Redford White filmography

“The Funny World Of Redford White”

from Simon Santos’ Video 48 blog

The first time I saw him was in a TV sitcom, “Iskul Bukol,” sometime in 1979 as Mang Temi’s (Bing Angeles) househelp and cafeteria waiter. He has a very white complexion with white hair. I don’t know his real name, but he was known as Redford White, probably taken from a popular Hollywood actor, Robert Redford and White because of his extraordinary physical features. I would sense that time that he could succeed as a comedian because of his knack for comedy--- his great sense of humor and impeccable timing in delivering jokes. True enough, he was doing one roles after another, even starring in a lead roles, in such hit movies as Boni & Klayd (1981), Darakula (1982), Hee-man: Master of None (1983), Billy the Kid and the Sunshine Gid (1984), Swak (1985), Johnny Rambo Tan-go (1985) and Johnny Rocky Tan-go (1986). He continued his slew of successes with Buddy en Sol and a string of movies in the '90s, as well various shows this decade, including the hit TV series Kokey.

Many thanks as always to Simon and his endless fountain of pure Pinoy pleasure!

1980 – Iskul Bukol (Freshmen) (GP Films)

[Release date 25th December 1980]

Director/Writer Mike Relon Makiling

Cast Tito Sotto, Vic Sotto, Joey de Leon, Ruby Anna, Carmi Martin, Maluh de la Fuente, Richie, Bing Angeles, Mely Tagasa, Mary Massab, Redford White, Dely Atay-Atayan, Rod Navarro, Bert de Leon, VST & Company, Louella Albanez?, Lito Anzures, Marissa Delgado

1981 – Tartan (Emperor Films)

[Release date 20th January 1981]

Director/Writer Mike Relon Makiling Based on the komik strip by Bert Sarile Cinematography D. Bustos Sound Rolly Ruta Editor S. Ramos

Cast Tito Sotto, Vic Sotto, Joey de Leon, Deborah Sun, Ann Villegas, Louella, Max Alvarado, Joonee Gamboa, Dencio Padilla, Lucita Soriano, Rudy Malapaz, Balot, Richie D’Horsie, Redford White, Jimmy Santos, Mike Hanopol

1981 - A Man Called 'Tolongges' (Bukang Liwayway Films)

[Release date CHECK PURPLE BOOK!!!]

Director Angel Labra Screenplay Felix E. Dalay, Angel Labra Producer Precy Mendiola Talavera Executive Producer Jerry Talavera Associate Producer Felix E. Dalay Cinematography Ramon Marcelino Music/Sound Supervisor Gabby Castellano Editor Pepe Marcos Art Director Rolly Sto. Domingo Production Manager Celso Talavera Associate Director Felix E. Dalay

Cast George Javier (Tolongges), Rod Navarro (Señor Alasuerte), Pia Moran (Tara), Cynthia Gonzalez (Estela), Paquito Diaz (El Tigre), Cachupoy (Zapatatem), Redford White (Arizona Gid), Max Alvarado (Black Bird 'The Pirate'), Dave Brodett (D'echoes), Rocco Montalban (D'echoes), Jack Vera (D'echoes), Jing Caparas (Pusa), Palito (Djangolat), Joaquin Fajardo (Buwaya), Chito Baron (Sheriff), Mark Joseph (Marco) El Tigre’s Henchmen Leon Fajaron, Tony Concepcion, Fandong Zaragosa, Lito Francisco, Andy Calma, Eddie De Leon, Cleto Divino, Jerry Lapuz, Ben Guevarra, Jaime Cuales, Tony Tiongson, Frank Maddes, Rey Peralta, Joe Watts, Red S. Crisostomo, Jaime Gordon

Synopsis from the Philippines VCD: George Javier a.k.a. Tolongges is well-known for his expertise in handling guns and his heroism as the people consider it brought him bags of money. Tolongges together with Zapatatem (Cachupoy) and Arizona Gid (Redford White) had their biggest projct when they were hired by Don Miguel Ala Suerte (Rod Navarro) to get his wife, Estella (Cynthia Gonzales) from the hands of her kidnapper con ex-fiance Ala Tigre (Paquito Diaz). It was not an easy fight especially if the victim really loves his own kidnapper. Will Tolongges poster his gentleness or will greed be enough to just get his pay?

1981 - Boni En Klayd (Bukang Liwayway Films)

[Release date 6th August 1981]

FOR FULL DETAILS CLOCK HERE

1981 – Sinisinta Kita (Bukang Liwayway Films)

[Release date 5th November 1981]

Director/Screenplay Angel Labra Cinematography Ramon Marcelino Music D. Salustiano Editor Pepe Marcos Art Director Rolly Sto Domingo

Cast Redford White, Pia Moran, Pugak, Matimtiman Cruz, Cachupoy, Rodolfo “Boy” Garcia, Mitos del Mundo, Chito Arcea, Bing Angeles, Mely Tagaba, Tatlong Itlog, Ruel Vernal, Rudy Manlapaz

1982 – Speedy Gulong (Intercinema)

[Release date 22nd January 1982]

Director Angel Labra Screenplay B. Duenas Jr Cinematography Ramon Marcelino Music N. Montebon

Cast Redford White, Rodolfo “Boy” Garcia, Lorna Tolentino

1982 – Johnny Tango (Larry Santiago Productions)

[Release date 2nd April 1982]

Director Ric Santiago Screenplay Jose F. Sibal Producer Larry Santiago Cinematography Rudy Quijano Music C. Rodriguez

Cast Redford White, Panchito, Liz Alindogan, Azenith Briones

1982 – Darakula (Intercinema Entertainment Inc)

[Release date 6th August 1982]

Director/Story Angel Labra

Cast Redford White, Rodolfo 'Boy' Garcia, Lito Anzures, Pugak, Popoy, Ruel Vernal, Juana Morena, Alita San Diego, Claudio Zobel, Lynn Gomez, Rita Rios, Gelyne del Rio

1983 – Wrong Mistake (Continental Pictures Int’l)

[Release date 6th January 1983]

Director Jose “Pepe” Wenceslao Story/Screenplay Roger Fuentebella Cinematography Oscar Querijero Music Demet Velasquez

Cast Chiquito, Redford White, Maria Teresa Carlson, Myrna Castillo, Victor Bravo, Tintoy, Joseph de Cordova, Esther de Jesus, Bing Angeles, Bayani Casimiro, Angel Confiado

1983 – Johnny Tango Rides Again (Larry Santiago Productions)

[Release date 31st March 1983]

Director Ric Santiago Screenplay Jose F. Sibal Producer Larry Santiago Music C. Rodriguez

Cast Redford White, Panchito, Janet Bordon, Maria Teresa Carlson

1984 - Wrong Ranger (Bukang Liwayway Films)

[Release date 27th February 1984, sometimes listed as “Wrong Rangers”]

Director Angel Labra Story Tony Reyes Screenplay Jerry O. Tirazona Cinematography Rey de Leon Musical Director Gabby Castellano Editor Pepe Marcos

Cast Redford White, Cachupoy, Pia Moran, Tatlong Itlog, Marilou Bendigo, Vilma Vitug, Rommel Valdez, Joaquin Fajardo, Nello Nayo, Joseph de Cordova, Ernie Forte, Nick Alladin, Leon Fajaron, Jun Santos, Jing Caparas, Danny Riel, Pompong, Joe Watts

1984 – Billy The Kid And The Sunshine Gid (Bagong Silang Films Inc)

[Release date 16th May 1984]

Director Tony Reyes Screenplay Jerry O. Tirazona Producer Rodolfo Reyes Cinematography Rey de Leon Music Rey Ramos Editor Pepe Marcos

Cast Redford White, Jess Lapid Jr, Cachupoy, Pia Moran, Tatlong Itlog, Mark Tallisan, Suzanne Gonzales, Romy Diaz, Fred Panopio, Palito, Bing Angeles, Joaquin Fajardo, Renato del Prado, Joseph de Cordova, Danny Rojo, Ernie Forte, Danny Riel, Jun Santos [other sources list Marilou Bendigo]

1984 - Sekreta 'Ini' (Sittis Film Exchange Philippines Inc)

[Release date 25th October 1984]

Director/Screenplay Angel Labra Story “Teddy Ramo”/Hadji Usman Ummar Producer Hadja Sitti Aiza Ummar Executive Producer Hadji Usman Ummar Associate Producer Hadji Mohammad Ali-Ajihil Cinematography Ramon Marcelino Music Pablo Vergara Theme Song Tatlong Itlog Editor Nap Montevon Makeup Artist Lerma Calara Production Supervisor Mohammad Nur Ajihil Production Manager Dante Javier Assistant Production Manager Eddie Castillo Post-Production Manager Johnny Leoncio In Charge of Production Yusuf Salim Assistant Director Tony Bautista Props & Sets Leoncio Mariano Sound Supervisors Vic Macamay, Rolly Ruta Sound Effects Danny Salvador Special Effects Leoncio Mariano Titles Paeng Dumala, Vic Penetrante Fight Instructors Jess Bonzo, Leon Pajaron Stills Sambas Ajihil Assistant Film Editors Ricardo Crisostomo, Crisanto Ramos Service Drivers Hadji Salam, Hadji Yunos Catering in Charge Utonuh Ajihil Schedule Master Domingo D. Bautista Utility Boys Ibrahim Ku-lot, Kennedy Mohammad, Manolito Navarro Public Relations Officer Vir Gonzales Sales in Charge Abdua Usman

Cast Redford White, Panchito, Cachupoy, Pia Moran, Tatlong Itlog , Fauzi Omar, Yusuf Salim, Maricel Gaskell, Paquito Diaz, Rodolfo 'Boy' Garcia, Dick Israel, Jenny Lyn Monteverde, Yashin Mohammad Nur, Usman Al-Hadj, Ali Al-Hadj, Leon Pajaron, Pong-Pong, Boy Ranai, Sonny Valencia, Jett Sahara, Abdua Usman, Intoy Waray, Mari Blanca, Lito Francisco, Benny May, Bert Cayanan, Andy Calma, Meng Ajihil, Taha Ajihil, Boy Salvador, Rico Tariman, Cleto Divino, Nurjan Soud, Abraham Pakil, Bobby Henson, Raymond Vargas, Jaime Cuales, Nardo Delansing, Roger Santos, Danny Amora, [uncredited] Boyet Argame, Raquel Sayson, Rene Tupaz

1984 – Okey… Olrayt (Happy Films)

[Release date 2nd November 1984]

Director Jose “Pepe” Wenceslao Screenplay Bonnie Paredes Cinematography Oscar Querijero Music Demet Velasquez

Cast Redford White, Richie D’Horsie, Tessie Tomas, Bella Flores, Roderick Paulate, Patrick de la Rosa, Soxy Topacio, Spanky Rigor, Bing Angeles

1985 – I Won! I Won! Ang S'Werte Nga Naman (Seiko Films)

[Release date 25th January 1985]

Director Jose 'Pepe' Wenceslao Writers Fundador Soriano, Manny Castañeda Producer Michael Tan Executive Producer Robbie Tan Cinematography Oscar Querijero Music Snaffu Rigor Editor Edgardo 'Boy' Vinarao Production Design Peter Perlas Art Direction Ogie Maroket Makeup Artist Ampy Carolina Production Managers Manolo Maglaya, Minda Maglaya Assistant Director Jun Cudia Lay-Out Artist Vic Delotavo Set Director Nesty Ramirez Propsman Teddy Ramirez Sound Supervisor Rolly Ruta Sound Effects Jun Martinez Boom Operator: Emperor Films Roger Resulta Field Soundman Erning Yabut Assistant Camera Danny Bustos Generator Operator: Emperor Films Eddie De Guzman Electrician: Emperor Films Renato Ortilla Clapper: Emperor Films Eddie Yabut Assistant Camera Danny Ray Yabut Jr Assistant Film Editors Jess Aning, Isagani Celis Post-Production Coordinator Romana Tablate Schedule Master Roger Carreon Crew: Emperor Films Ramon Caniezo, Starlito Fisalbon, Erning Reyes, Danny Villanueva

Cast Redford White (Gunding), Cachupoy, Panchito (Procapio), Chichay, Ritchie D'Horsie, Ike Lozada, Pepe Pimentel, Dely Atay-atayan, Tatlong Itlog, Melissa Mendez (Joy), Matutina, Don Pepot, Clemente Soriano, Flora Gasser, Rodolfo 'Boy' Garcia, Rusty Santos, Balot, Manny Castañeda, Joel Alano, Lilian Laing, Babette Villaruel, Feling Cudia, Ricky Jora, Sonny Erang, Paeng Giant, Perry Fajardo, Gloria Osing, Nesty Ramirez, Dante Balois, Lina Hosalla, Richard Maglaya, Cherry Ampil, Roger Miranda, Pol Lopez, Ampy Carolina, Monete Timonera, Jowell Mendoza, Danilo Timonera, [uncredited] Boyet Argame, Raquel Sayson, Rene Tupaz

1985 - Johnny Rambo Tango (Larry Santiago Productions/Entertainment Phils. Inc)

[Philippines release date 22nd August 1985]

FOR FULL DETAILS CLOCK HERE

1985 – S.W.A.K. Samahang Walang Atrasan Sa Kalaban (1635 Films)

[Release date 7th November 1985]

Directors/Screenplay Dik Trofeo, Carlo J. Caparas

Cast Redford White, Panchito, Cachupoy, Tatlong Itlog, Jean Saburit, Nova Villa, Teroy de Guzman, Bayani Casimiro, Robert Talabis, Palito, Ros Olgado, Joaquin Fajardo, Renato del Prado, Kuya Cesar, Bomber Moran

1985 - Hee-Man: Master Of None (Cine International Group)

[Release date 28th December 1985]

Director/Writer Tony Y. Reyes Screenplay Woodrow Serafin Executive Producers Jessie Ejercito, Paquito Y. Reyes, Tony Samson, Dante G. Virata, Domeng Virata Music Rey Ramos Cinematography Ramon Marcelino Editor Ruben Natividad Special Effects/Opticals/Animation Rolly C. Santiago

Cast Redford White, Roderick Paulate, Emily Loren, Don Pepot, Tatlong Itlog, Joaquin Fajardo, Maning Bato, Imelda Caparas, Ernie Ortega, Mario Escudero, Thesa Madrid, Rachel Sayson, Boyet Argame, Raquel Sayson, Rene Tupaz, Pong Pong, Jing Caparas, Boy Ranay

Synopsis from the Philippines VCD: Hee-Man is a classic story of a Filipino superhero who grew up as an ordinary native named Herman guided by a deaf-mute man 'Dila, not knowing that he is a prince who has superpowers to defeat their enemies. As he grows looking for his parents, he met Bato who was a former fellow of his parents- King Artuz and Queen Guadalupe. Bato told him everything and his mission to defend the people against the black forces headed by Black Tengko.

1986 – Johnny Rocky Tan-Go (Larry Santiago Productions)

[Philippines release date 18th April 1986]

FOR FULL DETAILS CLOCK HERE

1986 – Pipo’s Power (JB Films/VH Films)

[Release date 5th June 1986]

Director Angel Labra Screenplay Joey Reyes Cinematography Ramon Marcelino Music Gabby Castellano Editor Jess Navarro Production Designer Vangie Mariano Overall-In-Charge Babes Marquez Jr Sound Rudy Baldovino

Cast Redford White, Janice Jurado, Kristel Romero, Joy Sumilang, Lito Pimentel, Dick Israel, Balut, Renato del Prado, Robert Talby, Vic Varrion, Don Pepot, Joaquin Fajardo, Pugak, Boyet Mercado, Nemie Gutierrez

1986 - Soldyer! (Arte)

[Release date 27th August 1986]

FOR FULL DETAILS CLOCK HERE

1986 – No Return No Exchange (Urban Films)

[Release date 5th September 1986]

Director Jose 'Pepe' Wenceslao Story Rey Mendoza Screenplay Butch Macaro Executive Producer Jimmy C. Yu Cinematography Danny Bustos Music Demet Velasquez Editor Armando Jarlego Makeup Artist Leslie Destreza Assistant Makeup Artist Elsie Viloria Unit Manager Carding Baguio Production Manager Ben Santos Assistant Production Manager Josephine Wenceslao Assistant Director Butch Macaro Propsman Enrique del Prado Field Soundman Digoy Cotino Boom Operator Peping Yongco Layouts and Titles Rei Ayaton Assistant Layouts and Titles Ric Cristal, Moi Ayaton, Rex Mercado Generator Operator Nestor Bendijo Clapper Loader Tony Domondon Assistant Camera Joe Gliabo Still Photographer Dodie Gelig Assistant Still Photographer Peter Lascano Electrician Rey Trinidad Assistant Editor Tony Acurin Field Driver Empoy Utility Men Manolito Cabrera, Danilo Dela Cruz Crew Boi de Guzman, Monching Yongco, Teody Yongco Schedule Master Franklin Gonzales Public Relations Officer Ernie Pecho

Cast Lito Lapid, Redford White, Janice Jurado, Debbie Miller, Panchito, Dick Israel, Ruel Vernal, Don Pepot, Boyet Mercado, Lourdes Nuqui, Meng “Pusit” Villanueva, Maning Bato, Ding Arraza, Robert Miller, Robert Talby, Avel Morado, Rod Francisco, Roger Miranda, Danny Labra, Ernie David, Mel Arca

1986 – Cobrador (Solar Films)

[Release date 19th November 1986]

FOR FULL DETAILS CLOCK HERE

1986 - Tu-Yay And His Magic Payong (Urban Films)

[Release date 4th December 1986]

Director Jose 'Pepe' Wenceslao Story/Screenplay Butch Macaro Executive Producer Jimmy C. Yu Cinematography Danny Bustos Music Demet Velasquez Editor Armando Jarlego Makeup Artist Leslie Destreza Assistant Makeup Artist Elsa Viloria Production Manager Ben Santos Assistant Production Manager Josephine Wenceslao Assistant Director Butch Macaro Sound Supervisor Ramon Reyes Soundman Eddie Yabut Boom Operator Roger Resulta Special Effects Danny Rojo Assistant Effects Eddrick Sto. Domingo, Elfred Sto. Domingo Graphics Eddie Domer Clapper Boy Rey Sipin Electrician Mel Viloria Assistant Camera Danny Ray Yabut Jr Assistant Editors Mel Acurin, Hernanie Diamante, Danny Francia Composer and Lyricist: Other Songs Romeo Quiñones, Esyot Vismanos Choir Members Jimmy Castro, Chato Cordero, Russel Delen, Michael Espiritu, Edgar Felix, Sheila Reyes, Eric Romero Public Relations Officer Ernie Pecho Legman Roger Carreon Caterer Evelyn Payumo Crew Ferdie Alcantara, Danny Alcober, Darlino Ramirez

Cast Redford White (Emilio/Tuyay), Luis Gonzales (Luis), Delia Razon (Delia), Marita Zobel (Marita), Robert Campos (Robert), Lucita Soriano, Jimmy Santos (Jimmy), Dely Atay-atayan, Matutina (Inday), Luz Fernandez, Nello Nayo (Pedrito), Don Pepot (Kulas), Jaypee De Guzman (Jaypee), Katrin Gonzales, Karlo Gomez, Karen Gill, “Joan”/Joanne Miller, Marco Polo Garcia, Hero Bautista, Harlene Bautista, Luis Benedicto, Francisco Cruz, Rudy Villa, [uncredited] Nonong de Andres (Zombie leader)

1987 – The Untouchable Family (Falcon Films/Viva Films)

[Release date 13th January 1987]

Director Tony Reyes Writers Jose Reyes, Tony Reyes Executive Producers Vic Del Rosario Jr, Tony Gloria Line Producers Felix Dalay, Lita Santos Cinematography Joe Tutanes Editor Rene Tala Art Director Rolly Bernardo Production Design Rolly Bernardo

Cast Edgar Mortiz (Mad Max), Redford White (Machinegun Nonong), Caridad Sanchez (Madonna Barker), Ronel Victor (Pretty Boy Freda), Regine Velasquez (Sheila), Berting Labra (Al Kapon), Lala Montelibano (Lady in Red), Sabatini Fernandez (Don Vito), Chichay

1987 – Balandra Crossing (Andelyn)

[Release date 28th May 1987]

Director Enrique Arcega Screenplay Oden Amurao Cinematography Oscar Quirejero

Cast Chiquito, Redford White, Melissa Mendez, Tina Godinez

1987 – Rangers In The Wrong War (Arte)

[Release date 25th June 1987]

Director Angel Labra Screenplay Jerry Tirazona Cinematography Ramon Marcelino

Cast Cachupoy, Redford White, Pia Moran

1987 – Pulis Iskwad Kuno! (Emperor Films)

[Release date 14th August 1987]

Director Angel Labra

Cast Redford White, Bembol Roco, Carol Dauden, Lucita Soriano, Tirso Cruz III, George Estregan, Jimmy Santos, Berting Labra

1987 – Lost and Found Command: Rebels Without Because (Four N Films)

[Release date 19th November 1987]

Director Tony Y. Reyes Story/Screenplay Tony Y. Reyes, Felix E. Dalay Producer: Four N Films Felix E. Dalay Executive Producer Manny Nuqui Cinematography Joe Tutanes Music Rey Ramos Editor Rene Tala Production Design Rolly Bernardo Makeup Rey Salamat, Mandy Yumang Overall in Charge of Production Dorie S. Nuqui Assistant Director Dante Kabigting Art Department Resty Campanero Sound Supervisor Rolly Ruta Sound Effects Editor Henry Cabrales Dubbing Technician Florencio Ortega Loopers Tikboy Betes, Ben Samson Special Effects Freddie Fajardo Effectsmen Jaime Davantes, Joel Macandog, Bobot Putian Titles and Opticals Boy Quilatan Graphics Nhes Bautista, Vic E. Velasco Assistant Camera Atoy de Vera Still Photographer Benny Ducot Negative Grader Danny Austria Associate Editor Popoy Crisostomo Driver Cocoy Facundo Schedule Master Nita Bayed Production Secretary Orly Galicha Production Coordinator Resty Herrera Assistant Production Coordinator Jaime Cuales Publicist Efren Esteban Production Assistants Noel Nuqui, Fermina Santos Caterers Margie Chardo, Iling Monteloyola

Cast Redford White (Cpl. Akomplis), Cachupoy (Sgt. Pagaspas), “Tatlong Itlog”/Rene Tupaz (Pvl. Daluyong), “Tatlong Itlog”/Boyet Argame (Pvl. Habagat), “Tatlong Itlog”/Raquel Sayson (Pvl. Amihan), Angela Perez (Beauty Queen), Marilou Bendigo (Madame Butterfly), Berting Labra (Col. O. Nasaan), Renato Del Prado (Sur Dimawari), Joaquin Fajardo (Kmdr. Buwaya), Joseph de Cordova (Maj. Problem), Boy Alano (Capt. Logan), Robert Talby (Brig. Gen. Rene Repair), Ernie Forte (Ringo), Sonny Valencia (Rading dela Cruz), Ria Crisostomo (Beauty Queen), Sarrah Devie (Angela Murray), Via Nuevo (Beauty Queen), May Zapanta (Umbrella Girl), Jing Caparas (Ting-Aling), Amay Bisaya (Cmdr. T.Y. Hasshim), Penggot (Maj. Dolen), Maning Bato (Col. Oscar Tapias), Frank Lapid (Randy), Jaime Cuales (Sta. Ana. Sto. Domingo), Boy Tronqued (Speed Boat Driver), Roxanne Costo

1988 – Code Name Black & White (ABA Productions)

[Release date 3rd February 1988]

Director Gayjee Pangan Screenplay Ross Oracion Cinematography Amado de Guzman Editor Nap Montebon Music Geyju Jr

Cast Chiquito, Redford White, Bubbles Lin, Nieves Manuel

1988 – Parrot Unit (Green Films)

[Release date 24th March 1988]

Director Tony Reyes Cinematography Armando de Guzman Art Director Boboy Tan

Cast Redford White, Cachupoy, Gia Guison, Luisa Laurel

1988 – Pitong Pasiklab Sa Army (Arte)

[Release date 6th July 1988]

Director Bill Baldridge Cinematography Roger Estrada Music Rex Massey

Cast Redford White, Cachupoy, Janice Jurado, Graziella

1988 - Ompong Galapong: Me Ulo, Walang Tapon! (Horizon Productions)

[Release date 31st August 1988]

Director Angel Labra

Cast Dolphy, Redford White, Chat Silayan, Mely Tagasa, Ronel Victor, Berting Labra, Jimmy Santos, Max Alvarado, Ruel Vernal

1988 – Kumander Anting-Anting (Superior Films)

[Release date 14th December 1988]

Director Charlie Ordoñez Story/Screenplay Bert Dueñas Jr Line Producer Col. Johnny Davantes Associate Producers F.C.J., S.M.D. Executive Producer M.M.S. Cinematography Ricardo M. Herrera Music Encore Editor Rene Tala Production Design Gabby Francisco Makeup Lyn Paguio Associate Director Hernando 'Boy' Alano Props & Setting Bedo, Ben Marrag Field Soundman Boy Cabrales Sound Maintenance Abel Granados Sound Mixer Willy Islao Sound Effects Jun Martinez Special Effects Boy Sto. Domingo Assistant Camera Rey De Vera Still Photographer Rudy Ramos Animator Rolly Santiago Assistant Film Editor Ben Tala Utility Reynaldo Popeye Castro, Benny Castor Production Comptroller Elma De Castro, Evelyn Rivera Schedule Master Max Lauresta Production Secretary Julie Enciso, Tonette Lim, Grace Querubin Production Coordinator: Military Equipment Shirley Lumbayan, Jimmebeth Romero Sales Manager Susan Ordoñez

Cast Redford White, Melissa Mendez, Boy Alano, Tony Santos Jr, Rene Requiestas, Efren 'Turling' Pader, Rommel Valdez, Renato Del Prado, Vic “Valero”/Belaro, Jun Dela Paz, Tony Bagyo, Pamboy, Jaime Fabregas, Rudy Meyer, Robert Talby, Robert Talabis, Jane Fulayter, Mary Rose Ripoll, Airene Serna, Sahra Aguilar

1989 – Captain Yagit (Horizon Films)

[Release date 4th October 1989]

Directors Angel Labra, Leo Valdez Editor Segundo Ramos Sound Gaudencio Barredo

Cast Redford White, Cachupoy, Hazel Navasero, Bamba, Luis Gonzales, Gladys Mercado, Max Alvarado

TO BE CONTINUED...

Cobrador (1986)

1986 – Cobrador (Solar Films)

[Dubbed into Spanish and released on Spanish VHS. Philippines release date 19th November 1986]

Director/Screenplay Mike Relon Makiling Executive Producer Wilson Tieng Cinematography Ben Lobo Music Emil Losenda Editor Samuel Domondon Sound Cesar Lucas

Cast Redford White, Richard Merck, Tina Alcala, Precious Hipolito, Julie Ann Juco, Bomber Moran, Jimmy Santos, Mario Escudero, Don Pepot, Bing “Temi” Angeles, King Gutierrez, Rey Sagum, Robert Talby, Rey Solo, Mykell Chan, Joy Locsin, Stella Rivero, Malou Apalisoc

Rage Of Justice (1987)

1987 – Rage Of Justice (Bonanza Films Inc)

[Philippines release date 4th June 1987, original title “Batas Sa Aking Kamay”]

Director Mike Relon Makiling Writer Augusto Salvador Cinematography Ver Reyes Music Ernani Cuenco

Cast Fernando Poe Jr, Charo Santos, Mario Montenegro, Zandro Zamora, Eddie Garcia, Anita Linda, Glaiza Herradura, Jimmy Fabregas, Ruel Vernal, Bert Olivar, Vic Varrion

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.