00:58.6
Are you overwhelmed or surprised by the responses coming from Ricky Lee, from Atom Arolio, from people that both of you and I very much respect?
01:07.4
I'm touched, overwhelmed, yeah.
01:12.2
Honestly, nagulat na naka-anxiety pala.
01:16.3
Okay, I'm flinched.
01:18.4
So yesterday, I was really, really, over the course of the last few days, I was feeling very anxious about how people would react to the film, receive the film,
01:27.5
whether they would understand.
01:28.6
Whether they would feel for it.
01:31.5
And so, even hearing that initial first few reactions, first, I heard that Atom was, he was heated, kasi in the same row as me.
01:40.5
And I had heard that he had started crying toward the end of the film.
01:44.5
And that really made me, it really gave me joy, kasi it told me that the film is connecting on an emotional level.
01:56.0
And then the day after, when I got...
01:58.6
I got a message, a personal message from Sir Ricky, who said that he also liked the film.
02:04.2
Sir Ricky kasi is my mentor.
02:07.1
I studied screenwriting under him.
02:10.1
And so to hear that from your mentor was very touching.
02:13.1
And then yesterday, you know, we, our film is on the lower end of the spectrum when it comes to the number of cinemas playing our film.
02:22.0
So we were all, you know, very, very anxious, very cautious.
02:26.1
But then hearing the initial reports of...
02:28.6
Screenings getting sold out all around Metro Manila.
02:34.3
And in the some, in the few provincial screens that we have.
02:38.0
And then hearing also reports from our checkers that, not just our checkers, by the way, but also family and friends who've seen the film.
02:44.3
Hearing reports of people clapping and standing up at the end of the film and crying at the end of the film.
02:50.5
Really, really just made, it's the best surprise for me.
02:56.7
I'm really, really happy.
02:59.4
Well, I mean, I'm yet to watch it because for some reason, I'm not sure kung available po siya dito sa Baguio.
03:04.1
And I think that by now...
03:05.5
It's not exactly yun nga.
03:06.9
I was hoping to watch it before I interview you.
03:08.9
But don't worry, I'll make sure that, you know, I'll assess it on its own terms.
03:13.6
Now, I mean, I remember the lines that Nick Joaquin used during the execution part.
03:19.1
And this is towards the end of the very first chapter of A Question of Heroes.
03:22.7
And I was, you know, brought to tears.
03:24.6
I'll be honest about that.
03:25.9
And, you know, everyone talks about Rizal.
03:28.2
Everyone talks...
03:28.6
Talks about, you know, your usual suspects of Ilustrados.
03:31.2
But because before there was the Ilustrados, there were, of course, the Gumburzas, right?
03:35.4
And that's where my question comes in.
03:38.0
Why did you think na dapat nagsimula tayo sa Gumburza?
03:41.7
So tingin mo ba this was an unexplored part of our history?
03:44.2
Or that the psychological and the emotional relevance of that and the impact on the Rizal generation
03:49.5
was perhaps not as appreciated by the available film arts and education system that we have?
03:56.5
Well, the film originated with Jesuit Communications, Jescom.
04:03.5
They have produced...
04:05.1
This is their second feature film.
04:06.3
They produced Ignacio de Loyola previously.
04:10.8
They had the idea to make the film.
04:13.1
And I think for them, it was, of course, a connection to the story of priests.
04:18.3
At the same time, they had also wanted to make this film as a tribute to the 500 years of the church in the Philippines.
04:26.5
And after they got the idea, they asked a bunch of directors to meet and pitch their take on the film.
04:37.7
And I had, in that process, read about the three priests.
04:43.2
My connection was a bit different.
04:45.8
I, of course, got a lot of priesthood.
04:48.4
And I don't consider myself a very religious person also.
04:51.6
And I, you know, when I...
04:54.0
Honestly, when I heard celebration of 500,
04:56.5
500 years of the church,
04:58.8
I also had the question,
05:00.5
is that even something to be celebrated?
05:06.3
But the more I read about Compuza,
05:11.3
the more I began to understand why.
05:14.2
Why they were so important beyond them being priests.
05:17.5
And this is what I came to Jescom with.
05:21.4
This is a story not about them as priests,
05:23.8
but about them as human beings.
05:26.5
When I said that, they agreed with that.
05:29.3
This is a celebration of their humanity.
05:32.6
Because at the time,
05:34.4
their humanity was being denied by the Spanish government.
05:38.4
They were not given...
05:39.5
We, all of us, whether we were Indio or half Spanish,
05:44.9
we were not given the same rights as people who were born in Spain
05:48.5
because they considered us less human.
05:50.3
We were just colonial subjects.
05:53.9
So when we all agreed on that,
05:56.0
this is a celebration...
05:56.5
This is a celebration of humanity.
05:57.9
It's a celebration of how the question of humanity
06:03.0
gave birth to what it means to be Filipino.
06:07.9
Then, that's where the ball started to get rolling with the film.
06:13.9
Yeah, I mean, that's a very important intervention.
06:16.6
I mean, in a way, joke.
06:17.9
I mean, I think...
06:19.1
Did you have a background in Ateneo?
06:21.0
I mean, usually in UP, right?
06:22.7
The idea is that,
06:23.3
Oh, Rizal, he was a reformist, blah, blah, blah.
06:26.5
Bonifacio was a real revolutionary.
06:28.3
No offense to my friends and colleagues in UP,
06:30.8
but I always found that a baloney
06:32.8
because Rizal's liberalism and republicanism
06:36.1
was revolutionary in the context of colonial subjugation.
06:39.9
And to push the logic even further,
06:42.0
to ask for Filipino-born individuals to be priests
06:46.4
and to spread the message of the Lord to the people
06:49.6
without direct intervention from Madrid and subjugation,
06:53.5
that was a form of revolutionary politics in itself, right?
06:56.5
again, people tend to look at the church
06:58.5
a hundred years later
06:59.6
or they tend to extrapolate
07:01.5
what's happening back then to today,
07:03.4
but we have to understand things in their own context.
07:06.2
So, Nick Joaquin considered Padre Borges
07:10.2
as the first major hero
07:12.7
in the struggle for Filipino nationalism.
07:15.5
What was your understanding of it?
07:19.8
What kind of literature inspired your framing?
07:23.3
I mean, there's so many ways to approach the Gomborza martyrdom.
07:26.5
Who influenced you the most?
07:29.3
What was your intellectual and historical approach?
07:33.5
Well, just to backtrack a little bit,
07:35.7
I'm actually not from Ateneo.
07:38.1
I studied in La Salle.
07:40.0
Ay, I'm not from La Salle.
07:42.1
Honestly, that's one of the first things I said.
07:47.0
You guys know I'm not from Ateneo.
07:48.2
I'm sorry, La Salle.
07:51.3
No, no, no. It's okay.
07:52.9
No, but of course,
07:56.4
they had known that I studied in La Salle.
07:59.4
Ateneans and La Salleans are our friends.
08:02.3
I even have this dichotomy between the schools.
08:05.3
in terms of research,
08:10.1
there are a lot of conflicting
08:15.4
historical accounts about Gomborza
08:18.7
and about the Cavita Mutiny,
08:21.8
which is the reason why Gomborza was executed.
08:26.2
So, I'm not sure if that's true.
08:26.4
So, the Cavita Mutiny happened in 1872.
08:29.1
It was a mutiny within Fort San Felipe in Cavita.
08:36.4
And some accounts had said that it was just,
08:40.1
you know, soldiers who are unhappy
08:45.2
and wanting more wages or less taxes
08:49.5
and a few things.
08:53.0
We can get into that later.
08:54.2
Other accounts had said,
08:55.3
no, this was a revolution.
08:56.4
This was a revolutionary movement.
08:59.1
So, we had considered a script
09:03.3
that had, for example,
09:04.7
all these competing accounts
09:07.9
and we decided that we needed to stick to one account.
09:10.9
And that was heavily informed
09:13.2
by the works of Father Schumacher,
09:17.0
And also, one of our foremost historians,
09:18.7
I think, about that era.
09:22.1
So, Father Schumacher had written a lot
09:24.4
about Burgos' manifesto,
09:28.4
Burgos had written a manifesto
09:29.6
which he signed Los Filipinos,
09:31.3
which is one of the first documents
09:33.3
where we see Filipinos being used
09:34.9
as a term to describe us
09:36.4
or at least their group.
09:39.7
Some accounts say that he wrote it,
09:42.8
So, we had to say no.
09:44.3
We went to Father Schumacher
09:46.3
who said he did write the Burgos manifesto.
09:49.5
Father Schumacher had also written
09:51.0
an account of Cavita Mutiny
09:53.2
called Cavita Mutiny
09:54.4
Definitive History.
09:56.4
So, those were our primary sources.
09:59.9
And he had laid out very brilliantly,
10:03.0
also very succinctly,
10:04.0
why he believed that the Cavita Mutiny
10:06.2
was a revolutionary movement.
10:09.7
So, those are the two primary sources.
10:12.7
And then, here and there,
10:13.6
we would get others.
10:14.9
Of course, I asked a lot from my Tita Maris
10:17.8
the National Historical Commission.
10:21.0
I would call her every now and then,
10:22.9
especially during the shoot.
10:26.4
me and the actors read a lot
10:28.8
of Sir Ambet Ocampos' columns.
10:34.0
And that helped us,
10:36.7
especially with the Garote scene,
10:38.5
with the execution.
10:39.7
We really pulled up
10:41.3
for the execution scene.
10:44.6
we used the last words of Gomez and Burgos
10:47.1
as was written in Sir Ambet's columns.
10:52.2
So, yeah, it was fun, actually,
10:54.4
doing all that research.
10:57.6
We ended up with a script
10:59.2
that was 130-something,
11:02.8
almost 140 pages.
11:05.5
And then, of course,
11:07.8
we had to trim it down.
11:10.8
And so, during the pandemic,
11:13.1
actually, it took us two years
11:14.1
to really keep working on the script
11:19.8
in terms of, you know,
11:23.0
what is the story
11:23.8
we're trying to tell here.
11:24.7
And then, we ended up with
11:27.0
an 85-or-so-page script,
11:29.5
which is what you'll see
11:30.2
in the movie house.
11:32.1
Sorry if I'm geeking over this.
11:33.8
Actually, to be honest,
11:34.6
the first time I heard about your project
11:36.4
was when I was in Madrid
11:38.0
earlier this year.
11:39.1
And on March, we had this, you know,
11:40.6
annual Philippine-Spain kind of event,
11:43.2
you know, that scholars
11:44.1
from both sides come together,
11:46.0
experts, officials.
11:48.5
And from a good friend of mine,
11:52.1
So, we're talking about
11:53.8
and how, you know,
11:54.7
as a Filipino being Spain,
11:56.9
it's a kind of a mixed feeling, right?
11:58.7
At the same time,
11:59.9
there is a kind of a chip
12:01.7
because of the whole thing
12:03.5
that happened to Rizal.
12:04.4
In fact, the occasion of our visit
12:06.2
because our event was
12:07.3
in Instituto Cervantes,
12:10.8
Rizal's work officially
12:13.1
into the Hall of Fame
12:14.4
of Spanish literature, right?
12:16.5
So, it was a very special moment,
12:18.2
goosebump moment.
12:19.7
So, as a Filipino,
12:20.8
you feel so proud
12:21.7
that a fellow Filipino
12:24.7
nation in some ways
12:25.5
is now part of the
12:29.7
and the whole thing,
12:33.1
But at the same time,
12:34.0
there's also this kind of
12:38.4
because of the American influence,
12:39.8
interlude and everything
12:42.5
so, the conversation
12:43.5
I was having with friends was,
12:45.8
how are we going to rediscover
12:46.8
this sense of our Spanish past
12:49.3
that sense of alienation
12:50.7
we have towards the Spanish language.
12:52.1
In fact, I was telling
12:52.6
my Spanish friends that
12:53.8
in the Philippines,
12:54.7
Spanish is treated like French.
12:56.6
It's like the language
12:57.3
of the Posh and elite.
12:59.1
And they were like super shocked.
13:03.5
Spanish is the language
13:04.5
of, you know what I'm saying, right?
13:05.9
But to Philippines,
13:07.3
like the ones who speak Spanish
13:08.7
are like the elite and Posh.
13:10.1
And then in that context,
13:11.8
your movie and project
13:12.8
was discussed by friends.
13:15.0
I didn't know you were the director,
13:17.0
but the organization
13:18.2
that we're mentioning was.
13:20.3
So, I was wondering like,
13:22.1
is this going to be
13:22.8
a religious movie
13:24.7
And how are they going
13:25.7
to put it together?
13:26.4
So, when I got to know
13:27.4
it's actually you
13:28.2
who is overseeing it,
13:29.5
I felt very confident
13:30.4
because I know you're not
13:31.3
a particularly religious person.
13:33.9
the reason I thought
13:35.4
because I remember
13:38.1
about what's holding.
13:40.4
So, there was a kind of visual.
13:42.7
So, we'll discuss that separately
13:44.0
because I want to also
13:45.8
on the Philippine cinema
13:48.4
let's focus on this movie yet.
13:49.9
What was the thing
13:53.1
Where did you get
13:57.3
if you're going to write something,
13:59.8
this issue was not
14:01.3
properly discussed
14:02.1
or I can do a better job,
14:03.6
Or I have to refresh this
14:04.9
for a new generation, right?
14:06.4
You have to justify
14:07.3
putting two years
14:09.0
into writing 400 pages
14:11.1
I'm sure for a director
14:13.3
a very exacting job.
14:14.7
What is the thought process
14:18.1
Yeah, well, for me,
14:24.7
the little tidbit
14:27.8
that the term Filipino
14:29.3
came from the movement
14:31.7
Philippine-born priests.
14:35.3
people who were born here,
14:37.4
who were living here,
14:38.7
did not call ourselves Filipino.
14:40.3
We were called Indios.
14:42.8
The Spanish called us
14:45.8
The people who were born in Spain
14:47.0
were called Insulares.
14:49.8
who were born here,
14:51.0
we would divide ourselves
14:52.2
or call ourselves
14:52.8
according to our region.
14:58.6
But the term Filipino
15:01.0
the secularization movement
15:05.6
Goberza were a part of.
15:07.8
And then it sort of spread
15:11.6
to other sectors of society.
15:17.0
had begun to also
15:20.2
And then it spread
15:24.5
of the Philippines.
15:26.4
caught my fascination.
15:38.7
Because we were very much
15:39.6
I think fragmented then
15:40.8
in the sense that
15:50.5
and were not shared
15:51.4
by the concerns of
15:55.1
who were in the military.
15:56.8
Goberza was killed
15:58.3
and everybody saw that
16:01.1
they had all converged
16:02.2
from these three priests
16:08.0
is the same injustice
16:09.8
face or can face.
16:26.8
to your own family
16:27.8
I think your great-grandfather
16:29.3
was involved in this, right?
16:31.0
one of the first admirals
16:32.9
essentially you can say
16:34.1
one of the first admirals
16:35.1
of the Philippines
16:40.3
And if I'm not mistaken
16:40.9
you guys are related
16:49.2
a big sound check
16:50.0
about you Joknos.
16:52.2
But does your own
16:54.9
your great-grandfather's
16:56.3
contribution to the revolution
16:58.7
kind of contribute
17:00.0
responsibility and passion
17:02.8
I'm sorry if that
17:03.4
came like a curveball
17:05.3
I didn't also know that
17:06.6
I knew your grandfather
17:09.2
but I didn't know
17:10.0
that your great-great
17:11.7
such a central figure
17:13.2
in the Philippine Revolution.
17:20.0
of him in Visayas
17:21.7
I think the revolution
17:31.0
I would hear stories
17:32.4
of him growing up
17:34.0
but they were like
17:45.6
once in the stomach
17:46.7
pero hindi tumagos
17:48.1
because he was so fat
17:56.4
that I also started
17:57.0
to learn more about him.
18:01.6
we're talking about
18:02.1
Jokno and Noblias.
18:06.7
This is your great-great
18:08.7
Yeah, I visited his grave
18:10.2
for the first time
18:14.7
For the first time
18:15.8
this year actually.
18:17.5
he has been buried
18:28.6
is a very beautiful
18:30.3
I think it's one of the
18:31.2
largest in Southeast Asia
18:35.0
overlooking the whole
18:37.0
and then you can see
18:37.7
the lake in the distance
18:41.0
Gomburza was shot
18:47.3
he is buried there
18:48.2
and so for the first time
18:54.7
on that part of history.
18:58.9
I'm just throwing that
18:59.9
before we go back
19:01.3
all over the place
19:02.1
I'm just telling you
19:10.0
I was just looking
19:16.6
coming to the Philippines
19:17.4
and now being considered
19:19.9
this is Dom Yosto Takayama
19:28.6
I was just thinking
19:31.4
martyred in the Philippines
19:33.6
so he was a former
19:36.6
he gives up his family
19:37.8
he comes over to the Philippines
19:38.9
he becomes a priest
19:39.8
he performs miracles
19:41.8
Vatican is considering
19:47.0
those are like stories
19:48.3
that you cannot make up man
19:50.2
out of this world
19:52.5
how was he martyred
19:53.6
how was he martyred
19:55.7
like you were able
19:57.1
to kill a samurai
19:59.3
this is something
20:01.5
geeking over that
20:04.4
before our gentleman
20:06.5
now going back to this
20:14.6
you had a lot of handy
20:15.5
last time I checked
20:19.9
I think it was like
20:22.5
we're the same age
20:25.2
how did you choose
20:27.7
how was it influenced
20:41.5
one of the first things
20:42.5
that surprised me
20:46.5
when he was killed
20:47.9
popular rendition
20:49.8
was drawn by Rizal
20:51.0
shows the three priests
20:52.5
that they all look
20:55.4
really surprising
20:59.8
two generations apart
21:07.7
characters that we had
21:09.0
and then we tried
21:10.0
as much as possible
21:13.4
so first the three priests
21:21.1
for me to cast actors
21:39.5
sort of didn't want
21:40.4
I knew that we had
21:43.1
and we didn't have
21:44.2
to shoot the film
21:49.1
for a historical film
21:52.3
to do prosthetics
21:53.1
you did the whole thing
21:54.1
in just over 2 weeks?
21:58.1
just over 2 weeks
22:14.4
was important to me
22:17.4
if you put his picture
22:21.2
I think he really
22:22.2
he looks like Burgos
22:23.8
but he also imbibes
22:25.4
the spirit of Burgos
22:30.0
in Burgos' writings
22:39.9
I really do love them
22:45.2
Piolo side by side
22:52.2
like a movie star
22:57.0
also an unsung hero
23:00.1
someone that we owe
23:06.2
I had a google sheet
23:07.4
with all of the characters
23:09.5
and all of the pictures
23:11.5
actors that we wanted
23:16.7
I did meet with them
23:27.0
that it wasn't going
23:29.9
that it was going
23:31.3
quite challenging
23:39.6
with a language coach
23:41.3
the Spanish right
23:45.9
of the Castilians
23:48.6
or the Filipino Spanish
23:51.3
The Filipino Spanish
24:02.2
I'm still waiting
24:06.7
is also an important
24:20.9
historically accurate
24:22.8
because we wanted
24:27.9
felt they were above us
24:29.9
they were speaking
24:30.3
a different language
24:30.9
so when it came to
24:32.3
the Filipino characters
24:36.1
but it was very important
24:39.1
the Spanish Friars
24:40.2
anything that had to
24:52.2
you and I have been
24:53.0
all around the world
24:53.8
and I've dealt with
24:54.8
all sorts of people
24:55.7
but I'll admit it
24:57.5
the first time I was in Spain
24:59.6
and I was in this
25:00.3
quite a regal place
25:02.0
I won't say exactly where
25:03.2
it was a very regal place
25:04.3
and then the Spanish officials
25:06.5
and giving speeches
25:07.5
in this very sophisticated
25:14.0
the same non-white man
25:17.0
100, 120 years ago
25:19.9
and if I couldn't
25:22.7
I'm still articulate
25:23.9
but I couldn't speak it
25:25.0
with that kind of
25:27.0
posh Madrid accent
25:28.4
and you could see
25:29.8
that they would look at me
25:30.6
as a colonial subject
25:32.3
it's easy to be brave
25:34.8
we're in a woke era
25:36.9
us the non-Caucasian
25:39.3
non-Western people
25:41.3
and platform today
25:42.4
120, 140, 150 years ago
25:45.7
the level of courage
25:49.4
that you emphasized
25:49.9
that the language
25:51.7
I won't say barrier
26:04.3
did not speak Spanish
26:05.4
and could not understand
26:30.3
but it was the friars
26:40.1
what the difference
26:50.4
the argument there
26:57.3
monopoly on power
26:58.7
because if you don't
26:59.6
know the language
27:01.0
fight it in the courts
27:02.9
the language of power
27:13.1
by the Napoleonic
27:18.4
who had an interest
27:21.8
feudalistic structure
27:23.2
in the Philippines
27:36.1
from Latin Americans
27:39.0
of Spanish people
27:41.7
in the Spanish language
27:46.9
problems we're facing
27:49.6
exceptional situation
27:50.7
we had in the Philippines
27:51.6
in the late 19th century
27:53.6
we had these revolutionaries
27:55.7
we had these martyrs
28:05.1
a burning question
28:08.3
that I don't have
28:11.5
before we transition
28:16.1
on the Philippines
28:22.0
not as a salesman
28:24.4
you're the director
28:27.1
I'm gonna endorse it
28:29.5
don't worry about it
28:30.3
but why do you think
28:33.1
a movie like this
28:33.9
and what are the things
28:34.8
we should look forward to
28:37.3
what is a unique thing
28:39.4
brings to this movie
28:41.4
this is not the first
28:42.4
great historical movie
28:43.5
I mean we can have
28:45.2
General Luna movie
28:46.5
my theory is that
28:47.8
it helped Duterte
28:52.0
and romanticizing
28:55.1
the cost-laced strong man
28:58.1
yung nagmumura siya
29:00.9
may mga suspecha dyan
29:07.0
all these historical
29:11.1
pop culture effect
29:12.1
and even political effect
29:15.1
is there something
29:16.4
about your approach
29:17.6
or what makes it unique
29:18.6
and why should people
29:19.5
watch this as Filipinos
29:20.7
I'll talk about it
29:23.9
from the perspective
29:34.4
of what we consider
29:41.3
entered the project
29:43.1
and I was talking
29:53.4
they're not heroes
30:11.8
fought on the battlefield
30:13.8
is what the person
30:14.5
was trying to say
30:28.3
write his manifesto
30:30.8
Father Schumacher
30:31.5
who said that he did
30:34.1
unassuming priests
30:38.5
a time of political
30:58.1
to the revolution
31:16.8
in the battlefield
31:17.3
and at the same time
31:26.5
I also asked myself
31:27.2
what's the hullabaloo
31:29.6
unassuming priests
31:30.7
and then I started
31:38.4
that he dedicated
31:41.1
inspired by the three
31:42.6
that he dedicated
31:43.3
El Phili Busterismo
31:54.3
he would probably
31:57.3
something like that
32:15.4
in the membership
32:20.2
pieces of black cloth
32:27.3
I started doing research
32:29.7
I dug into their story
32:39.5
the story of these
32:44.1
individual heroism
32:55.1
not just of battle
32:56.2
but also of sacrifice
32:58.8
are very Filipino values
33:07.3
that is also common
33:38.4
that we're used to
33:48.5
have the responsibility
33:51.4
in this collective
33:60.0
sometimes it could
34:08.0
of these challenges
34:15.1
a John the Baptist
34:16.9
before Jesus Christ
34:18.3
a John the Baptist
34:21.3
not the final Messiah
34:23.3
this very important
34:26.9
for the fulfillment
34:31.9
certain individuals
34:33.1
the revolutionary
34:38.5
the psychological
34:39.4
and the political
34:40.0
conditions for that
34:42.2
was the same place
34:43.3
after the execution
34:45.8
I think this affected
34:48.3
everyone who watched it
34:49.6
everyone was shaken
34:51.1
because the injustice
34:54.4
embodied by what happened
34:55.7
especially the emotional
34:56.7
way they responded
34:57.6
to their execution
34:59.4
against the system
35:02.2
that colonial system was
35:07.1
accidental revolutionaries
35:10.8
figures in history
35:11.9
were not consciously
35:13.3
trying to contribute
35:14.7
to a political outcome
35:17.5
become inevitable
35:19.6
when they want to
35:20.2
change things from within
35:21.5
we can talk about
35:22.0
French revolution
35:22.7
Russian revolution
35:27.2
as not only martyrs
35:30.1
conscious revolutionaries
35:31.3
at least there were
35:31.9
the accidental revolutionaries
35:33.3
in a spiritual sense
35:38.8
for what would happen
36:08.3
they should be called
36:09.0
definitely be called
36:10.4
and then last point
36:20.7
is it the cinematography
36:22.1
is it the emotional aspect
36:24.4
because in fairness
36:26.6
ni Cesar Montano's
36:28.1
I think there was a lot of
36:29.7
investment in the language
36:31.0
in the authenticity
36:31.8
I was very impressed
36:33.2
the emotionality of it
36:37.9
the emotion of the moment
36:41.7
everything was very
36:43.9
one of the things
36:45.1
and also one of the things
36:46.0
that I see in the initial
36:54.0
of the injustices
36:56.2
the emotional depth
37:00.3
Gomborza represented
37:01.8
am I over reading
37:05.4
what is your read
37:22.3
all the cinematography
37:30.8
to do the cinematography
37:32.0
Carlo is a good friend
37:35.7
of historical films
37:41.0
one of my favorite
37:46.8
looking at his works
37:55.6
working relationship
38:01.3
the film is about
38:09.5
our visual language
38:14.6
a lot of discussions
38:30.8
production perspective
38:34.1
storytelling perspective
38:37.1
what the messages
38:37.8
we're trying to portray
38:38.6
and from those discussions
38:45.3
like it was a present thing
38:46.4
it wasn't in the script
38:48.0
it was in all of our
38:51.9
the little flames
38:53.0
Carlo eventually used
38:55.6
in the cinematography
38:56.5
there are some scenes
38:58.4
that are pretty dark
38:58.9
especially in the
39:00.9
that's only lit by candles
39:01.9
because we wanted to show
39:03.5
that these little flames
39:05.3
struggling within
39:08.2
patch of darkness
39:10.3
and then there are other scenes
39:12.2
there may not be candles
39:15.5
so that was all informed
39:21.3
that just kept growing
39:27.9
what is the impact
39:31.1
this movie to have
39:32.0
and what do you think
39:33.3
the audience should look forward to
39:36.4
perhaps they should look forward to
39:39.0
because I'm seeing already
39:39.8
a lot of people are saying
39:40.5
this is on their number one
39:41.6
list of things to watch
39:42.7
in the coming days or so
39:52.5
people who had watched
39:54.7
and then they were saying
39:57.5
that at the end of the film
39:58.3
people were crying
40:04.0
my tita said her friend
40:05.3
and people stood up
40:06.9
and they had clapped
40:09.8
Mega Mall actually
40:23.4
we were able to catch
40:24.3
the end of the film
40:26.2
at the end of the film
40:32.7
people were crying
40:34.3
at the end of the film
40:49.1
while we were talking
40:55.5
and she was crying
40:58.0
she was thanking him
40:59.9
for his performance
41:04.6
this is the best part
41:09.2
seeing that kind of reaction
41:13.6
because this is supposed to be
41:15.6
a conversation too
41:17.0
a conversation with the audience
41:19.1
start a conversation
41:20.7
speaking of which
41:22.5
I don't want to get
41:26.8
should we look forward
41:29.3
a beginning of a new
41:31.3
or a kind of a genre
41:38.8
properly understand
41:40.1
about where we come from
41:41.2
all of this identity crisis
41:44.1
all of these problems
41:44.9
we're having today
41:46.3
in the 21st century
41:48.4
is because we don't
41:49.1
understand the root
41:49.8
or we don't go back
41:51.2
enough to the root
41:52.5
a lot of our neighbors do
41:59.3
a lot of them are very
42:00.3
deeply rooted in their history
42:02.6
we have such a rich history
42:06.5
we're having this
42:07.1
enriched approach
42:08.0
to understanding that history
42:11.1
a beginning of a new era
42:15.8
historically relevant
42:16.7
and socially relevant
42:20.8
in the Philippines
42:27.2
because it is a risk
42:37.7
combined with the fact
42:42.8
because you have to do
42:43.7
and the locations
42:45.7
and do a lot of work
42:51.8
at least cinema helps
42:59.0
I was thinking a lot
42:59.7
about this actually
43:07.3
we were being toured
43:12.4
it was the original
43:15.1
before it was moved down
43:17.6
so it's now in Rome
43:25.5
about a politician
43:29.6
am I getting it right?
43:42.5
was signed in Torino
43:47.9
the entire country
43:49.4
and once they had
43:52.4
my favorite quote
44:03.1
yeah it's a project
44:09.8
we tend to look at
44:32.3
language they all
