Mike Relon Makiling article

HOW I ENTERED THE MOVIES by Mike Relon Makiling

[originally published on Mike's blog]

It was all by a fortunate chance.

Not even in my wildest dream have I imagined myself as a movie director.

I am basically a very shy guy, something I suspect is rooted in my being orphaned at a very tender age. The fact is I can hardly remember how my parents looked like. We were so young, my brother Lorenzo and I, when our parents died one after the other that I hardly remember any moment with them. And to grow up living with grandparents, with aunts and uncles with their own children, I guess it’s natural for you to grow up feeling a second class child in house I cannot call my own, my home.

So how could an inveterate shy guy like me ever dream being a movie director, giving instructions, direction to celebrities? Having my personal whims carried out to the latter?

It was during Martial Law and all passports were rendered invalid. So there was no way for me to pursue the opportunities in the States where I have been to a couple of years back..

To top it all, I had a falling out with our komiks editor and proud little me won’t have anything more to do with the illustrated magazine. I tried to publish my own komiks with a partner who owned a baby offset machine along Soler street and one of my illustrators then was Flor Dery who is now very successful somewhere in the States.

But that didn’t last either. I had a misunderstanding with my partner and we split. Without anything to spend my time with, I started to “parked” myself at a sari-sari store at Calero street, at the back of the offices of Liwayway publication where I was hoping to have some stories approved.

That was where Franz Bejec, another comics illustrator and who also did movie posters and who lived nearby, asked me if I know how to write screenplay as there was a small time movie producer looking for script to produce..

Being a voracious reader, some of the many books I have read were screenplays from England which I bought at Philippine Education Company where you can order books not available locally. So I was quite familiar with script construction.

And having been a komiks scriptwriter for years already, I was confident I could come out with a local version of a script for local movies.

So Franz took me to the office of the small-time producer at Garcia building along Rizal avenue. The producers asked me to submit a concept for a karate movie which was then in vogue with Wang Yu and Bruce Lee dominating the local cinema. The movie would be for Ramon Zamora, the Pinoy Bruce Lee clone.

Two problems quickly cropped up. Having been so used to American movies since childhood we sort of ignored the local movies which were mostly carbon-copies of foreign movies if not downright tearjerkers or corny comedy. (If I only knew then what fate had stored for me!) And although there was a lot of noise regarding karate movies I never had the inclination to spend two hours in the dark and watch those kung-fu masters execute outrageously fantastic fight stunts.

But then I had to have something to support myself with. So from the office of the producers I went straight to the nearby Recto avenue where the row of movie houses were exclusively showing Sino karate movies.

I spent the rest of the day watching three karate movies one after the other and by the time I went home to our house at Polo, Bulacan I was up to my neck with karate stunts.

I slept with all those karate gimmicks playing in my mind. And as usual I woke up in the wee hours and started pounding on the typewriter, writing a concept of a local karate movie. With all those pocket books and other stuffs I had tortured my eyes with; I had no problem coming up with a plot for “The Return of the Dragon.”

The next afternoon, Franz Bejec once again accompanied me to the office of Ka Pepe Magno and Ka Peping Ortega, small time movie producers. They could not believe that I have already finished a storyline for their projected movie.

I had to explain that to survive as a komiks scriptwriter you have to come up with at least two stories a day so that if one is rejected by those almighty editors, you still have a story to collect payment for. Each story for the komiks can be expanded to a movie concept/plot..

Later on, I learned that when the producers sent my concept to Celso Ad. Castillo somewhere in Laguna where he was shooting with Alona Alegre, he immediate liked it.

THAT’S ME ENJOYING A CUP OF BARAKO COFFEE WITH CELSO AD. CASTILLO, THE HALF-NAKED GUY, WITH HIS SON CHRIS, POCH BAUTISTA, THE ASSISTANT DIRECTOR, SOS STUNTMAN SANCHO TESALONA AND JOHNNY RAMIREZ, WHO BECAME MY ASSISTANT DIRECTOR AT A LOCATION SHOOTING IN SAN JUAN, LA UNION.

While waiting for Celso to report for his next assignment, I started researching on Chinese karate movies. From Chungkee, the Chinese mestizo owner of the sari-sari store at Calero street where we used to spent the whole day doing nothing, I learned that the Chinese term for dragon is “pai lung.” Chungkee, who was surprised that being 75% Chinese, I do not know how to speak their lingo, gave me more tips on the Chinese martial arts. I had to explain to him that I grew up mostly with the 25% Pinoy side.

When Celso finally came down from the province and met with me he asked me to proceed with the sequence treatment of the concept. I asked him if I could use a pen-name but he told me to use Mike Relon Makiling which was quite known in the komiks market.

When shooting started, Celso asked me to go with him in location shoot although the screenplay was already finished and approved by him. I readily agreed though there was no additional compensation involved and started to learn how a screenplay is made into a movie.

I also realized that komiks-scriptwriting is a good training ground for those who aspire to write for the movies and television. Writing those frames with illustration guide is a stepping stone to writing screenplay. I cannot overemphasize the importance of komiks scripting in writing screenplays.

Those of you, who are in this racket, don’t ever be ashamed of being just a komiks writer. It is really a stepping stone to being a screenplay writer.

“The Return of the Dragon” with Ramon Zamora, Lotis Key and Laila Hermosa in the lead was my baptism in the movies. It proved to be a blockbuster at the box-office and sort of established Mike Relon Makiling as a screen playwright.

I was lucky to have Celso Ad. Castillo as the director of my first screenplay. He was then one of the most respected and bankable movie directors in the country. He was also one of few local directors who impressed me when I was still snobbish of the local productions.

After the success of “The Return of the Dragon” I learned that in the movies you are only as good as your last picture.

Having entered the movies accidentally, I came to learn that you are only as good as your last picture. And being “good” only means that your last picture made money at the box office. The quality of the movie comes only second. What matters most is making money at the box office, lots of it! This is true from the lead stars down to the scriptwriter. Woe to anyone associated with a flop. You would be branded “malas,” “may balat sa puwit,” and so on.

But before I proceed, allow me to give way to my purpose of writing this blog, which is to have my experiences in movie-making be a guide to those who would aspire to enter this chaotic and insane world.

Please take note that if I haven’t be a voracious reader since childhood and came to know a bit of everything there is to know, I would not have succeeded as a movie screen playwright. To be an effective writer you have to be a wide reader. What I consider “wide” is everything from philosophy to pornography. You read everything that comes your way, even fish-wrappers.

I dare maintain that even if you earn a Ph.D. in writing if you’re not fond of written words, you can’t call yourself a “writer,” whatever that means.

Having said that, let’s proceed to our topic.

To most movie producers, I realized, quality comes only second or third, even. What’s most important is MONEY! Which is not surprising since all movie producers are businessmen. They entered the movie industry to make money not THE Filipino movie.

No doubt there were those who produced movies to come up finally with THE Filipino movie. But most of them failed at the box office and folded up bankrupt. This is most unfortunate, really.

Of course there were big productions for which huge budget were allocated. Big stars, high caliber production staff, expensive locations, etc. But still the main target is the box office with quality coming only as second choice. Some of them did succeed at the tills and were considered “classic” whatever that means. But some of them failed to recover even the investment.

Even while still shooting “The Dragon…” Celso discussed with me a project for Rosas Production of Susan Roces. He had a title, “Patayin Mo Sa Sindak Si Barbara.” and asked me to come up with a concept for his title.

As soon as we wrapped up shooting “The Dragon…” I went back to my typewriter and came up with a concept for “Patayin…” which Celso forwarded to Susan.

We were in the post production phase of “The Dragon…” at LVN studios when we were invited by Susan to Hacienda Luisita where Fernando Poe, Jr. was shooting a movie to discuss “Patayin…”

And so one night, with Tsing Tong Tsai as our driver, Celso and I traveled to Hacienda Luisita of the Cojuancos. We missed Susan Roces by several hours but I got to meet the Salvador brothers, Ramon and Philip, who treated me kindly as if I wasn’t a newcomer in the movies. That made an impression on me Both of them were still in the production staff of the FPJ Production with Philip still playing minor roles in FPJ movies.

We were served dinner and I remember to this day how the Salvador brothers advised me not to be shy. “Pakapalan sa pelikula, Mike, kaya wag kang mahihiya! Di uso dito ang hiya-hiya. Lalo na sa tsibugan, magugutom ka! Relaks ka lang.”

After dinner Celso decided to proceed to Baguio where we arrived around midnight and spent the night in a hotel.

Early the next morning we left the hotel and proceeded to La Trinidad valley where the Poe’s had their vacation house.

Susan was at the market when we arrived. It was Ronnie who met us and forthwith told me that he had read the concept I’ve written for “Patayin…” and liked it. He was eager to read the sequence treatment and asked me several questions on how the story would be resolved.

By the way, when you write a concept, don’t reveal all that’s going to happen, especially the ending. There are unscrupulous people who would steal your idea. I have been a victim quite a few times. Reveal everything that you have cooked up when you’re already sure that you’re dealing with the “right” person.

It was also then that I met with Serge Lobo, FPJ resident cameraman and elder brother of Ben who was to become my cameraman for around 80 movies until he died unexpectedly. I felt I've lost not only a friend but a right hand. May his soul now rest in peace. I missed you, Pareng Ben!

And Rudy Meyer who was always carrying the little adopted daughter of Ronnie and Susan. Rudy was later to become a commissioner of PAGCOR during the tenure of Erap as president.

When she arrived from the market, Susan greeted me warmly and made me feel at home although I was very shy to be in the presence of the celebrated couple. While cooking, she discussed with me the concept and asked several questions, including my background as a writer. She was surprised to learn that “Patayin…” would be only my second screenplay. I told her of my experience as a komiks scriptwriter and she seemed not surprised at all.

That night, Fernando Poe, Jr. received an award as Best Actor at the Baguio Film Festival.Serge also received an award for Best Cinematography. The next day, we went back to Manila and I went home to Polo, Bulacan and started writing the sequence treatment for “Patayin…” When I presented the treatment to Celso. He had some comment which I quickly incorporated in the S.T. and which he forwarded to Susan and Ronnie. Days later, I received instructions to proceed with the screenplay proper without any comment from anybody.

We were in pre-production phase of “Patayin…” when “The Return of the Dragon…” was shown at the theaters and proved to be the highest grossing movie for Ramon Zamora. Celso and I went theater-hopping and enjoyed the sight of the SRO crowd in all the movie houses.

Thus, I started my second movie with Celso with newfound confidence.

Working with Susan Roces, Rossana Ortiz, Dante Rivero and Beth Manlongat made me feel at home in movie-making. My dreams of making good in the States further receded into the background. I was enjoying myself in the movies.

Normand Daza was Celso's assistant director for "Pataying..." Many years later, he went back home to the Phiippines from the States to die from kidney ailment. I remember consoling him and encouraging him in his illness early mornings until he finally told me via text messages that he had enough and would like to rest. I continued to send text messages to him but received no answer until I was informed that he had died, leaving his wife and children in the States. Sad...

Again, I watched Celso translated my screenplay into a motion picture. This was when I learned I was hypertensive when a doctor sent to the set by Uncle Nes, an uncle of Susan Roces, and who was an insurance agent, to subject me to medical check-up for possible coverage. Later, Uncle Nes told me that I still could avail of life insurance but under certain condition. That gave me an excuse to beg off. I was really wary of being insured in the first place.

Celso and I became close to each other and there were nights when he would ask me to spend and overnight at his house in Moonwalk subdivision in Paranaque where we would talk about movie projects.

It was during one of those nights when Celso told me of a project he had in mind about a sexy woman who goes around a fishing village wearing thin clothes clinging to her voluptuous body with sea water. Celso already has a title for the project – “Ang Pnakamagandang Hayop sa Balat ng Lupa.” With the newly crowned Miss Universe Gloria Diaz in the title role. I remember a movie of Charito Solis with almost the same title. He told me to ignore it and insisted on his title for the project.

A movie of Sophia Loren, “Boy on the Dophin,” came to my mind. In the movie, Sophia Loren goes around with wet clothes clinging to her body. Celso liked the idea and I started conceiving on the project.

But another movie assignment came Celso’s way and he asked me to set aside “Pinakamaganda…” for a while and concentrate instead on ”The Brown Gypsy” with Elizabeth Oropesa in the title role.

I remember reading about the mummies in the Mountain Province and broached the idea of basing his project on them. Celso approved it and I came up with a concept for “The Brown Gypsy.”

When “The Brown Gypsy” was ready to shoot, Celso decided to go on location-hunt in the Mountain Province where the mummies were. The producer rented an air-conditioned van and we traveled to the remote corners of the Benguet province with Elizabeth Oropesa and her mother Mrs. Freeman in tow.

It was quite an experience for me to see those centuries-old tattooed mummies and had more ideas for the final screenplay.

We finally ended up in Ifugao were we were billeted in a lodging house. We tried to cross the Chico River to visit a place where they said that the folks were still so primitive that the women go about bare breasted.

Chico River was raging then because of a storm and we failed to cross it.

Before going back to the lodging house, Gener Sulit and I picked up a hand-woven cloth that I had a weaver made, intending to sent it to Ruth in San Rafael, California, for sample in our projected business of selling Philippine handicrafts in the States And there in Ifugao that I almost landed in jail for jay-walking. Imagine! There were hardly any vehicle around and I got tagged for jay-walking. Gener had a good laugh at me. Fortunately, the local cop let me go with a warning that even in the remote Ifugao they have traffic rules that must be followed.

Back at the lodging house, I found Celso in bad mood for our failure to get to that island of half-naked women. At dinner time, we had a bitter misunderstanding that almost ended in violence. Thanks to Gener Sulit and our government adviser, Hadji Urao, nothing untoward happened. But still I decided I had enough of the temperamental Celso.

When we went back to Baguio city we received news that despite a storm raging in Manila, ”Patayin Mo Sa Sindak si Barbara” was a huge success at the box office with movie-goers going to the theaters wading in flood waters. Despite this I decided to immediately proceed back to Manila. But I soon found out that the storm had submerged the Candaba valley, effectively stranding us in the Pines City.

THE AUTHOR ON LOCATION-HUNT FOR “THE BROWN GYPSY” WITH THE AMBUKLAW DAM IN THE BACKGROUND

I decided to take a plane back to Manila but Mrs. Freeman was also eager to leave Baguio and found that their available cash was short so I had to lend her fifty pesos and which rendered me unable to buy my own plane ticket. I had to stay a couple of days more in Baguio before we could travel back to the city, passing by Candaba still half submerged in flood water.

Back in Manila, Celso sent word for me to report for work but I refused. He abandoned “The Brown Gypsy” and instead proceeded to shoot “Ang Pinakamagandang Hayop Sa Balat ng Lupa” with a new set of scriptwriters.

Having been connected with two blockbuster movies, I soon found out that there other directors and producers who would have my services.

Thus, I got to work with Danny Zialcita and Pepe Wenceslao as my new directors. Thanks to Celso, the two movies that I made with him made me quite known around and proved to myself that indeed you’re “good” as your last picture. And all these despite the fact I did not get full credit for the screenplays of “The Dragon…” and “Patayin…” This is one thing you should be prepared for when you enter showbiz – there are people who are fond of sharing credits, especially if the movie has potential of being a success at the box-office. All you should do is to do your best in your work. Nobody but nobody can take away that credit from you for being really worth your salt as a screen playwright.