Director Carlos Siguion-Reyna talks about the challenge of making films then and now
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Director Carlos Siguion-Reyna talks about the challenge of making films then and now
Rhea Manila Santos
Published Apr 09, 2023 08:38 AM PHT
Carlos Siguion-Reyna said what he liked most about the old days of filming movies was that they had more time to shoot scenes compared to the ones being made today.
Known for being the director of classic 90s Pinoy films like Hihintayin Kita Sa Langit, Ikaw Pa Lang Ang Mahal, Ligaya Ang Itawag Mo Sa Akin, and Ang Lalaki Sa Buhay Ni Selya, Carlos Siguion-Reyna already has a filmography spanning more than three decades in the entertainment industry.
Known for being the director of classic 90s Pinoy films like Hihintayin Kita Sa Langit, Ikaw Pa Lang Ang Mahal, Ligaya Ang Itawag Mo Sa Akin, and Ang Lalaki Sa Buhay Ni Selya, Carlos Siguion-Reyna already has a filmography spanning more than three decades in the entertainment industry.
This year, his 1995 family drama Inagaw Mo Lahat Sa Akin becomes the latest installment of Mga Hiyas ng Sineng Filipino by Sagip Pellikula and co-organized by MET, FDCP, National Commission for Culture and the Arts (NCCA), and the Philippine Film Archives (PFA).
This year, his 1995 family drama Inagaw Mo Lahat Sa Akin becomes the latest installment of Mga Hiyas ng Sineng Filipino by Sagip Pellikula and co-organized by MET, FDCP, National Commission for Culture and the Arts (NCCA), and the Philippine Film Archives (PFA).
During the recent screening of the film at the Metropolitan Theater of Manila, the veteran director looked back on how much he enjoyed the whole directing process with his cast led by Maricel Soriano, Snooky Serna, Tirso Cruz III, and Eric Quizon.
During the recent screening of the film at the Metropolitan Theater of Manila, the veteran director looked back on how much he enjoyed the whole directing process with his cast led by Maricel Soriano, Snooky Serna, Tirso Cruz III, and Eric Quizon.
“It was thoroughly rehearsed. Although it’s not like theater na three weeks nag-re-rehearse kayo. Yun lang yung na-mi-miss ko. Sana we can do that. We would rehearse before the take. Pero matagal yung process na 'yun," he said.
“It was thoroughly rehearsed. Although it’s not like theater na three weeks nag-re-rehearse kayo. Yun lang yung na-mi-miss ko. Sana we can do that. We would rehearse before the take. Pero matagal yung process na 'yun," he said.
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"That’s why kung minsan five scenes lang a day yung schedule to take 'yung rehearsals with actors and technical rehearsals. I think ang importante naka-focus talaga sila to relay to everybody na nakikinig sila sa isa’t isa and always present in the scene kaya hindi parang playing a part. Parang sila talaga 'yun,” he added.
"That’s why kung minsan five scenes lang a day yung schedule to take 'yung rehearsals with actors and technical rehearsals. I think ang importante naka-focus talaga sila to relay to everybody na nakikinig sila sa isa’t isa and always present in the scene kaya hindi parang playing a part. Parang sila talaga 'yun,” he added.
One of the most memorable scenes in the 1995 film was the physical fight between Maricel and Snooky who play sisters in the film. Direk Carlo explained why he shot that action sequence in just one take.
One of the most memorable scenes in the 1995 film was the physical fight between Maricel and Snooky who play sisters in the film. Direk Carlo explained why he shot that action sequence in just one take.
“I decided early on, na hindi puwedeng fight scene ng mga lalake na by numbers na punch dito, punch diyan. Kasi hindi kapani-paniwala. Kasi normally, from when they’re young, 'yung mga boys nag-te-train na sila kaya pag bugbugan alam mo na gagawin mo. Pero I’m not aware na may ganun sa girls so parang hindi kapani-paniwala kung i-nu-number 'yan," he recalled.
“I decided early on, na hindi puwedeng fight scene ng mga lalake na by numbers na punch dito, punch diyan. Kasi hindi kapani-paniwala. Kasi normally, from when they’re young, 'yung mga boys nag-te-train na sila kaya pag bugbugan alam mo na gagawin mo. Pero I’m not aware na may ganun sa girls so parang hindi kapani-paniwala kung i-nu-number 'yan," he recalled.
"So we had to decide early on na dapat bara bara and dapat natural. So kung sino makatama kanino, just go with it, go for it. But I told them, isang take lang ito. We cannot do this again. Kasi nga, it’s talagang free for all. So one take 'yun,” he added.
"So we had to decide early on na dapat bara bara and dapat natural. So kung sino makatama kanino, just go with it, go for it. But I told them, isang take lang ito. We cannot do this again. Kasi nga, it’s talagang free for all. So one take 'yun,” he added.
During the special screening of the film, Direk Carlo also shared the difference between filmmaking before and in the present day.
During the special screening of the film, Direk Carlo also shared the difference between filmmaking before and in the present day.
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“Sa akin ang nakakapagod sa directing is really planning everything. Minsan hindi ako makatulog kasi iniisip ko kung dudugtong ba 'yung isang scene sa pinanggalingan sa pupuntahan? So it’s very tiring sa ganun. What I really like about those days is that we had more time. Probably mga three weeks, mga 21 days probably. The last film I did was 11 days. Hindi na puwede 'yung mga 21 days," he said.
“Sa akin ang nakakapagod sa directing is really planning everything. Minsan hindi ako makatulog kasi iniisip ko kung dudugtong ba 'yung isang scene sa pinanggalingan sa pupuntahan? So it’s very tiring sa ganun. What I really like about those days is that we had more time. Probably mga three weeks, mga 21 days probably. The last film I did was 11 days. Hindi na puwede 'yung mga 21 days," he said.
"So ngayon wow, may nababalitaan ako three days eh. Pero normally now siguro seven to 10 days. I think I can still do it in that time but not with these meticulously plotted shots. Kasi those will all have to be rehearsed with the technical group, 'yung framing and all," he added.
"So ngayon wow, may nababalitaan ako three days eh. Pero normally now siguro seven to 10 days. I think I can still do it in that time but not with these meticulously plotted shots. Kasi those will all have to be rehearsed with the technical group, 'yung framing and all," he added.
'Yung katakot takot ang change focuses, ang track focuses, and all of that has to be rehearsed. And iba pa 'yung sa actors. 'Yung mga ikot nila, mga turn ng ulo. I kind of miss yung time na yun. Kais ngayon 12 to 14 hours na lang yung maximum time which is tama namang length of time after especially the lockdown,” he explained.
'Yung katakot takot ang change focuses, ang track focuses, and all of that has to be rehearsed. And iba pa 'yung sa actors. 'Yung mga ikot nila, mga turn ng ulo. I kind of miss yung time na yun. Kais ngayon 12 to 14 hours na lang yung maximum time which is tama namang length of time after especially the lockdown,” he explained.
Inagaw Mo Lahat Sa Akin’s restoration was made possible alongside Central Digital Lab and first made its digital premiere in 2020 via KTX.ph after its theatrical release in 1995.
Inagaw Mo Lahat Sa Akin’s restoration was made possible alongside Central Digital Lab and first made its digital premiere in 2020 via KTX.ph after its theatrical release in 1995.
Prior to its screening at the Metropolitan Theater, other restored titles from Sagip Pelikula were also featured in the Mga Hiyas ng Sineng Filipino event, including Sana Maulit Muli and Himala.
Prior to its screening at the Metropolitan Theater, other restored titles from Sagip Pelikula were also featured in the Mga Hiyas ng Sineng Filipino event, including Sana Maulit Muli and Himala.
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ABS-CBN Film Restoration continues to restore and remaster films from directors and writers of note for today's viewers to appreciate through its Sagip Pelikula initiative.
ABS-CBN Film Restoration continues to restore and remaster films from directors and writers of note for today's viewers to appreciate through its Sagip Pelikula initiative.
These efforts have earned multiple recognitions from award-giving bodies worldwide, including the prestigious Gold Quill Award given by the International Association of Business Communicators (IABC), Gawad Pedro Bucaneg from Unyon ng mga Manunulat sa Pilipinas (UMPIL), and most recently the Gawad PASADO sa Pagsisinop ng mga De Kalibreng Pelikula distinction from the 23rd Gawad PASADO organized by Pampelikulang Samahan ng mga Dalubguro (PASADO).
These efforts have earned multiple recognitions from award-giving bodies worldwide, including the prestigious Gold Quill Award given by the International Association of Business Communicators (IABC), Gawad Pedro Bucaneg from Unyon ng mga Manunulat sa Pilipinas (UMPIL), and most recently the Gawad PASADO sa Pagsisinop ng mga De Kalibreng Pelikula distinction from the 23rd Gawad PASADO organized by Pampelikulang Samahan ng mga Dalubguro (PASADO).
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