From commercial to film

MANILA, Philippines - A full-length film is something where he has yet to display his creative genius. That is among his immediate plans. But for the past 11 years, US-educated young commercial director AF Benaza has built an impeccable reputation as the megman of choice by some of the Philippines’ biggest brands.

Even as he continues to craft TV commercials, AF, short for Arby-Fil, eventually wants to make his mark as a film director.

Born in Manila, AF migrated with his family to the US when he was four. His dad used to work for GMA 7 and his mom got employed in an ad agency in Los Angeles after they moved there.

“I would tag along with my mom to her office where I was introduced to some creative people,” AF shares. “The agency was a very good platform if you want to do something creative.”

He completed his film course and graduated with honors from the Art Center College of Design in Pasadena, California. He worked as a freelance broadcast designer in the US, but when he turned 21, AF, the eldest among five children, decided to join his dad in visiting relatives to Manila.

To his surprise, AF found himself staying here for good. “It was a culture shock for me to return to the Philippines,” he recalls. “I had to adjust to a new environment and even learn how to converse in Tagalog. I was on my own here.”

Thankfully, AF did not have any struggle story in getting hired. The video reel of his works made it to four different companies. The following week, he got a job. Not before long, he was doing one project after another.

“I don’t regret leaving L.A. and working here (in Manila),” maintains AF. “L.A. is, too, saturated for a filmmaker. Hollywood is there. You have tough competition. I was advised to build my credentials in another place, so I can have a shot in Hollywood one day.”

AF is a managing partner of businessman-film producer Dondon Monteverde and director Erik Matti in Revolver Studios, a production house that has been churning out quality commercials with top advertising agencies for the past three years.

Revolver also houses other first-rate and promising directors in the country today. The roster includes Jun de Leon, Topel Lee, Joel Limchoc, Richard Somes, Borgy Torre, Peter Collias, Jerrold Tarog and Larry Ang.

“We at Revolver are all aspiring to get global recognition,” AF beams. “I really hope we can inspire a new generation of filmmakers to come up with new works. The way you can contribute to the industry is to look for young people with creative minds and passion to what they do.”

AF believes it is an advantage for a director like him to be part of Revolver Studios. “It is very good to work with a group which has a lot of resources and support,” he contends. “If you don’t have the resources, it can be prohibitive. The potential of Philippine cinema is to empower filmmakers to have a creative venue where they can develop their skills.”

AF will soon make his debut as a short film director for Revolver’s project, Nine Cantos of Hell, which will showcase all the directors in the company’s stable doing a 10-minute film based on Dante Alighieri’s classic, Inferno. AF has been assigned to work on Wrath.

“This is the first time that a project of this magnitude is being done,” explains Dondon. Nine Cantos of Hell will be supported by GMA 7, which agreed to give their available artists to act on all nine short films.

AF idolizes Hollywood director David Fincher, known for his dark and stylish thrillers like Seven, Fight Club, Panic Room, The Game, Zodiac, The Curious Case of Benjamin Button and the recent Oscar-nominated Best Picture, Social Network.

“He was able to evolve as a filmmaker,” says AF of Fincher. “He was not typecasted to his previous material. He can deal with social issues, stay contemporary and still give his films a very commercial style. It’s very tough to break out of the box like what he does.”

When AF gets to direct a full-length film, he wants to work at the helm of action flicks, spy movies or even dramas.

“I don’t choose the movie based on commercial value,” he grants. “It has to be something really good because the people will gauge you from that. I don’t want to compromise my personal style. The last thing I want to do is a horrible project where I can’t redeem myself. There is no room for mediocrity. Reputation is hard to build but easy to damage.”