a higher talent fee. But it was all okay with us. Whatever the amount they give us, even if we do it for free, because we’re all friends. So it’s all okay.
How much was the budget for Agent 00 and For Your Height?
It was Ninang Cora’s prerogative. I do not know. I do not know if we even had a weekly budget or not. The money just arrives. The film just arrives. And the production manager was also given money for expenses, but this is not like other outfits where you know the complete details of the budget. Here, we did not know.
We were only five in the production. My production manager Evelyn Baruelo, me as director, Mando as assistant director. My instructor, Oscar Reyes. And sometimes, Lito, the policeman. We were just five. That’s the whole production already. Unlike other productions which has a lot of people, us, we only had one car, and then when we arrive at the location - Cook rice already! - And then we cook our food, it was just us.
Eddie, was For Your Height Only filmed in Tagalog?
Yes. Tagalog. And then it was dubbed. When the film had buyers, they got dubbers here to dub. Or they dub it there, that’s okay. But in our shoot, it was Tagalog. Not English.
Because the audience got curious. Because it was just after James Bond’s For Your Eyes Only, and so, the audience all lined up f(or For Your Height), because imagine, a small person, doing (all sorts of stuff), and with gadgets that I thought of - I made him fly, and cross (tight ropes?), and nobody knew how, it was just I who thought of those. I was the one who prepared the gadgets - Let’s buy this. Why? Because we’ll have him cross this. And it’s good that it clicked. And when it was shown internationally - fuck. The audience was amazed that a small person could do that.
Okay. Let’s talk about how much everyone is getting paid…
I don’t know how much Weng Weng is getting. That’s probably why his parents and siblings feel bad, because they weren’t given any money, and I did not meddle with that. Even with us staff, it’s just whatever is given to us. And if we can borrow money from (the Caballes), then it’s okay. Me, that time, so I could watch movies, my payment was a Betamax. And how much was that? Probably not even 5,000 pesos that time. That was my payment for For Your Height..., or was it the first film? A Betamax, and some cash - three, or two thousand. Because we only did it for two weeks. We had free transportation, because we had a service vehicle. Because they’re our Ninong (godfather) and Ninang (godmother). We have lots of church activities together. They’re rectors there. We had a good relationship with Ninang. That’s why we call her Ninang in the first place. But when it comes to money, we didn’t have a say on it. And I knew that it made money, because sometimes, they make me go with them in the hotels - not for For Your Height..., but the first one. And sometimes, I see them being paid in dollars. Cash. One hundred to two hundred thousand dollars. In a hotel. And of course, I could not say, Hey, can you give me some too? It’s okay. And we weren’t given any more money, and we have to be with them in the hotel - especially me, they make me come with them a lot because they introduce me to the foreigners. I can see their transactions. But it’s okay. I don’t care about that. If they give money, then it’s okay too.
Two weeks for For Your Height Only?
Yes. That’s just a two-week shoot. And it’s in location. In Pampanga. And Biak na Bato (Bulacan) where we flew. And in Valley Golf, and in buildings.
That’s why we even had Dolphy as a guest. In Midland Hotel. So we waited for him. Because he was living there. He said, Ok, just wait for me at the lobby. And when Dolphy arrives, I’m already rolling, while he was talking with Weng Weng, and so, he’s already a guest.
And obviously, there was a lot of money generated from For Your Height Only…
I think D'Wild Wild Weng is not like For Your Height..., because it had a different concept. We even bought a car, a small one, ala Volkswagen, for Weng Weng. That was what was used in the desert. And that big guy, Max Laurel, that was his… But it did not boom as much. Because the (charm) of For Your Height was really different. Because he was a solo lead there. In D'WWW, he had co-stars. But it did not flop that much, because it did not have a lot of budget to begin with. If ever it earned a bit, then it would have covered the cost. But I do not know if it was sold abroad.
They only really concentrated on For Your Height.... And after D'WWW, I think they stopped making movies. They built a new house, someone died, and eventually, Ninong and Ninang separated. I think the couple had a problem, and they didn’t produce films anymore.
Any specific memories on the film?
It was okay. When we arrived in Pampanga, we checked-in in a hotel, just one room for us staff. And then… the late Romy Diaz was one of my guests. In just one week, the shoot was almost finished. Just in the desert. When we came back to Manila, (the shoot) was just in the house in Balete Drive. The shoot was just a little over a week. Ten days. The budget was really small. Imagine, you do not have to pay anyone, because you do not have big stars. The only known actor there was Romy Diaz, may his soul rest in peace. The rest were all unknown. And us, we did not expect to be paid. It was just okay with us.
And then there was an attempt for a sequel to For Your Height… When the Impossible Kid was made, was it intended that the stunts will be grander…
Yes. It was really planned. Especially the stunts. And before shooting, we also have conferences to discuss what we’re going to do. I plan. I discuss it to my staff, and we also call in the main cast, those who will be involved. So they will be prepared, and so they will not be caught by surprise. And that’s why it was faster, because before we shoot, we prepare for all that we need. So the shoot becomes faster.
But was it really the intention that the stunts be grander?
Yes. Because I want it to be at par with For Your Eyes Only. So, for For Your Height, I had ideas (stunts) that were really designed for Weng Weng. The umbrella, jumping off of buildings, the flying gadget… There were lots of tricks that were different from normal films.
Ah, that’s a double gadget. There’s one under, and there’s also one above. Cables. So, he has a small cable in his suit, that’s connected to the cable above, and when he walks, it follows. So even if he falls, he won’t… And he’s holding (a stick) to add weight. Even the flying trapeze artists- that’s their main balance. But there’s a gadget above, that will keep you from falling. But it’s just a small gadget. As thin as a guitar string. The piano wire.
And the motorcycle across the ravine, how was that performed?
Almost the same. I have a cable above… The motorcycle has a gadget. It also has four strings. It’s connected to the cable above, and when you release it, the cables will start to move. It (?) has a stopper. But the motorcycle was suspended in mid-air.
What about the jump from the church tower in D'Wild Wild Weng, how big of a jump was that?
That was also quite high. That was in the third, or fourth floor. That was the church in Baras. That’s the location. And the landing space is full of cartons. Before, in America, it was duffel bags, here, it was just cartons with a mat. With Weng Weng, just 20 pieces of cartons and one mat is okay for him already. He’s okay with that, he won’t… Because he’s so small, and so he won’t sink. Even just one layer of a pack of cigarettes is okay for him already.
How was Weng Weng when he wasn’t shooting?
As I said earlier, when he was not shooting, he was just at the house, waiting. And of course, he can’t be asked to do tasks, because he’s… He’s just there in Ninang Cora’s house. Sitting. Or upstairs. He can’t be ordered to cook… He’s just there. All day, he’d just be there. Sitting. And then, if it’s time to go out, he’d dress up. Always in a suit. That’s all. So when there’s no shooting he’s resting.
The Cute, The Sexy, And The Tiny was just made for local audience. There wasn’t really hope that it will be sold (internationally), and it was really intended for here, Manila. Or probably it was also screened in the provinces, I don’t know. Because, if you tanked here in Manila, but was screened in key cities in the provinces, then you’d be able to break even. It wasn’t…
Can you tell us the story of the film The Cute, The Sexy, And The Tiny?
When it was made, Berting was just fresh out of Muntinlupa (city jail). We were the first ones to treat him after he got out. I took him to Pagsanjan (Laguna). And then we took him to Lido beach. I was the one who treated him out. And of course, he just came out of the city jail, so we gave him a woman. He was at the beach for one week. And I was there as well, so I can influence him for the better, because he just got out of jail. And then we got Pia… His leading lady. And Weng Weng. But it didn’t boom. Because it’s better if Weng Weng was the sole lead; if there are others, it does not fare well.
Was it meant to be a spoof on The Good, The Bad And The Ugly?
Yes, that’s the concept. But it didn’t… And I wasn’t the one who wrote it. Ninang (Cora) just gave it to me. I revised it as well, but still… It was Ninang Cora who wrote it.
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