Erwin Romulo on human bondage Q&A

Unnaturally pale with a shock of black hair, Erwin Romulo has lived most of his life in the city, in front of TV screens. Despite his obvious youth, his eyes seem jaded, showing a weariness beyond his years. He is alternately a writer, musician, film director, vegetarian, yoga enthusiast, and deadline-reminder (sorry!). He is currently working on a full-feature film entitled Camiling Story. He categorically denies that the film is loosely based on his life although he will admit there is a bit of sex in it.

Young STAR: How did you end up directing the music video for Pin-up Girls?

Erwin Romulo: Mon Castro’s been a friend, and I reviewed their album so I pretty much knew their music already. Mon talked about doing a video. He asked me what song I wanted to do, and it was a toss up between Quicksilver and A Cold and Better Place.

Why did you choose A Cold and Better Place?

I was really more attached to that song. I already had an image in my head of a woman crying, and it just so happened that the song was supposed to be about domestic violence. By this strange alchemy, it fit. I just felt that I could do more justice to that song rather than the other one.

Is A Cold and Better Place reflective of the Pin-up Girls sound?

Actually, no. It’s quite different from their other songs because its more downbeat, more Lou Reed. Yeah, it sounded like a Lou Reed song when I first heard it. It’s one of their slower and more somber songs—which I like. It’s not like I didn’t like the others. Basically, I’m not a very cheerful person so I think that’s why I gravitated towards that song rather than Quicksilver, which is really a good pop tune.

What inspired the concept for the video?

This film called Kisapmata by direk Mike de Leon. I was really obsessed with that film. Actually, I still am: I watch it every two weeks. That’s just a masterpiece, that movie. I’ve always wanted to incorporate it into something, really wanted to do something in that vein. Not that I would do a shot-by-shot remake of the film—which would be pointless. What I’m trying to capture with the video is the feel of that film.

What are the elements that you incorporate from Kisapmata?

The concept of fear...being trapped in a household or in a place where there’s someone you fear and you can’t do anything about it and you’re helpless. The violence is more implied rather than seen on-screen. Except for the last reel, there’s no violence in that film, but it’s a brutal tease from beginning to end. That’s what I wanted to capture with the video. I wanted something that had that sustained brutal tease.

Hence, the high school girl in uniform tied up to a chair?

It’s a bizarre tableau, but it works, I think. First of all, I want to talk about why we only did it in one shot. Most videos these days, you see that they’ve used really rapid edits...one-second cuts...really, really fast cutting.

Filmed with several cameras, right?

Well, not even with several cameras... just from different angles, just pak-pak-pak-pak-pak. What I wanted to do was try to go against that; to do something different with just one take. But, not that one-take where it’s going around, just following a person. I wanted something simple—a camera tracking out. Each time the camera moves back, a certain portion of the story seeps through.

How long did the shoot take?

One day.

What did that one day involve?

Lots of help from friends. We had friends who did it, basically, for free. And, you have other outfits like Cineforce. You know that they are in the business of helping filmmakers. They’re not just in it for the money. They really care about the filmmakers.

How did they help out?

They gave us a discount, first of all. But, it’s more than that. The crew, the people there, Chris Gabuya, Mr. Faitsang, who owns Cineforce — they understand how an Independent filmmaker works. They understand the needs of a filmmaker, and they really respond. They really work to achieve your vision. They’re always on their toes. They’re not just working. They want the film to be better.

Of course, they’re not the only ones who helped. We got fierce support from Furball, a production house composed of young, independent filmmakers.

Did any people from the mainstream film industry pitch in?

No, not really, aside from the star of the video.

Who?

Kaye Abad. I’ve always wanted to work with Kaye, and when this opportunity came up, I just grabbed it. I think she’s a really, really brilliant actress.

Were you able to elicit the performance you wanted?

To tell you the truth, we did a test shot. When I was watching it through the monitor, Kaye wasn’t acting yet. She was just there. I said to myself, "This isn’t working." But, when I said, "Action," and she started crying, her acting just put it all together. So, I was scared for a moment that the scene wouldn’t work, but once Kaye started acting, everything fell into place.

And, the wonderful grandmother we had — Ms. Hermie Conception had her own take on her character so the video really took off.

How did Kaye take to the bondage concept?

She was a real trooper. I just told her, "You have to cry, really cry, and you have to be scared, crying." That’s it. I just put her there, tied her up, and, well, off we went.

I understand there was extensive production design and, in fact, you consulted with the production designer of Kisapmata.

Cesar Hernando is another genius, another inspiration for filmmaking.

We actually used the very telephone—It’s not seen in the final cut because the lighting didn’t show it—but the actual phone used in the film, Kisapmata, we used. We put it in the shoot. You don’t see it in the final video, but we also put some religious icons which were reminiscent of the film. Even though they weren’t seen, they lent a feel of authenticity to the proceedings.

Even the house in the video looks like it stepped out of a Mike de Leon film.

Yeah, that’s why I wanted to use that. The owner of the house, the son, a good friend of mine, Gari Buenavista. We used to hang out in his house all the time, just jamming. You know, I’ve used that location for about two of my other films. I’ve always liked that location because, ever since, I’ve been under the influence of that film, Kisapmata.

What sets Mike de Leon apart from other directors?

He is the only genius director still living. The other two great filmmakers of his era, Ishmael Bernal and Lino Brocka, are already dead. In mainstream Philippine cinema, Mike de Leon stands alone. He is the only director you can look up to because of the quality of the work in his whole archive. There’s a vision that bridges each film. It’s inspiring for filmmakers. Just as England has Alfred Hitchcock; America Stanley Kubrick, Japan Yasujiro Ozu, the Philippine has Mike de Leon.

What is wrong with other directors?

Other career directors, supposedly, make these grandiose statements with their films, but they just seem hollow. You don’t know if these multi-awarded directors are doing it for art or they’re just doing for the money or prestige. These career directors are ruining the industry. Most of these directors should just stop. They can’t hold a candle to direk Mike. You can forget them, but you can’t ignore Mike de Leon.

What is contemptible about winning awards?

I’m not saying winning awards is bad. Raymond Red did it in Cannes, and he’s a hell-of-a-filmmaker. But, he still belongs to the independent scene.

There are other really great filmmakers in the underground. You have Roxlee and Jon Red, Raymond’s brother. The people in the independent scene like Mowelfund are doing it because it’s a passion for them.

I wish more of the directors from the Independents go to the Mainstream para they can change it.

Who else helped in the production of the video?

We received a grant from Fuji-Kaisa Mercantile. So, thanks to them. Also, Allan Escaño of Roadrunner, he helped us do the telecine.

Another person who really helped bring this together was the editor, even if he really didn’t have to edit anything. Jay Lucas Reyes, he’s a good friend and collaborator and good filmmaker, but, sadly, we lost him to the Web — to the Internet world. So, well, that’s our loss.

What do you like about his work?

He plays devil’s advocate. He has a very sound mind for editing. He’s got clear vision.

Is he a stickler for details?

Yeah, but his opinion is always valid. He has great insights into your work so you’re never left hanging with him. He just doesn’t nitpick. He has good reason to nitpick. Yeah, he’s a stickler for details—like I am. That’s why we work well together. But Jay would say also sometimes, "You know, that’s good already. You don’t have to do more." So, he’s also the guy who imposes the deadline.

So, a lot of people helped. It was a very Independent shoot.

What makes this video distinct from others?

Ah, I don’t know. It’s for other people to decide if it’s really different. We did our best and, I guess, all music-video crews really do their best. Siguro the main difference is the band. The band was willing to run with a concept like this and pay for it. So, I think the band made the difference, not me.

Maybe Kaye also made a difference.

These people made a difference. All the credit belongs really to the people who helped. I don’t think I can take real, big credit for everything there.

How do you see your role as a director then?

Basically, I’m like a conductor. I try to conduct all this talent to make this one symphony. So, you have a great song. You have great people who are willing to do your song to do the video for you. And, you have great inspiration from these great films like Kisapmata. My job was just to put them all together and, hopefully, make a work of art.

It is interesting that the band does not appear in the video.

That’s why the credit should go to the band because they were brave enough to put up money for this kind of video.

Do you feel you have helped raise the water mark for videos?

I think that’s already started because you already have great talent like Lyle Sacris, Toppel Lee, Erin Pascual and Quark Henares who are really doing really awesome stuff. I’m just riding the crest that they started. Hopefully, I can do more. Who knows?