The revolution continues

MANILA, Philippines - For executive producer Fernando Ortigas and screenwriter/producer Eduardo Rocha, Heneral Luna’s battle is being fought both on and off screen. “Luna is a game changer,” says Rocha. The film, directed by Jerrold Tarog, was recently chosen as the country’s official entry to the Oscars.

However, on its first few days, the film had to fight to keep its place in theaters. “When we opened, we didn’t have the numbers,” says Rocha. At the onset, the producers knew that historical films do not usually fare well at the box office – they had previously produced Metro Manila Film Festival (MMFF) Best Picture Bonifacio: Ang Unang Pangulo. Movie-going audiences are rarely interested in films like this and theater owners often replace low-grossing films with Hollywood blockbusters after a slow first day. But, the producers and their team forged on, urging viewers to see the film lest it be pulled from screens.

A combination of word of mouth, good reviews and support from schools surged the film forward after a slow first few days. “We also have a good distributor, Joji Alonso, who is passionate about this,” says Rocha. The producers also credit their marketing team led by Ria Limjap and Vincent Nebrida as the stars behind the scenes.

Ortigas admits, “On the opening day of the film, I was kind of depressed.” The producers knew they would be going up against big blockbusters like the Maze Runner sequel and Attack on Titan. But support for Luna picked up on its first weekend and only increased from there. It has been playing in sold out theaters for four weeks now. “Each day is like a miracle,” says Ortigas.

While some of his co-productions – Bonifacio and English Only Please in MMFF and K’na the Dreamweaver in Cinemalaya – came out in 2014, Luna is the first film that Ortigas really became involved in. “It was always something that I wanted to do,” he says. In fact, the businessman had written a few scripts of his own 20 or 30 years ago. “I’m not an actor, so I can’t get into film that way. I’m not a very good screenwriter, which I tried to do but that didn’t work,” he says on his decision to become a producer.

At first, Ortigas planned to produce only his own scripts, but “along came Luna.”

He shares, “If I had read the script a week earlier, would have thrown it in the garbage can because I wasn’t in the right frame of mind.”

When he first heard of the script about the general, Ortigas had a similar reaction as many moviegoers – “Who the hell is Antonio Luna? Is he the painter?” Doing some quick research, he adds, “I knew he was a general. I didn’t know that he was killed by our own people.”

Ortigas says he was fascinated by the script and also enjoyed the humor in many scenes. When Rocha introduced him to director Tarog, it sealed the deal for the executive producer.

At that time, he described himself as a neophyte, still learning the ropes of the film industry. At that time, his image of filmmaking in the Philippines – formed from stories of friends in the industry – was the rushed, two week production. For Luna, he told the team, “No shortcuts, let’s take our time.”

He adds, “In the end, I want to be proud of myself. I want to see my name as producer and see this film for the next 50 years, and after I die, people will say that’s a good film… That is my end game.”

Ever the businessman, Ortigas says that financial returns would be great. “It would give me more energy to do another one. ”

After going through K’na and Bonifacio and a couple other films, I knew more about the industry,” he says on getting ready for the battle they had to wage to get Luna into cinemas.

Learning from Bonifacio’s run, Ortigas says, “With any historical movie, you need to get the students behind it.” So the producers set to work to convince theaters to give an unprecedented 50 percent discount to all students. Tarog also teamed up with the organization Dakila to do school tours in the months leading up to the showing, visiting some 30 schools nationwide to discuss heroism and show a 15-minute preview of the film.

The response for Luna has been overwhelmingly positive for the producers. They are very grateful for the outpouring of support for audiences nationwide, while they are quick to say that they equally appreciate the candor of those who have been critical of the film.

“You can’t change the past, but you can change tomorrow. The people who have been reacting with so much emotion and so much conviction to our film are our tomorrows,” says Rocha of the film’s fanbase, dubbed the “LUNAtics.”

“I hope they invest now in making the right choice for our country, especially with the elections coming. Let’s not burn our flag again.”

Rocha, who wrote the script with the late Henry Francia, has waited some 18 years to see the film become reality. “It’s surreal. Up to now, I’m pinching myself. It’s like an out of body experience.”

He dedicates the film to his co-writer: “Henry, we did it and you’re watching from up there. And my son, Eddie (from which Rocha’s Buchi Boy Film Productions gets its name), you’re also watching from up there.”

Ortigas says the reactions of those posting on social media about watching Luna echo what he felt when he first read the script – “Why are we still fighting among ourselves? It would be a fantastic day when everyone can really galvanize around one specific idea or one common thing.”

Rocha adds, “There hasn’t been one showing without applause. Being one nation with Luna – in one brief moment, in the darkness of the cinema, Filipinos experienced nationhood.”

Moving forward, Buchi Boy Film Productions and Ortigas’ Tuko Films continue to spark a revolution in Philippine filmmaking. At the upcoming QCinema International Film Festival, they are supporting five out of eight of the finalists. Indie films Isla, 123 and Birdshot, among others, are also currently in production under their watch. They recently co-produced Tandem with Alonso and are teaming up with her again for two MMFF films at the end of the year.

Ortigas notes that the more they learn about the industry, the more careful and tighter they get with the way they handle their productions. Rocha says, “We’re supporting quite a few films now that have budgets less than Heneral Luna – combined. But they’re the same good quality. We’re going to give them the same commitment we’ve given Luna.”

I’m just an individual, my sources are limited. So profitability is still important. But definitely I’d like to go on as long as I can and beyond,” says Ortigas.

“There are nights when I wake up and think, ‘Is this really what I want?’” he shares. “But that feeling goes for just a couple of seconds. The answer is always ‘Yes.’”

Rocha agrees, “We want to continue making films. We don’t want this to just be a two-year thing. Our mission is to support young filmmakers, help them find their niche – encourage them not to be scared. ”

As for Tarog’s planned sequels to Luna, the producers say that they are open to the project, but the production will push through based on the support audiences will give Luna.

As they continue to make waves in the local film industry, the two hope to create lasting change. “I wish more malls designate at least one cinema for independent films, to give young filmmakers a chance and to give the viewing public a place to go. One cinema shouldn’t be too hard,” says Rocha. “We need a venue for young artists. We have so much content, but not many places to show it. Filipinos are very talented as filmmakers. I think we’re entering the third golden age of Philippine cinema right now.”

Ortigas says he wants to challenge the industry as a whole to make better movies for Filipino audiences.

“Don’t be afraid to dream,” Rocha urges filmmakers. “Producers, let’s risk a bit. Let’s change the face of Philippine cinema.”

And so the revolution continues, led in part by two “LUNAtics” on a mission.