Emphasis in Message System and Patron Relationship of Cinemalaya Escosia Et. Al20200711-77370-Whti9c-With-cover-page-V2

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The Emphasis in Message System and

Patron Relationship of Cinemalaya
Foundation and its Aﬀects to Local
Film Fe...
Angelica Labrador, Matthew Escosia
Trinity University of Asia
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THE EMPHASIS IN MESSAGE SYSTEM AND PATRON RELATIONSHIP OF
CINEMALAYA FOUNDATION AND ITS AFFECTS TO LOCAL FILM FESTIVAL
ORGANIZERS
A Thesis presented to
The College of Arts and Sciences
Trinity University of Asia
In partial fulfilment
of the Requirements to the Degree
Bachelor of Arts in Broadcasting
By
ALBERTO, PAULINE P.
ESCOSIA, REI MATTHEW E.
LABRADOR, ANGELICA LOUISE S.
LIMPIADA, DENNIS S.
RICAFORTE, ANGELOUX Q.
April 2018
APPROVAL SHEET
In partial fulfilment of the requirements to the degree Bachelor of Arts in

Broadcasting, this thesis entitled “The emphasis in Message System and Patron
Relationship of Cinemalaya Foundation and its affects to Local Film Festival Organizers”
has been prepared and submitted by Pauline P. Alberto, Rei Matthew E. Escosia,
Angelica Louise S. Labrador, Dennis S. Limpiada and Angeloux Q. Ricaforte who are
recommended for oral examination.
MR. GIL MARIANO M. RAZON

Adviser
PANEL OF EXAMINERS
Dr. WALTER H. YUDELMO

Chair
MS. EVELYN S. AGATO MR. CALEB DONNE E. CONIATE

Member Member
Accepted and approved in partial fulfillment of the requirement for the degree
Bachelor of Arts in Broadcasting.
Dr. WALTER H. YUDELMO Dr. GLORINA DIVINA P. OROZCO

Chairperson Dean
Media and Communication Department College of Arts, Sciences and Education
Cathedral Heights, 275 E. Rodriguez, Sr. Avenue, Quezon City, Philippines 1102
P.O. Box 10363 Broadway Centrum, Quezon City, Philippines
Trunkline No: (632) 7022882; Website: www.tua.edu.ph
I
ACKNOWLEDGEMENT
Rei Matthew E. Escosia, Pauline P. Alberto, Angelica Louise S. Labrador,

Dennis S. Limpiada, and Angeloux Q. Ricaforte would like to acknowledge the
following people due to their support in the completion of the researchers’ study
entitled “The Emphasis in Message System and Patron Relationship of
Cinemalaya Philippine Independent Film Festival and Its Affects to Local Film
Festival Organizers’ Future Festival Plans”:
To their parents, whose patience and motivation gave them the strength
to push their work to its best potential.
To Sir Gino Razon, their adviser, in giving advices from pinpointing the
errors in the study to sharing his insights on Philippine film festival phenomena and
research organization beneficial in making a more relevant, much cleaner
output.
To Dr. Evelyn Agato, Dr. Walter Yudelmo, and Sir Caleb Coniate, the
panelists of the researchers in their oral defense, for giving constructive
comments and other suggestions to enhance the study.
To Raul Asis, for assisting the researchers in contacting and scheduling the
participants from Cinemalaya Foundation – CCP for the focus interviews.
To the entire team of Cultural Center of the Philippines and Cinemalaya

Foundation, for welcoming the researchers in their offices with hospitability and
providing necessary materials relevant to their study.
To Shandii Bacolod, Jerome Dulin, Sonny Guingab, and Teddy Co, for the
stories of their respective film festivals and actually cleaning up their time to be
interviewed by the researchers.
II
To the lateGeorge Gerbner, for creating a concept the researchers used

for their framework and possibly other institutional researchers that had been
done and are yet to be shared for the growing field of research.
To the website Film Festival Research, for actually providing a list of film
festival researches in its bibliography page.
To Trinity University of Asia, especially the professors from the Media and
Communication Department, for teaching the researchers the concepts and
values that are used in creating the study.
And God, for making the researchers safe in all their adventures.
III
TABLE OF CONTENTS
ACKNOWLEDGEMENT ………………………………………...………………………………..I
TABLE OF CONTENTS…………………………………………………………..……...……….III
LIST OF TABLES AND FIGURES ………………………………………………………………..VI
ABSTRACT…………………………………………………...………………………….……..VIII
CHAPTER I: THE PROBLEM AND ITS BASKGROUND ………………………………..……...1
Introduction …………........……………………………………..…………….………1
Background of the study.......………………………………………………………..2
Statement of the Problem...........................................................................…...6
Objectives...............................................................................................….........6
Assumptions…………………………….……………...……………………………….6
Significance of the study…………………….…………………………………...….7
Scope and Limitations …………………………..………………………...…………8
Study Framework………...……………………………..……………………………..9
Theoretical Framework ………………………………………………...……9
Conceptual Framework ….…………………………………………….....11
Definitions of Terms………………..………………...……………………………….12
CHAPTER II: REVIEW OF RELATED LITERATURE………………………………..……………15
Film festivals and institutional research ……………………………………........15

IV
Film festival as an institution…………………………………...…………………...16
Agenda Setting and message system in film festivals……………...……..….17
Building and maintaining patron relationships in film festivals...…………....20
Synthesis…………………………………………………………………………….….21
CHAPTER III: METHODOLOGY …………………………………………………...………….22
Research Design..………………………...…...…….………………………………22
Tradition of Inquiry ……………………………………………….………………….22
Participants/ Key Informants and Selection Techniques………….……...….23
Sampling. ………………………………..……………...…………………………….23
Instrumentation ……………………………………………………….……………..23
Data Generation Report…………………………………………...……………...30
CHAPTER IV: PRESENTATION, ANALYSIS AND INTERPRETATION …………………..…..32
Introduction…..……….………………………………………………………………32
Results……………………………...…………...………………………………………33
Interpretation and Analysis of the Study Results…………………..……...…...52
Pursuing the first objective……..………………………………………….52
Pursuing the second objective…………..…………...………………….54
Pursuing the third objective…………….…..……………..…………..….55
Supporting the Study Framework …………………………….………....56

V
Supporting the Review of Related Literature………………………….57
CHAPTER V: FINDINGS, CONCLUSION AND RECOMMENDATIONS…………...……...60
Summary of Findings…………………………………………………………………60
Conclusion……………………………..…...…………………………………………63
Recommendations ………………………………………………….…………...…65
BIBLIOGRAPHY……………...………………………………………………………………….67
APPENDICES
VI
LIST OF TABLES AND FIGURES
CHAPTER 1: INTRODUCTION ……………………………………………………………………
Figure 1.1- Theoretical Framework of the study patterned after George

Gerbners “An Institutional Approach to Mass Communications
Research.............................................................................................................10
Figure 1. 1- Conceptual Framework……………………………………………...12
CHAPTER 3: METHODOLOGY …………………………………………………………………..
Table 3.1 Outline for Objective #1 Focus Interviews…………………………..24
Table 3. 2 Outline for Objectives 2 and 3 Focus Interviews………………….29
CHAPTER 4: PRESENTATION, ANALYSIS AND INTERPRETATION…………………………....
Table 3.3. Focus Interview Participants’ Demographic for Objective

1………………………………………………………………………………………….32
Table 3.4. Focus Interview Participants’ Demographic for Objectives 2 and

3…………………………………………………………………………………….……33
Table 4.1. How are your contents formed?....................................................34
Table 4.2 What are some messages you disseminate to the public?.........35
Table 4.3. What is Cinemalaya/ CCP’s agenda that is being adapted at

your own messages / work practices?...........................................................36
Table 4.4. What is Cinemalaya/ CCP’s agenda that is being adapted at

your own messages / work practices?...........................................................37
Table 4.5. What are some ways your institution used to regulate and satisfy
audience needs and expectations?..............................................................38
Table 4.6. What are things being kept in mind when creating content for
the audience?...................................................................................................39
Table 4.7: How is your relationship with your audience?..............................40
Table 4.8. How do you maintain or strengthen your relationship with your
audience throughout your content or materials?.........................................42
Table 4.9: How do you handle misconception with your audience?.........43

VII
Table 4.10: How do you receive the findings [emphasis in message system
and patron relationship about Cinemalaya Foundation?...........................44
Table 4.11: Comments on Cinemalaya’s relationship with their

audience………………………………………………………………………………46
Table 4.12: Do you agree that an institution must or an arts institution must
adhere to artistic
excellence?........................................................................................................47
Table 4.14. How does Cinemalaya affect your Institutional decisions?......48
Table 4.15. What aspect of Cinemalaya do you want to adapt on your

festival?...............................................................................................................50
APPENDICES……………………………………………………………………………………….
Transcription for Focus Interview dated February 27, 2018
Transcription for Focus Interview dated March 1, 2018
Transcription for Focus Interview dated March 12 2018
Action Plan of the Research

VIII
ABSTRACT
This study is concerned on the emphasis in message system and

patron relationship of Cinemalaya Philippine Independent Film Festival
and its affects on local film festival organizers’ future festival plans.
Developed by George Gerbner in 1969, emphasis refers to the structuring
of agenda through messages, while patron relationship is the relationship
of an institution with its audience. Using focus interview as the only
method for data-gathering, the researchers were able to identify “artistic
excellence,” or the adherence to high quality content, as Cinemalaya’s
emphasis, which is one of the valuable components why the relationship
of the festival/ institution to its patrons has become strong since its
introduction in 2005, thus the patron relationship. These data were well
received by other local film festival organizers (represented by
participants from Cinema One Originals, Cinema Rehiyon, ToFarm Film
Festival, and North Luzon Film Festival), and affected them in their future
festival plans in terms of the institution’s programming, composition of
content, and how they market or publicize their works and programs to
the public.
1
CHAPTER I
THE PROBLEM AND ITS BACKGROUND
INTRODUCTION
The Cinemalaya Foundation is a non-stock, non-profit organization that is

committed to the “development and promotion of Philippine Independent
films.”
Its key project, the Cinemalaya Philippine Independent Film Festival, was
established in 2005 and was held in the grounds of its partner institution Cultural
Center of the Philippines at Pasay, Manila.
The festival aims to “encourage Filipino filmmakers to freely interpret their

works with a fresh insight and artistic integrity” and has a mission of inspiring “to
commit [ourselves] to the professionalization of film practitioners in the various
aspects of film production,” thus the name Cinemalaya (a combination of two
words: “Cinema” and “Malaya” or free).
Since the formation of the organization, a lot of different film festivals in

the Philippines were established.
“The most important influence it had is, because of [Cinamalaya], you

have a lot more indie film festivals starting.” (Cheah, 2016) In 2017, festivals such
as QCinema (of Quezon City Film Development Foundation), CineFilipino Film
Festival (of Cignal TV), Pista ng Pelikulang Pilipino (of FDCP) and more shared the
same goals of Cinemalaya in terms of cultivating the support of Philippine
independent films.
Cinemalaya Foundation President Laurice Guillen pointed out the

festival’s impact in her speech. “Now, new players have joined the industry.
Indie films are now screening in commercial theaters. Those who started out in
this venue are now active in the industry as directors, cinematographers,
producers… With the emerging alternative distribution system, films are now
watched on demand.” (Guillen, 2016)
2
With the success of Cinemalaya, the number of independent films shown

in cinemas has increased. In 2006, 44 independent films were exhibited. From
2009 to 2011, independent productions rose above 70 titles.
This study talked about Cinemalaya Foundation’s message system,

specifically its use of emphasis, as well as the institution’s patron relationship, and
how all of these affect other local film festival organizers in their future festival
plans.
George Gerbner’s 1969 paper entitled “An Institutional Approach to Mass

Communications Research” is the basis of this study, using his definition and
understanding of an institution’s message system’s emphasis and patron
relationship.
BACKGROUND OF THE STUDY
The Cultural Center of the Philippines (CCP) was founded in 1966 under
the virtue of the Executive Order No. 30, which states that the establishment must
be and maintain a “trust for the benefit of the Filipino people, for the purpose of
preserving and promoting Philippine culture in all its varied aspects,” and also
carry the vision of showcasing “Filipino artistic expression” while being “a
landmark of architectural beauty.”
True to its mission, CCP has continuously been implementing programs
that are intended to raise cultural awareness. One of its objectives is to adhere
on producing contents that are of “artistic excellence” in order to present quality
“artistic and cultural experience from the Philippines and all over the world.”
CCP also helped in developing the institutionalization of cultural work in various
regions and retain local and international linkages to nurture and promote
Filipino artists and their works. With the creation of the CCP Business and Master
Development Plan, the institution seeks to become a “mecca for arts and
culture in Asia.”
3
Today, the CCP is linked under the Office of the President as well as the
National Commission for Culture and the Arts for the institution’s coordination
and regulation of its programs and policies. It is also where the following
companies/ groups held their regular season performances and events at the
CCP complex: (1) Ballet Philippines, (2) National Music for Young Artists
Foundation or the NAMCYA, (3) Ramon Obusan Folkloric Group, (4) Tanghalang
Pilipino, (5) the Bayanihan Philippine National Folk Dance Company, (6) UST
Symphony Orchestra, (7) Philippine Madrigal Singers, (8) Philippine Philharmonic
Orchestra, and (9) the Philippine Ballet Theater.
Also in partnership with CCP is the Cinemalaya Foundation, which is a
non-stock, not-for-profit, non-government foundation that is focused on the
development of filmmaking artistry in the Philippines.
Cinemalaya Foundation is aimed on supporting projects such as “national
outreach, seminars, and workshops on production, marketing and distribution of
independent films” and “strengthen the presence of Filipino independent films in
foreign festivals and competitions.”
The foundation’s core project, the Cinemalaya Philippine Independent
Film Festival, is an annual competitive film festival first held on July 12 to 17, 2005.
The festival serves as a platform to “develop a new breed of Filipino filmmakers”
to “invigorate the Philippine film industry.” Seed grants are given by the
foundation to help the participating filmmakers in their production.
Some of the films produced by Cinemalaya through the years include ‘Ang
Pagdadalaga Ni Maximo Oliveros,’ ‘Sana Dati,’ ‘Transit,’ ‘Dagitab,’ ‘100,’
‘Pamilya Ordinaryo,’ and ‘I, America,’ a lot of which received raves and awards
from film festivals and award programs abroad.
The 2017 edition of the festival, bound to its official tagline “See the Big
Picture,” introduced ten films as part of its main competition (full-length feature)
line-up. Seven of the year’s finalists either made their debut on the festival itself or
on directing. The films are ‘Respeto,’ ‘Ang Guro Kong ‘Di Marunong Magbasa,’
‘Ang Pamilyang Hindi Lumuluha,’ ‘Baconaua,’ ‘Bagahe,’ ‘Kiko Boksingero,’
‘Nabubulok,’ ‘Requited,’ and ‘Sa Gabing Nanahimik ang mga Kuliglig.’ It ran
from August 4 to August 12, 2017.
4
Apart from the full-length feature category, other screening programs

during the festival run includes also a main competition category dedicated for
short films, Visions of Asia, screenings of select NETPAC (Network for the
Promotion of Asian Pacific Cinema) films, Animahenasyon, Indie Nation, Dokyu,
Best of the Festivals, Digital Classics, Ikaw-29 Gawad CCP Para Sa Alternatibong
Pelikula At Video, a retrospective of previous Cinemalaya films, and tributes to
Gil Portes and Lolita Rodriguez.
This study looked into how the joint partnership of Cinemalaya Foundation
– Cultural Center of the Philippines set the emphasis on their message system, as
well as patron relationship in the Cinemalaya Philippine Independent Film
Festival.
According to George Gerbner in his paper “An Institutional Approach to
Mass Communications Research,” an emphasis structures the agenda of an
institution’s message system. This is performed and identified by the institution’s
strategy on emphasizing their agenda, be it from headlines on interviews, etc.
On the other hand, the patron relationship is concerned on the institution’s
connection with their audience. Gerbner stressed that the audience is
considered a constraint on their media decision-making. He added that “the
constraint of patron relationships tends to set the broad limits of acceptability
within which the media select those policies which are most responsive to client
needs and pressures.”
Emphasis and patron relationship are two separate concepts under
different systems of an institution. Gerbner suggested that an institution works
under two branches: the message system and the process system.
A message system is a form of public currency that is focused on the
development and cultivation of messages inside an institution or organization.
Under its belt are the following concepts:
(1) Tendency (the position of a system (or of an individual) in time, space

and in the overall structure of social relations);
(2) Attention (selection of phenomena attended to);
(3) Emphasis (how the messages of an institution structures their agenda);
5
(4) Value (combination of attention and agenda).
The message system is capable of measuring the different message

processes of an institution.
The process system, on the other hand, are the different constraints an
institution that emerges from the different processes (message system being one
of them). The constraints, as narrated by Gerbner are:
(1) Client relationships (investors, and institutions which furnish major

capital and operating costs in exchange for products and services);
(2) Patron relationships (people who patronize the institution’s content);
(3) Logistical requirements (imposed by the availability of the resources);
(4) Leverage (pressure made by non-client groups and organizations for
attention);
(5) Legal requirements and normative expectations (pertain to media as
business organizations and licensed carriers);
(6) Supervisory relationships (those of chain of command)
George Gerbner’s inputs on the concepts “emphasis in a message

system” and “patron relationship” are the direct focus of this study. Applying
these to the Cinemalaya Foundation – Cultural Center of the Philippines’
institutional processes, the researchers aim to find out its message-formation
system, agenda-setting, as well as its relationship with the patrons.
The study also looked into how the institution’s processes on emphasis and
patron relationship affect film festival organizers in the Philippines in terms of their
future festival plans.
6
STATEMENT OF THE PROBLEM
In this study, the researchers aim to answer the question:
How does the emphasis in message system and patron relationship of

Cinemalaya Philippine Independent Film Festival affect local film festival
organizers in their future festival plans?
OBJECTIVES
1. To identify the emphasis in message system and patron relationship of

Cinemalaya Philippine Independent Film Festival organizers.
2. To know how the emphasis in message system and patron relationship of
Cinemalaya Philippine Independent Film Festival was received by local
film festival organizers.
3. To know how these (emphasis in message system and patron relationship)
would affect local film festival organizers in terms of their future festival
plans.
ASSUMPTION
The researchers predict the following before undergoing the data-gathering

procedures in fulfillment to the study’s problem:
1. The careful use of emphasis in message system enables the Cinemalaya

Philippine Independent Film Festival organizing committee to strengthen
their relationship to their audience.
2. The local film festival organizers found the emphasis in message system
and patron relationship of Cinemalaya Philippine Independent Film
Festival 2017 organizers to be effective due to the continued support of
the audience to patronize the festival.
7
3. Cinemalaya Philippine Independent Film Festival 2017 affect organizers of

other local film festivals in terms of changing their procedures on
communicating with audience and other external forces, programming,
and emphasis/ organization of messages.
SIGNIFICANCE OF THE STUDY
This study will be advantageous for the following:
For future researchers, especially those who are set to incorporate

institutional researches as their basis or guideline. Those studying Philippine film
festival trend and processes will benefit from this research, as it will explore
Cinemalaya Film Festival, one of the most well-recognized and well-attended
film festivals in the Philippines.
For film festival organizers, specifically those who participated in the film
festivals in-focus on this study and those who are also currently organizing a film
festival.
For filmmakers who have participated and are interested to participate in
film festivals (Cinemalaya and other local film festivals), the findings of this study
could affect them in terms of content creation and selecting which festival they
could join.
For Cinemalaya Foundation/Cultural Center of the Philippines, as the
organizers of Cinemalaya Philippine Independent Film Festival, this will allow to
see if their strategies of producing film festivals are effective in terms of fulfilling
their objectives, and look into the issues that can help them in strengthening their
future projects.
For academe and other media practitioners, this study seeks to contribute
to the study of film festivals and communication-related institutional researches.
8
SCOPE AND LIMITATIONS OF THE STUDY
The study focuses on Cinemalaya Philippine Independent Film Festival’s

institutional process and its affects to other local film festival organizer’s future
festival plans.
This institutional process is limited to the emphasis of message system and
the patron relationship as defined and established by George Gerbner from his
“An Institutional Approach to Mass Communication Researches.”
The two concepts were chosen out of the other concepts developed by
Gerbner because these two are complementary in terms of their own respective
processes. An emphasis is crucial in the message system process, setting up the
agenda to be used for the nurturance and development of an institution’s
relationship with its patrons.
The researchers gathered data and information that came from
representatives of Cultural Center of the Philippines, where the Cinemalaya
Foundation houses, as well as other institutions that organized film festivals in the
Philippines. The researchers used Focus Interview as its method on data
gathering for Cinemalaya, and the local film festival organizers. External partners,
sponsors, and audience members are not used as samples for data gathering to
focus more on the members operating inside their respective institution, people
who actually know how the emphasis in message system and patron relationship
were handled from the internal angle.
The study focuses more on Cinemalaya Philippine Independent Film
Festival. Although other programs from CInemalaya Foundation and Cultural
Center of the Philippines were mentioned, it was handled to an extent as to
prevent these [events] from overpowering the film festival itself.
9
THEORETICAL FRAMEWORK
For the fulfillment of the objective1 of the study, the researchers used the
concepts of emphasis in message system and patron relationship in “An
Institutional approach to Mass Communication Research” by George Gerbner
as their study framework.
Although there is no actual model to be seen on the aforementioned

study, the researchers decided to pattern the ideologies presented by Gerbner
to establish a relationship between an institution and sub-institutions.
This model follows a process that starts with the prime institution in focus.
This institution has two branches under its belt, in the case for this study, the
emphasis in message system and patron relationship. The sub-institution(s), or
institutions who may be affected by the prime institution’s processes, then
receives these two, which eventually turns into creating endeavors for itself.
The emphasis of the institution is defined by Gerbner as structuring the

agenda and the patron relationship is described as the relationship between an
institution and the audiences.
The model simply tells that one Institution can actually affect other Sub-
Institution on planning their institutional endeavors in terms of structuring their
agenda and maintain their relationship between their audiences.
In order to explain how this theory helped the researchers, a figure (figure
1.1) is shown to represent its elements.
10
Figure 1. 1. Theoretical Framework of the study patterned after George Gerbner’s “An Institutional Approach to
Mass Communications Research”
To define each variables included, the “institution” refers to the prime

institution that the researchers are focused on to study. Even with the presence
of other institutions the whole model is still concerned, revolving around it.
The “emphasis” and “patron relationship” are concepts developed by

George Gerbner to cultivate the message system (how messages are created
and disseminated) and process system (the different processes occurring inside
an institution) of an institution.
A “sub-institution” are the institutions which can be affected by the prime

institution.
“Sub-institutional endeavors” are plans a sub-institution(s) wants out of the

affects produced by the prime institution.
11
CONCEPTUAL FRAMEWORK
In this research, the Institution is represented by the Cinemalaya

Foundation – Cultural Center of the Philippines (CCP) as the focus of the study.
CCP and Cinemalaya Foundation represents the prime “Institution” in
focus for the conceptual framework. Its emphasis and patron Relationship will be
received by the sub-Institutions, which is represented by Other Local Film
Festivals.
For the remainder of the study, film festivals included are ToFarm Film
Festival, Cinema One Originals Film Festival, North Luzon Film Festival and Cinema
Rehiyon Film Festival. For this model, Gerbner’s concepts (emphasis and patron
relationship) eventually affects the future film festival plans of these other local
film festivals.
This model was used to further understand the concepts of message
system (emphasis) and process system (patron relationship) by George Gerbner
and connect it to the study of Cinemalaya Foundation/CCP’s as an institution.
The researches connected this study to the concepts and ideologies of
George Gerbner that when applied, it simply tells that Cinemalaya
Foundation/CCP has this emphasis in message system and patron relationship
that can actually affect other local film festival organizers in terms of their future
film festivals plans. (Figure 1.2)
12
Figure 1. 2 Conceptual Framework
DEFINITION OF TERMS
Affect – to eventually produce something upon receiving a concept/ idea.
Audience – a group of people who participate in a show or encounter a work of

art, literature, theatre, music, or academics in any medium. (Wikipedia)
Cinemalaya Foundation – a non-government foundation committed to the

development and promotion of Philippine Independent Film. It founded the
Cinemalaya Philippine Independent Film Festival.
Cinemalaya Philippine Independent Film Festival – a project and a film festival

organized by Cinemalaya Foundation that produces Philippine independent
films annually during the month of August at Cultural Center of the Philippines.
Cultural Center of the Philippines (CCP) – a government corporation established

in Manila to promote arts and culture in the Philippines. It houses Cinemalaya
Foundation, which organizes the annual Cinemalaya Philippine Independent
Film Festival.
13
Emphasis – the aspect of the formation of message systems that establishes a

“context of priorities of importance or relevance” through making specific ideas/
texts stand out than others. It “structures [an institution’s] agenda” of image-
formation and public discourse cultivated in message systems. (Gerbner, 1966)
Festival head – the head of the film festival who oversees the event from its
planning, decision-making, up to the post-event evaluation process. (Film Festival
Research)
Film festival – an organized event wherein select films are shown in a specific
venue(s). (Wikipedia)
Film festival organizers – members of a film institution who were assigned in

planning, creating, organizing, and making the film festival successful. (Film
Festival Research)
Independent film – a film produced by a filmmaker and non-mainstream

production house on a smaller budget. (Wikipedia)
Institutional process – processes that occurs inside an institution. (Kondra, 2009)
Institutional research - a study focusing on an institution or organization’s

“problems of message system theory and analysis, institutional process analysis
and the investigation of relationships between message systems, social and
organizational structure, image-formation and public policy.” (Gerbner, 1966)
Message system – are public currency of social interaction, expressing the

broadest popular concepts for the formation of images. It reveals features,
processes, and relationships of ideas in a message/ text. (Gerbner, 1966)
Organizing committee – a group of internal and external members of an

institution chosen to organize a project or event. (YourDictionary)
Patron – audience of a content.
Patron relationship – the relationship of the people in an institution to its

audiences and vice versa. The institution gives/gratifies what its audience’s
14
expectations and demands that cultivates and satisfies the audience wants.
(Gerbner, 1966)
Process analysis - attempts to answer questions about constraints, hindrances

and influences affecting decision-making in mass communications. (Gerbner,
1966)
Process system – constraints institutions undergoes from its different processes.
Programming – is the process of curating or selecting films to be shown and

exhibit in an event or special venue (ex.: film festivals) (Film Festival Research,
2017)
15
CHAPTER II
REVIEW OF RELATED LITERATURE
In this chapter, the researchers compiled literature from multiple sources

and mediums relevant to the objective of the study.
Film festivals and institutional research
Despite its role being crucial to film studies since the 1940s, film festival
research has only garnered wide attention academically as an “autonomous
research field” in recent years. (Di Chiara, Re, 2011) This has been strengthened
by recent studies acknowledging the essence of field-configuring events as a
factor to influence field evolution, including those incorporating a trans-
organizational structure such as the annual music awards program Grammy
Awards. (Lampel and Meyer, 2008; Anand and Watson, 2004)
Institutional research plays a major role in the decision-making process of

a film festival. With the help of media, creating programs for mass dissemination
such as press coverages affect a film festival in formulating specific strategies.
Formulating this enables other festivals to construct its own identity and target
audience apart from other film festivals. (Di Chiara, Re, 2011)
George Gerbner (1969) added that identifying an institution’s needs and

objectives “influence the creation and distribution of mass-produced messages
which create, fit into, exploit, and sustain the needs, values and ideologies of
mass publics.” These publics, in return, reflects on these messages and thus, also
becoming a force of influence to create an institution’s updated set of needs
and objectives.
The “mass public” indicated by Gerbner also applies to other institutions

developing their own film festivals. In order to find its effectivity, Gerbner set three
methods to do so:
16
“The first prong, called institutional process analysis, is designed to

investigate the formation of policies directing the massive flow of media
messages. Because of its direct policy orientation, this research is the most
difficult to fund and, therefore, the least developed. More directly
relevant to our present focus are the other two prongs we call message
system analysis and cultivation analysis. Both relate to -- and help develop
-- a conception of the dynamics of the cultivation process.” (1969)
Film festival as an institution
It has been established that religion can be classified as a social

institution, due to its incorporation of patterns of beliefs and behavior that
contributes to the basic needs and order of society. (Barkan, 2012) Film critic
Andre Bazin (1955) proposed that a film festival, as an event that gathers
different sets of people under a certain space and time, can also be
characterized as an institutional order traced as a social religious retreat.
Outside its showcase of films, a film festival can be seen also as a medium
to emphasize talents and other regulations such as keeping up with temporal
obligations inside its venue (e.g.: schedule for screenings, conferences, etc.).
“If an Order is something defined by its rules as well as being inseparable

from a life of contemplation and meditation, in which people join in holy
worship of a common transcendent reality, then the Festival is a religious
Order.”
Film festivals lend themselves to be framed from the vantage point of

‘field configuring events, ‘‘temporal organizations that encapsulate and shape
the development of professions, technologies, markets and industries’’ and in
which ‘‘people from diverse organizations and with diverse purposes assemble
periodically or on a one-time basis, to announce new products, develop industry
standards, construct social networks, develop industry standards, construct social
17
networks, recognize accomplishments, share and interpret information, and

transact business’’ (Lampel & Meyer, 2008).
Film festivals brings together “multiple constituents and reflect divergent

set of values” (Mazdon, 2006) by conducting “curiously intense, yet hybrid
events” (Harbord, 2009) happening simultaneously or enclosed in its temporal
run.
In the form of these events (e.g.: red carpet, award ceremonies), film
festivals becomes an intersecting destination for art and business, as well as
identity building. (Ooi & Pedersen, 2009)
This identity is formed through construction of different methods of social

connectivity, be it a film and the participation of different kinds of publics/
audience or the gathering of the shared needs or agendas of directors, critics,
sponsors, distributors, etc. (Fischer, 2013) Programming also structures and defines
its identity. (Ruling, 2010)
Marijke De Valck (2007) added that the films programmed can construct
and identify the aesthetic and economic values of the film festival as an
organization, becoming the creative field in “enacting and reproducing existing
routines and relationships” with their audience/ partners.
Agenda-setting and message system in film festivals
Agendas of festivals vary from their classifications. Kenneth Turan (2002)

enumerated three types of film festivals: the (1) geopolitical, (2) aesthetic, and
(3) business. However, Mark Peranson disagrees. He argues that it must be
simplified into two “ideal” festival models: the (1) business festivals and the (2)
audience festivals.
A business festival is primarily concerned on getting distributors, external

partners, and other potential acquirers of their line-up of films and other
exhibition works. The audience festival, on the other hand, is geared towards the
18
nurturance of audience development, and relies on business festivals as a

“revenue stream to fund their presence.”
The distinction of the two also includes differences in who benefits from
the festival.
“The local audience in the city in which the festival is hosted, benefits from
the audience orientated film festival, giving the festival greater cultural
value. The selection of films is more likely to be oriented towards the
audience taste. However, a film festival that is business orientated, with
the distributors as the most important interest group will give the festival a
more commercial value, and the selection of films more suited towards
the commercial needs of distributors rather than the interest of the
audience.”
The agendas of the festivals classified under these two are caused by the
specificity of their institutional background and founding history. Their decision-
making procedures must adhere to their respective institutional logics.
(Vilhjálmsdóttir, 2011)
Institutional logic refers to the set of “material practices and symbolic

systems including assumptions, values, and beliefs by which individuals and
organizations provide meaning to their daily activity, organize time and space,
and reproduce their lives and experiences.” (Global.oup)
The same thing can be said on an institution’s message system. George

Gerbner stressed that the individual units composing the institution does not
necessarily constitute the characteristics of its own message system. Its main goal
is to point out features, processes, and relationships that are expressed in whole,
and not in broken parts.
“Unlike most literary or dramatic criticism, or, in fact, most personal cultural
participation and judgment, this approach to message system analysis
focuses on the record of institutional behavior in the cultural field, and on
the dynamics of message-production and image-cultivation in a
19
community but not necessarily in selective personal experience and

response.” (Gerbner, 1969)
John Lammers proposed that we must interpret institutional messages as

mediators that vary “with respect to their reach, their encumbrance, their
endurance, and the intentionality of their sender.”
He added that a message becomes more institutional the larger and

greater its reach and endurance, and more importantly, the clearer their
intentionally sent.
In his study entitled ‘Looking for Sundance Film Festival: The Social
Construction of a Film Festival,’ (2000) Daniel Dayan explores the different
mediums film festivals used in their attempts to have their identity and character
clarified and revealed to the public. Through a method he calls “written festival”
or the chronicled narration of an event, film festival organizers will be able to
negotiate their own positions within their own festival network.
In a way, a film festival is mostly spent answering questions about self-

definition, identity and character […] Each party involved in the
definitional process (or struggle) issues printed material […] film festivals
live by the printed word, they are verbal architectures. (Dayan, 2000)
A “written festival” refers to the incorporation or heavy reliance to

traditional print methods of disseminating news or announcements of a film
festival. This is created in the form of printed materials (for marketing, branding,
press) and is used by not just large-scale business festivals, but also smaller, non-
profit festivals
20
Building and maintaining patron relationships in film festivals
Festivals are not limited to showcasing cinema, they always have worked
on actively building audiences as well as communities. (Rastegar, 2012)
The management of audience relationship is composed of four key functions:

(Omeda)
(1) Acquire – the acquisition of data from key customers through interaction;
(2) Unify – the process of compiling the acquired customer data;
(3) Manage – governance of accumulated data. Institutions must keep in
mind that in order to effectively manage communication fatigue with
their audience, other efficient means must be utilized to not bombard
them with “incessant offerings.”
(4) Activate – this is when you finally used an effectively handled audience in
order to create multiple opportunities, and utilize them to other programs.
The involvement of your audience, or the patron, for the film festival’s matter,
is crucial part in self-development as an institution.
Introducing other variety of content is also an effective strategy to gather

people and be able to learn more outside what they expect of a film festival.
Programming is an essential tool as it generates certain audience expectations,
and allows for the active reception of the audience. (Klippel, 2008) They must
provide new voices and perspectives outside conventional genre cinema.
(Bosma, 2015)
Richard Fung (1999) stressed that the root of programming content has
always been geared on “programming the public.” He noted:
“In this economy of queer visibility, gay and lesbian film and video festivals
are especially important because they constitute a kind of double
representation on and in front of the screen. So when one programs a
festival, one also programs the audience and the community. One
presents queer community to itself and then, as a festival becomes more
"mainstream," to the larger public as well. In the work that is selected and
21
the way in which it is grouped and promoted, one not only represents but
also produces specific instances and interpretations of queerness in the
same manner as a leather bar, a gay and lesbian synagogue, or a softball
match does.”
Synthesis
Film festivals are built on a specific identity that are established and
cultivated through different approaches or methods. This identity or character
can either be made up of multiple reflected sets of values, connectivity among
the institution itself and its public(s), or by how the film festival itself program in the
forms of film selection and other offerings.
The two models of film festivals, the business and audience, enables the
identification of an institution’s background and easier adherence to their own
respective “institutional logics.”
An institution’s message system is also a pivotal part of its cultivation of

agenda. However, in order to measure its effectivity, we must observe how the
message endures overtime, which also reflects on the weight of its reach.
When it comes to having a more efficient method to send festival

messages, Daniel Dayan (2000) discussed the concept of “written festivals,” or
the dissemination of festival processes and works in the form of printed materials,
which was used by both large-scale and low-scale film festivals.
When it comes to getting or defining an audience, programming is a tool

that can actually both set the agenda and other institutions, as well as, getting
more reaches.
22
Chapter III
METHODOLOGY
This chapter defines the research methodology including the research

design, the data gathering method, and the sampling techniques used in
satisfying the objectives of the study.
Research Design
The researchers of the study used a qualitative research method in

gathering the information needed for this study. This method enabled the
researchers to access the views, experiences and beliefs of the selected
participants of the study that help the researchers to find the theoretical
meaning of the findings and the hypothesis development for further studies.
The Focus Interview (FI) was used all throughout the entire data-gathering
process for the study’s three objectives. This method enables the researcher to
get the why and how of the responses, and also get closer to the participant as
supposed to a round-table discussion in a focus group discussion (FGD). The
hectic schedule of the participants is also one of the reasons why the researchers
settled for individual interviews instead of gathering all of them in one.
Tradition of Inquiry
The researchers used a case study approach, wherein they both have
complex and intensive analysis of an individual as an organization or as a
community, containing the developmental issues and their relationship to the
environment. In doing this so, the researcher was able to identify the emphasis in
message system and process system patron relationship of Cinemalaya, which
affect the future plan of local film festival organizers.
23
Participants/ Key Informants and Selection Techniques
The participant was chosen according to a criteria set by the researchers.

The participants for Objective #1 must be: (1) part of the Cinemalaya
Foundation/Cultural Center of the Philippines organizers, (2) aware of the
processes that transpire in the preparation and management of these film
festivals, and (3) present when the time when the film festival Cinemalaya 2017 is
on their running period.
For Objectives #2 and #3, the participant(s) must be: (1) part of the
organizing committee of other film festival in the Philippines.
Sampling
The researchers used purposive sampling wherein they selected

participants who participated in organizing Cinemalaya Philippine Independent
Film Festival 2017 and to other local film festivals.
Instrumentation
As the researchers conducted a focus interview, they used an audio

recorder while conducting FI that will set as researcher’s validity of data that
have been gathered. A focus interview is a data collection wherein the
researchers will observe and listen in depth to every answer of the participants
individually. It is a form of qualitative research consisting of interviews in which
people are asked about their perceptions, opinions, beliefs, and attitudes
towards a product, service, concept, advertisement, idea, or packaging.
Questions are asked in an interactive setting where participants are free to talk.
During this process, the researcher either takes notes or records the vital points
he or she is getting from the interviewee. Researchers should select carefully the
participants for effective and authoritative responses.
24
An outline (Table 3.1) containing the questions and flow of discussion is

used for the interviews in fulfillment of Objective #1:
A. Introductory talk
B. Institution itself
o History/ background
o Branding of the company/ mission/ vision/ core values
o Does this branding affect you in any way to your work

practice?
o Agenda
o Workplace? How do they operate? What are the
personalities inside your office?
o What does the workspace process of Cinemalaya
Foundation/ CCP looks like?
o What are the common practices being done in your
institution?
o As an institution supported by the government, what sets
Cinemalaya Foundation/ CCP's practices and work ethics
different from other institutions?
o How many people comprises the institution (of
Cinemalaya/ CCP)?
o What sets Cinemalaya Film Festival 2017 different from the
previous editions of the festival?
o How does Cinemalaya Foundation/ CCP manage
negative reception?
25
o How does Cinemalaya Foundation/ CCP come up with a

new set of rules/ mechanics for its film selection process?
o What are the impressions Cinemalaya Foundation/ CCP
wants to give to its audience through Cinemalaya Film
Festival 2017?
o What are the rules and strategies that did you construct in
your festival? How did you construct it?
o Is there any changes from your rules and strategies? What
are those changes?
o Why do you think that your organization’s actions and plan
would affect the other local film festival organizations in
terms of their future plans?
o Do you think that the local film festival organizations must
have a component program for audience development?
Why?
o How is the relationship of your organization to local
filmmakers?
o The strengths and weaknesses of your organization?
o How do you distribute works/tasks to your committees in
your organization?
o As an organizer, how would you rate the satisfaction of the
outcome of Cinemalaya Film Festival 2017 films? Apart from
box office numbers.
C. Planning the festival
o How do you start planning?
o How does it work? How long do you usually take for
meetings/ the planning itself?
26
o What are some things taken into consideration during

meetings?
o What are your findings on Cinemalaya Film Festival 2016 (or
previous editions) in terms of audience reception and rule-
setting?
o How does your findings on Cinemalaya Film Festival 2016
(or previous editions) affect your processes in preparation
for Cinemalaya Film Festival 2017?
o What do your institution keep in mind when creating
content released to the public about Cinemalaya Film
Festival 2017 (promotional materials)
o What strategies do you think that the other organizations
lack of?
o What strategies do you think that some organizations must
apply and focus to improve and for the development of
their own festivals?
o Do you think that your organization’s actions and plans are
effective for your goals last 2017? Why?
o What are the strategies that the Cinemalaya Foundation/
CCP used in deliberations of the film?
o What are the strategies that the Cinemalaya Foundation/
CCP used to gain more patronage and how do you
encourage the audience to watch all entries especially the
least grossing film?
o How do the Cinemalaya Foundation/ CCP distribute the
film?
o What are the strategies used by Cinemalaya Foundation/
CCP to promote the festival?
27
o How did you choose the jury member for film selection?
Why?
o What are the classification in choosing a film selection
committee?
D. Message system
o How are messages created? Where do they come from?
Who normally do it?
o How are messages filtered? Who are involved in such
activity?
o What are some things taken into consideration when
creating messages for internal and external transactions of
messages?
o What types of messages are usually being disseminated?
Why? What are the context of these messages?
o How large is the reach of your messages? Where do you
usually disseminate your messages?
o How did you maintain/keep your relationship with your
audiences?
o How do the Cinemalaya Foundation/ CCP compose and
structure their message system?
o When viewers react negatively to the films to be shown,
what do you usually do?
E. Process system
o How do you communicate with your peers?
o How do you communicate with your audience?
28
o How do you shape your audience? What do you think is

their demand to your product (festival)?
o Does your communication inside the office affects your
communication to your audience?
o Do you feel any pressure when creating messages for the
public? Why?
o What are some ways your institution used to regulate and
satisfy audience needs and expectations?
o How is your relationship with your audience?
o Whenever your audiences react negatively to your film
selection, what do you usually do?
o How do you handle misconception between your
audiences?
Table 3.1 Outline for Objective #1 Focus Interviews

29
For Objectives #2 and #3, the following outline is used (Table 3.2):
A. Introductory talk
B. Institution itself
1. Planning the festival
2. Agenda and how were they able to structure it.
3. Communication with peers and external partners
4. Patron relationship
C. Second Objective
1. Differences of own film festival to other festivals
2. Discuss researcher’s findings on emphasis in message system and
patron relationship of Cinemalaya.
3. Awareness of these findings/ what do they know of Cinemalaya’s
emphasis in the agenda-setting/ message creation system and
patron relationship. How do you receive it?
D. Third objective
1. What are your future plans for your festival
2. How does Cinemalaya affect your institutional decisions?
3. Would you adapt the agenda-setting/ message creation system
and patron relationship of Cinemalaya to your future festival
plans? Why?
Table 3. 2 Outline for Objectives 2 and 3 Focus Interviews

30
Data Generation Report
The researchers started their data gathering procedures by formulating a

criteria for the sampling of their participants for focus interviews to specify the
qualifications of the people they actually need that can answer their objectives.
While doing the criteria, an outline detailing the questions to be asked to the
potential participants was made. This is important so the researchers can
immediately spot and compare the flaws and feasibility of the questions if it can
actually be answered by the criteria formed.
When all of it has been laid off, the researchers contacted the corporate
communications division of Cultural Center of the Philippines because it is the
one they have connections to, and can be helpful in bridging them to the
people in that institution (including Cinemalaya Foundation, CCP’s partner). The
researchers undergone different methods in contacting the department: on e-
mail (with attached formal request interview letters and the outline) and
physically (going into the offices of CCP).
The corporate communications department assigned Raul Asis to assist
the researchers in getting people to become participants. The researchers noted
in their formal interview request letter the possible names that they want to
interview. The names included are the bosses and heads of the institution.
However, most of the names mentioned are unavailable because of out-of-town
travels and other forms of commitment they have to attend to. Days after, Asis
suggested and hand-picked substitutes of the unavailable names that can be
free for a focus interview. Asis also helped the researchers in scheduling the focus
interviews as to speed up the process.
The researchers were able to interview three participants from
Cinemalaya Foundation – Cultural Center of the Philippines, who were able to
be part of the organizing process of Cinemalaya Philippine Independent Film
Festival.
Because of the participants’ availability in their schedule, the researchers
were able to get them later than expected. The first interview was for Gemma
Marco. Gemma Marco is the Division Chief Three of Sales and Promotion Division
31
Marketing in Cultural Center of the Philippines. The second was for Vicky
Belarmino, the Film Festival Coordinator, and lastly, Lino Matalang from the Arts
Education Department.
These three were also chosen in response to the request by the
researchers to have someone who may answer queries on emphasis in message
and patron relationship. The participants are diverse in terms of the specialty of
their job, and their perception over the “emphasis in message system” and
“patron relationship” with regards to what they do in the company. They were
interviewed at their individual offices inside Cultural Center of the Philippines.
As for the local film festival organizers needed for Objectives #2 and #3,
four people were chosen who agreed to be part of our study. Schedule and
time were also the main issue, so we settled for the following people who
happened to be available: Sonny Guingab of ToFarm Film Festival, Shandii
Bacolod of Cinema One Originals Film Festival, Jerome Dulin of North Luzon Film
Festival, and Teddy Co of Cinema Rehiyon Film Festival. Interviews were held at
the festival’s offices, with the exemption of Bacolod (it happened in his office at
Black Maria Pictures in Makati) and Dulin (a Facebook messenger audio call was
held due to the location of the interviewee in Tuguegarao).
The interviews went good, the outline wasn’t followed at certain instances
to have a more natural flow of discussion between the researchers and their
participant. Sound recorders (phone, mic) were used for the documentation of
the entire interview.
At the end of the interview, the researchers brought a token of

appreciation for the participants.
32
CHAPTER IV
PRESENTATION, ANALYSIS AND INTERPRETATION
In this chapter, the results from the data gathering process will be
presented, analyzed, and interpreted.
Using a focus interview as the only method used for the fulfillment of the
three objectives, this method of data gathering looked into the participant’s
knowledge and experiences in organizing a film festival and its affect towards
other local film festival organizers’ future film festival plans. The researchers made
a focus interview by sending a formal letter in their e-mails for scheduling and
asking their availability for an interview. The researchers also sent the outline of
the interview containing the list of questions to know if the participants can
actually answer the questions, and also help them in giving the best response
they can possibly have. The roles that were apportioned to the researchers
during the interviews are the following: moderator (Matthew Escosia), note-
takers (Angeloux Ricaforte and Pauline Alberto), and observers (Angelica
Labrador and Dennis Limpiada).
For Objective 1, three participants from Cinemalaya Foundation/Cultural Center

of the Philippines were invited to participate and discuss their experiences for a
Focus Interview. The table below (Table 3.3) shows the demographic profile of
the participants (including details of the interview itself).
Name of Participant Position Date of Focus Venue of Focus

Interview Interview
Gemma Marco Division Chief Three of February 27, Cultural Center
Sales and Promotion 2018 of the
Division Marketing Philippines,
Pasay
Vicky Belarmino Film Festival Coordinator, March 1, 2018 Cultural Center
Cultural and Arts Officer of the
Philippines,
Pasay
Lino Matalang Officer, Arts Education, March 6, 2018 Cultural Center
Audience Development of the
Division Philippines,
Pasay
Table 3.3. Focus Interview Participants’ Demographic for Objective 1
33
For Objectives 2 and 3, four participants form different local film festival such as
ToFarm Film Festival, Cinema One Originals Film Festival, North Luzon Film Festival
and Cinema Rehiyon Film Festival were invited to participate for a Focus
Interview. The table below (Table 3.4) shows the demographic profile of the
participants.
Name of Position Date of Focus Venue of Focus

Participant Interview Interview
Sonny Guingab CSR Officer, ToFarm March 8, 2018 Universal
Film Festival Harvesters Inc.,
Quezon City
Shandii Bacolod Promotions, Cinema March 12, 2018 Black Maria
One Originals Film Pictures,
Festival Mandaluyong
Jerome Dulin Festival Director, North March 13, 2018 Audio call
Luzon Festival through
Facebook
messenger (due
to the location
of the
interviewee)
Teddy Co Chairman, NCCA March 16, 2018 NCCA (National
(National Commission Commission For
For the Culture and the Culture and
the Arts) Cinema the Arts) Lobby,
Committee/Cinema Manila
Rehiyon Film Festival
Table 3.4. Focus Interview Participants’ Demographic for Objectives 2 and 3
RESULTS
Cultural Center of the Philippines and Cinemalaya Foundation as an

institution is bureaucratic in terms of the division of the tasks of the entire team.
Since their jobs are specialized, only a part of them actually focuses on the
artistic side of their office. The artistic units of CCP-Cinemalaya Foundation
produce the contents for the public, and must follow a set-up of having the
artistic director approve the content(s) first before being disseminated. In order
for these to be approved, it must adhere to the mission and vision of the
34
institution because of the level of excellence they have to maintain. (See Table
4.1)
Table 4.1: How are your contents formed?

Participant Response
Gemma “The content, of course, it has to be approved by the artistic director. Kasi
Marco ang mga tawag namin dito sa mga artistic ano namin, units, ang CCP kasi
we have two set-ups eh: yung artistic office, which is headed by the vice
president, headed by yung ating artistic director, and the other one is the
support, yun naman yung sa vice president for admin and finance. So
kapag artistic, lahat, yung nagpapatakbo ng show, production and
exhibition… and it must follow the mission, vision of CCP. If there’s someone
who want to partner with our institution, the potential partner must also be
credible, because we have excellence to maintain. In terms of the content
produced, all of it came from our artistic units.”
(The content, of course, has to be approved by the artistic director. At CCP,

we call artistic departments as units, and there’s two set-ups: (1) the artistic
office, headed by the Vice President and Artistic Director, and the other
one is the (2) support, which is for the Vice President for Admin and Finance.
For everything arts, they are all in charge for the run of the show, production
and exhibition… and it must follow the mission, vision of CCP. If there’s
someone who want to partner with our institution, the potential partner must
also be credible, because we have excellence to maintain. In terms of the
content produced, all of it came from our artistic units.)
Table 4.1. How are your contents formed?
These contents depend on the assumed audience who may receive the
message. For instance, a content will be released on their own website, the
structure and angle of the materials themselves has to appeal to a higher class,
thus a much more formal take on their content.
However, when it has to be released on the institution’s social media

pages such as Facebook, then the language is geared towards the millennial
age bracket as more people from this group views here than other people. The
branding varies on the mediums and the audience, thus affecting the different
form of angles and writing structure that can be used. (Table 4.2)
35
Table 4.2: What are some messages you disseminate to the public?
Lino depende merun kaming institutional press release na napaka formal merun
Matalang kaming to the sort ng social media na parang millennial lang yung type ng
pakikipag usap so iba ibang forms ang ginagamit namin to keep depende
sa tinatarget naming mga tao. kunwari mga estudyante ang target namin
so dapat yung language nung estudyante yung ano iba yung branding
namin sa ccp kunwari sa ccp website nakalabas siya so sa ccp website
medyo formal ang branding pero pag mga diba merun kami mga
facebook facebook page yung ganun depende sa target naming
audiences n iniiba naming yung communication, same pa rin pero parang
may tunog millenial tunog parang hmm spoken word poetry ang dating
may mga ganun
(It depends, we have a formal institutional press release. We have in social
media in millennial type in communicating. So we have different forms to
keep that depends on our target audiences. For instance, our target
audiences are the students, the form of language should be for the
students. Our branding is different from the CCP. The CCP website has more
formal content than our Facebook page, it depends of the kind of target
audiences so we change our communication but has a sound of millennial
just like spoken word poetry type.)
Table 4.2 What are some messages you disseminate to the public?
Aside from social media, which is the medium CCP and Cinemalaya
Foundation like to utilize more because of its strong reach, other means are
established to have the maximum potential reach they want to achieve. Media
partnerships with print publications and other platforms such as radio and online
are being managed to strengthen their relationship with media and also
maximize its audience count with their own messages. The entire grounds of the
CCP Complex at Pasay is also another way to boost their reach, in which
designated billboards around are built by themselves. These methods are
efficient for the institution to save money in purchasing air-times or spaces from
the aforementioned mediums/ platforms. (Table 4.3)
36
Table 4.3: What are the mediums used when releasing promotional materials.
Gemma “Well ngayon, ang malakas is social media. Tapos of course, may mga
Marco partners din kami. Yung mga radio stations, so we do radio plugs through the
help of our P.R… Kasi we don't have budget to pay, kaya ang ginagawa
namin ng marketing, we partner with media, and in exchange, binibigyan
namin sila ng tickets tapos in-a-air namin nila yung mga yan. Meron kaming
ganyan, media partners ang tawag namin. Tapos yan, may mga online
partners na rin kami na tinutulungan rin tayo na mag-promote online. Plus, of
course, yung ibang mga prints na nalalabas namin ng one-fourth, one-half
page ad, puro partnership, kasi wala naman kaming budget to pay for that.
And then, yung aming P.R., they do press releases, tapos dun sa editors na
contact nila, ayun, pinapadala para ma-publicize. Plus, we use, of course,
yung nabanggit ko sa inyong mga pwede naming paglagyan. Yung mga
billboards na within the CCP Complex na kami ang nag-hahandle….”
(Today, social media is strong. And of course, we have partners from radio.
We have radio plugs at radio partners for plugs with the help of our P.R… We
don’t have budget to pay for everything, so that’s why we have media
partners. In exchange of air-time, we give them free tickets for a show… Then
there are our online partners for online publicity, the press releases from our
P.R. that we sent to editors, and billboards within the CCP Complex which we
handle.)
Table 4.3. What is Cinemalaya/ CCP’s agenda that is being adapted at your own messages / work
practices?
These being said, the participants from Cinemalaya Foundation-CCP

noted that all of the contents they released are traced and structured under the
institution’s mandate of having to adhere it to idea of “artistic excellence” as
stated on their objectives. This is not only followed on the content they published
on their websites and other web pages, it must apply to all things they create
and perform. The term “artistic excellence” always comes out, including the
nature of their own work in their professional space. They managed to adapt it
not only on their messages, but also on their own actions as well. This agenda is
being incorporated on various conditions, and thus becoming the “emphasis” of
the institution. (Table 4.4)
37
Table 4.4: What is Cinemalaya/ CCP’s agenda that is being adapted at your own
messages/ work practices?
Lino Artistic excellence. Lagi lalabas yan. Kasi pag polido yung gawa. Pag-
Matalang artistically, kailangan aesthetic creativity. Nandiyan yan. Susunod na yung
ano eh, nurturing audiences. Susunod na yung appreciation with the
Filipino, yung ganun. Yung identity, susunod na yan. So dapat, excellent.
Laging strive for excellence.
Translation:
(Artistic excellence. It's coming out. That’s when the work was polished
artistically, you need aesthetic creativity. That's it. Next are you, nurturing
audiences. Next is appreciation with the Filipino, that's it. That identity, that's
next. So it should be excellent. Always strive for excellence)
Vicky “yah everything naman has to…. artistic excellence, promotion of the arts
Berlarmino ganyan ganyan.. andun yun. So lahat yun, un din rin naman ang ano, dun
din naman din ang ugat ng pag adapt ng CCP ng Cinemalaya. It's
because of our mandate ng discovery promotions, support , ganyan
ganyan. May mandate kasi ang CCP sa ganyan. To develop and to support
arts and artist…. everything naman ay nagsisimula doon sa mission vision na
yun”
(Everything has to conform to the artistic excellence, promotion of the arts.

Our mandate of discovery promotions, support, the CCP mandated it; to
develop and to support the artist… everything has started with the mission
and vision. )
Table 4.4. What is Cinemalaya/ CCP’s agenda that is being adapted at your own messages / work
practices?
In line with “artistic excellence” is artistic freedom, or the non-compliance

of an institution to regulatory means of content formation and dissemination.
(Figure 4.5) There are no actual restrictions in what they do since they want to
maximize their content to the largest audience as possible. But they have to
know their audience first before they actually proceed. There must be some type
of assurance that what the audience will actually get from them is already
tested before actually developing it into something larger. However, limiting
yourself to a specific group will also limit the opportunities it might have become.
Vicky Belarmino stressed that they have to think to themselves the possibilities for
a worldwide distribution of their content. Limiting to a specific intention will
possibly ruin the largest reach it could reach.
38
Table 4.5: What are some ways your institution used to regulate and satisfy audience
needs and expectations?
Lino “…we regulate because sinasabi naming PG to o kaya... but because we
Matalang exercise artistic freedom, we exercise freedom of information, so lahat
pwede. Lahat accessible, dapat ganun. Dapat lahat kaya nila, dapat ma-
educate sila. Dapat ganun lagi. At saka alam mo who's your audience. Yun
muna dapat eh. Tapos ah, lagi kami, pag-gagawa kami ng program, dapat
inisip muna namin, ito lang muna ang kaya. Pasay City muna tayo. Di muna
kami lalabas. Ito lang muna. Tapos dedevelop namin yun. Tapos pag nakita
namin na kaya, oh Malate area naman tayo. Siguro nagsimula naman ang
Cinemalaya na CCP lang muna siya eh. Tapos, kunan na natin ang Ayala.
Kunan na natin ang ano. So ganun kami. Para i-test muna namin. Is it
working. Manageable ba? Parang ganun. Parang Pasinaya. Pasinaya nag-
simula lang naman yan ng isang araw lang eh. Ngayong two years na kami,
dalawang araw na. So may workshop kami, may palabas. So, ganun namin
ginagawa yung project. So binubuo muna namin kung kaya. Kung
manageable. Mahirap kasi yung bigla kang may pangarap ka ka-agad
tapos di naman malinis yung pagkagawa.
(Regulate? I felt we do not have to ... We regulate because we say it’s PG,
so ... but because we exercise artistic freedom, we exercise freedom of
information, so everything is possible. Everything should be accessible. They
should all be able to educate them.
You know who's your audience. That’s the first thing you need to know. Then,
whenever we're going to make a program, we must set boundaries that this
must come first because it’s feasible. Like, Pasay City first. We cannot go out.
This first. Then we’re going to develop . Then if we see that it’s possible we
can moved to Malate area. We start Cinemalaya at CCP, then, take Ayala.
Let's get what we can do. To test it if it is working. Manageable? Like
“Pasinaya”. “Pasinaya started in just one day. But now we’re two years old,
two days already. So there's our workshop, there's a show. So, we're doing
the project. So we first make up for it. If manageable. It's hard to say that you
suddenly dreamed afterwards and did not polish it. )
Vicky “Ay hindi naman. Ang ano naman diyan, it has to be always general
Belarmino patronage for the general public. Di ka naman pwedeng mag-create ng
content at films for that matter. Tapos naka-specific ka lang, ay ganito ang
gusto ko, sayang naman yung opportunity di ba, specially the films being
shown are showing in commercial cinemas, and especially ang intention
naman is to be shown at different platforms out there. Dapat ang ano mo
parati is worldwide distribution, hindi selective ano ano ko.”
(Not really. It [messages] has to be appealing for the general public. You
cannot create messages and films for that matter. It has to be specific,
because the opportunity will be limited, especially since the films being
39
shown are showing in commercial cinemas. Our intention is that the

messages must be shown at different platforms for worldwide distribution, so
you should not be selective in terms of the content you create.)
Table 4.5. What are some ways your institution used to regulate and satisfy audience needs and
expectations?
However, audience interest is also important when deciding what type of

content do the institution eventually creates. Audience knew that what
Cinemalaya always makes are of quality. That’s the integrity the institution wants
to maintain and perhaps strengthen. When it comes to the films they produced,
which they provided fund grants to in order to be made, there are instances
wherein they control them in order to be assured more that what they will
receive is something that the audience will actually appreciated. Lino Matalang
shared an instance where they cannot control the content they produced,
specifically with the 2017 film “Ang Guro Kong Di Marunong Magbasa,” which
eventually failed to satisfy the audience in terms of quality. (Table 4.6)
Table 4.6: What are things being kept in mind when creating content for the audience?
Gemma “Ako, I think it depends on the interest. Interest pa rin ng audience. Although
Marco we do cross-marketing… Kaya bago pala i-release ang communication,
mga collateral, identified na kung anong age ang tinatarget.”
(I think it depends on the interest of the audience. Although we do cross-

marketing… Before we release our collateral and other forms of
communication, we already identified the age we are targeting.)
Lino Dapat ano..yun kasi yung binebenta ng CCP, yung content which is yun dun
Matalang kami nagba-bank lagi na dapat artistically produce film, yun talaga yung
integrity ng .. pag alam naming ah... may mga lumabas na hindi maganda
diba? Yung ang guro, napanood niyo bayon? Meron naman talaga.. may
ganon naman talaga lumalabas na di mo minsan kontrolado.
(It should be.. we market the content which is we bank it that it should be
artistically produce film. That’s the Integrity. If we knew that.. there’s a film
that are not quality enough like “Ang guro” Did you watched the film?
Sometimes, there’s actually an instance like that we cannot control the
content.)
Table 4.6. What are things being kept in mind when creating content for the audience?
40
With regards to the institution’s relationship with their audience, it is

growing strong. Cinemalaya and CCP have built themselves a brand that their
audience always go back to. The audience account of Cinemalaya Philippine
Independent Film Festival has increased through time. In 2017, they managed to
garner 80,000 people who watched the films and participated in other
programs. This is a huge step from the 5,000 to 6,000 they had on their first year in
2005. More and more people are patronizing the festival. And with this, the
accessibility of their content must expand to other locations as well to satisfy the
demands of non-Manila residents. Recently, Cinemalaya Foundation and CCP
partnered with Ayala Malls to bring the film festival to select cinema branches of
the mall chain, as to not limit the reach to the Cultural Center of the Philippines
building. (Table 4.7)
Table 4.7: How is your relationship with your audience?

Gemma “So far naman okay naman. Hanggang nakikita namin sila dito regularly
Marco diba, they love us… we partnered with like Ayala Theaters no Greenbelt
ganyan pinapalabas siya para mas ma-extend yung ating venues and
maging accessible [for the Cinemalaya film festival]. Kase hindi natin nari-
reach yung mga parte sa Quezon City kaya dun na sila manonood sa
Trinoma. Yung mga Makati, dun na sila manonood sa Makati. And we
partnered din sa Alabang, diba yung mga malalayo dun na sila. So kaya
may mga ganon ding partnership para naman maging accessible to the
public.”
(So far, it’s okay as long as we still see them here… we partnered with Ayala
cinemas so that venues are extended and very accessible. Because we
didn’t reach the part in Quezon City that’s why they can watch in Trinoma.
The people in Makati can watch in Makati. And we partnered also in
Alabang. So that’s why we have those kind of partnership to become
accessible to the public.)
Lino Minsan nagpapa-ano kami. Dahil siguro, under-staffed, di na namin
Matalang natututukan unless friend nila ako sa Facebook. Ganun. Pag-hi sir, hi hello.
Ganyan, kamusta po? Yun lang. Pero minsan kasi, ang ginagawa ci-no-
count lang natin yung audience. Pinapapirma lang natin sila sa registration
form, kinukuha pa natin yung address, di na namin nababalikan. Feeling ko
yun rin yung sa point namin na dapat balikan. Dapat may constant
communication. Di dahil hinihintay namin yung ikaw ang lalapit samin na
"Sir, ako yung nanoood dati nung ano." So dapat two-way din. Feeling ko
41
yun yung kulang samin. Di namin nababalikan, dahil siguro understaffed din
kami.
(Sometimes maybe because were under-staffed we weren’t able to
communicate more with our people/audiences unless we are friends in
Facebook. That's how it is. But sometimes, we only count the audience. We
just let them sign in the registration form, we get the address, yet, we don’t
come back to them. I also felt that in our point of view. There should be
constant communication. Because we're waiting for you to come soon, "Sir,
I just watched the film." So it must be two-way also. I felt that is what we
lacked. We did not come back to them, because maybe we were also
understaffed)
Vicky “… yung number of audiences na naggegenerate ang festival every year
Belarmino so from the first festival na nasa mga five thousand lang ata kami nun o six
thousand to last year which is about what eighty five thousand ata so diyan
mo makikita na na nag iimprove… nag iimprove. more and more of people
are really patronizing the festival.”
(It’s the number of audiences that generate the festival every year. Our first
year had five or six thousand audience count, while 2017, we had eighty
five thousand, so you can see it from this data that it’s improving... More and
more people are really patronizing the festival.)
Table 4.7: How is your relationship with your audience?
Programming multiple types of content is also being performed in order

for CCP and Cinemalaya Foundation to strengthen their relationship with their
audience. Going to back to artistic freedom under their mandate of “artistic
excellence,” the institution must not only showcase the usual things they usually
offer. Variety and diversity of content is made through programming, and it is
important as to not limit the institution with a specific bracket of what they should
only do on their content. Introducing new forms of content are made through
newsletters, inviting them to purchase passes for another show. Cinemalaya
Foundation-CCP always managed to have personal touches with their audience
to maintain the trust and relationship. (Table 4.8)
42
Table 4.8: How do you maintain or strengthen your relationship with your audience
throughout your content or materials?
Gemma “Well, uhhm, we ano din, actually for us to build long partnership, one, we
Marco offer them the subscription, which every year, we offer to them. Alam na
nila, yung long term. Like, Cinemalaya for example, we offer them festival
passes. Nasa database na namin yan na lahat ng bumili ng festival pass,
they are our festival passholders… May mga iba, kailangan personal touch
talaga. Kaya when they call you, minsan nag-re-request ng ganito, kahit
kanware Cinemalaya, kahit hindi Cinemalaya yung request, ibang show,
we have to attend to them para... kailangan personalized eh. Ikaw, di mo
ba gusto yun? Ay, ang bait bait naman. Yung ganun, to maintain the
relationship.”
(For us to build long partnerships, one, we offer them the subscription, which
every year, we offer to them For Cinemalaya, we offer them festival passes.
It’s on our database that those who buy festival passes are regular festival
pass holders… All we need is personal touch to maintain our relationship
with the audience.)
Lino we offer different, kunwari ang ginagawa namin film enthusiast lang siya
Matalang diba so we, parang for diversity we offer parang o baka gusto mo manood
ng ballet wont you try parang gusto niyo ng form of kultura merun kaming
spoken word poetry merun kaming workshops so yun parang to steer them
then after that naging parang ano sila audience members na din namin sila
naging parang subscriber na namin sila yung ganun, ganun yung ano
namin.
(We offer different, like for example a film enthusiast, for diversity, we offer
like “ maybe you want to watch a ballet or , won’t you try. Like do you want
a form of culture, we have spoken word poetry. We also have workshops,
to steer them then after that they became like audience members and
became subscribers, like that. Those were the things that we do. )
Vicky “Through the other programs of CCP… We try to engage them in different
Belarmino kinds of programming para mag-stick sila sa CCP for that matter. We keep
on creating programs para lagi silang excited pag pumunta dito. It couldn't
be all about independent films… “
(Through the other programs of CCP... We try to engage them in different

kinds of programming so they will stick to CCP. We keep on creating
programs so there is something to look forward to… It couldn’t be all about
independent films…)
Table 4.8. How do you maintain or strengthen your relationship with your audience throughout your
content or materials?
43
In terms of audience’s misconception with the content Cinemalaya and

CCP released, talk backs after the program are usually being held. This is an
important and interactive way for the institution to connect with their audience.
This also allows the institution to fully explain probable queries from their patrons,
and also hear comments from them. Gemma Marco mentioned in Table 4.8 that
personal touches are important in order to maintain the relationship with their
audience, and she added here that talk backs have become a staple in their
production, as to avoid confusion from the latter after viewing the content.
(Table 4.9)
Table 4.9: How do you handle misconception with your audience?

Gemma “Oh well sometimes kase minsan ano na yan ng production namin eh ah
Marco kapagka nandyan well kung kaya namin iexplain ie-explain namin. Ngayon
kung talagang naguguluhan kung minsan nagkakaroon kami ng talk back
yung ganon yung para na natatanong kung ano yung mga gustong
malaman. Kapag alam namin na minsan medyo yung mabigat siya or
merong diba alam mong may mga katanungan, naglalagay kami ng
talkback after the show.”
(Oh well it is part of our production. Well if we can explain, it we explain it.
But if they really don’t understand, sometimes we do have a talkback so
they can ask what they want to know. Sometimes if we knew that it is
somewhat heavy we do have a talkback after the show.)
Table 4.9: How do you handle misconception with your audience?
The emphasis in message system and patron relationship of Cinemalaya

Foundation – CCP has been fairly received by participants who are part of the
organizing team of other local film festivals. The participants mentioned that
there is something lacking with Cinemalaya, and these are the shortness of
support for the filmmakers themselves and getting their objectives straight.
44
Although the institution has been continuously giving grants for production of
new films, the process to get there is long. Shandii Bacolod is looking from the
perspective of a filmmaker and a film festival organizer here, and this is reflected
on the politics he mentioned that arise after the festival period. Rights are only
given to the filmmakers themselves not only after three to five years. On an
economic standpoint, a film can possibly lose its demand and market value after
the said period.
With regards to Jerome Dulin’s response on how he receive the emphasis

in message system and patron relationship, Cinemalaya’s way of promoting the
festival, through “pre-screen” or conducting campus tours to inform the students
their own upcoming films and other announcements, should not be driven to the
marketing angle. The educational angle is the most important when you’re trying
to inform people, as the results can be more than just simply acknowledgement
of the data being sent. There must be transparency on the institution’s side that
the objectives should and must be set clear to further enhance the fulfilment of
the objectives themselves. (Table 4.10)
Table 4.10: How do you receive the findings [emphasis in message system and patron
relationship about Cinemalaya Foundation?
Shandii “…it’s only QCinema who gives 100 percent rights to the filmmakers.
Bacolod Cinemalaya, there's a timeline bago mapunta sa'yo. Ang problem kasi with
Cinemalaya, in-e-exhaust nila eh. Yung first three, five years, sa kanila. By
the time mapunta sa'yo. Sino manonood? So, but ako, I agree. Tama yung
sinabi nila na maayos sila mag-alaga ng filmmakers. Gusto ko yung sinabi
mo. That's a valid finding, but we also have to, not sure if this would sound
shady pero, I think we also have to address the elephant in the room... kasi
it's not just taking care sa sinasabi mo na meron silang updates or whatever,
it's taking care of a filmmaker by giving them a grant na kaya nila, na
totoong gumawa ng pelikula. And I wanna comment na parang pansin mo
rin minsan yung quality ng Cinemalaya”
The problem with Cinemalaya is that they exhaust them. The first three to
five years, they own it [your film]. By the time, this goes back to you, who will
watch it? Though I agree that they handle their filmmakers well. That’s a
valid finding, but we also have to address the elephant in the room… it’s
45
not just taking care of giving the [audience] updates, it’s taking care of a
filmmaker by giving them grant that they can handle in the production of
their film.)
Jerome “Yung pre-screening parang dun ako nagtataka kasi diba parang talaga
Dulin for marketing purpose nun eh pano pag hindi talaga diba pano pag hindi
okay isa pa yun (laughing) pero kung matalinong panonood lang talaga
yung ano as much as possible tawag dito merun talaga from the regions na
mag iidentify ng films na makakatulong sa pagpapakilala ng cinema ng
ibang lugar.
More of ano sana e more of ahh educational.
Or pang inform sana yung ano yung objective kesa yung ika-count mo na
yung icount na agad yung ano para tawag dito sabay-sabay tayong
umangat as anong tawag dito as viewer na din siguro, as viewers...”
(I got confused with pre-screening coz it’s really for marketing purpose. If it
is watched wisely, as much as possible there would be really from regions
that would identify the films that would help the cinema to be known in
different places. It should be more on educational or it should inform the
objective instead of counting it immediately, it should count simultaneously
for us to increase together as viewers.)
Table 4.10: How do you receive the findings [emphasis in message system and patron relationship
about Cinemalaya Foundation?
These comments aside, Bacolod noted that Cinemalaya’s relationship

with its audience has been undeniably strong, as suggested by Table 4.7.
Cinemalaya as a name is a brand in itself. One of the things that separate
Cinemalaya from other local film festivals is the fact that it knows the essence of
having a community. The “festival atmosphere” of having to gather people
under one place and freely communicate with one another is one of the
greatest strengths of the film festival, and it is also one of the many reasons why
people seem to regularly attend annually. This “festival atmosphere” is fueled
and enclosed by a venue, for Cinemalaya’s case, the Cultural Center of the
Philippines. CCP as a venue is an advantage for Cinemalaya, drawing most of
the larger share of sales compared to the mall chains also showing the festival
films. (Table 4.11)
46
Table 4.11: Comments on Cinemalaya’s relationship with their audience.

Shandii “Cinemalaya is very friendly with their audiences. Why? Because, pansinin
Bacolod niyo yung isang study, mas malaki yung sales nila lagi sa CCP. Despite na
may Greenbelt sila. Because I think, the essence of having a community is
important. Cinemalaya does that… there's a certain entitlement na I think
what Cinemalaya a brand. Kasi they were able to make their festival a
brand. That's very important. Dun sila successful talaga.”
(Cinemalaya is very friendly with their audiences. Why? Because their
largest sales come from CCP, as supposed to their mall screenings like
Greenbelt. Cinemalaya know to themselves the essence of having a
community. There’s a certain entitlement that makes Cinemalaya a brand.
That’s very important. They were able to execute these successfully.)
Table 4.11: Comments on Cinemalaya’s relationship with their audience.
The participants from the other local film festivals added that it is actually
Cinemalaya that started the independent film festival trend in the Philippines. In
the early ‘2000s, Philippine cinema is in near collapse, because of poor financial
revenues at the box office. It is Cinemalaya that reinvigorated Philippine cinema
to where it is now, by making independent films more accessible to the market.
Since its formation in July 2005, the film festival sees other institutions to follow suit
and build their own independent film festivals. Festivals such as QCinema
International Film Festival (Quezon City government), Cinema One Originals
(Cinema One), Pista ng Pelikulang Pilipino (Film Development Council of the
Philippines) and Cinema Rehiyon (NCCA) were built with the same mission of
Cinemalaya of promoting and nurturing the Philippine film industry.
Cinemalaya has imposed themselves an identity of being strict at their

adherence to artistic excellence. Deliberations of the films they produced took
two years before it can be furnished. Bacolod added that the festival always
surprises the audience with one or two great films every year. There is always
something new to discover in terms of its programmed films, which is what lacks
in other local film festivals. (Table 4.12)
47
Table 4.12: Do you agree that an institution must or an arts institution must adhere to
artistic excellence?
Teddy Co “Yes, yes, in fact Cinemalaya started this whole ano whole festival industry
kung walang Cinemalaya wala yung mga... well I'm sure eventually come
by itself naman ano like iba't ibang grupo. pero Cinemalaya kasi
inumpisahan nila sumunod ang CinemaOne and then later on for some
more years pumasok ang QCinema,CineFilipino, SinagMaynila, Pista ng
Pelikulang Pilipino, CinemaRehiyon so pero di mo alam na bago mag
Cinemalaya merun na tayong mga regional film festivals mas maaga pa
yung mga regional festivals kesa yung sa Cinemalaya di naman matagal
na matagal ahh pero mas nauna sila.”
(Yes, yes, in fact Cinemalaya started this whole, whole festival industry
without Cinemalaya there is now. Well, I’m sure eventually come by itself
like different groups. Cinemalaya was the first and followed by Cinema One
and the later on for some more years, QCinema,CineFilipino, SinagMaynila,
Pista ng Pelikulang Pilipino, CinemaRehiyon entered. If you are not informed,
before Cinemalaya was established there’s already established regional
film festivals which was earlier than Cinemalaya. Not that long but they’re
the first one.)
“I have to agree on that. I think so. Mas mahirap kasi yung deliberation sa
Shandii Cinemalaya eh. And pansin ko to ah sa Cinema One. I think for the past
Bacolod three years, Cinema One has been doing the same line-up. Walang bago.
But Cinemalaya, despite of them na natatabunan na sila. Every year, they
would still not really find a way, biglang may pasabog… I think that the
artistic excellence, from time to time, may isa talaga or dalawa na
nababaliw ang Pilipinas. Meron talaga silang nadidiscover. Hindi katulad sa
ibang festival na, it's the same.”
(I have to agree on that. I think so. The deliberation of films at Cinemalaya
is harder… Cinema One has been doing the same line-up for the past three
years. Nothing new. But with Cinemalaya, they release something worth
discussing every year. From time to time, there will always be one or two
Cinemalaya film that everyone discover and fell in love, unlike other
festivals.)
Table 4.12: Do you agree that an institution must or an arts institution must adhere to artistic
excellence?
After being asked how do they receive the emphasis in message system
and patron relationship of CInemalaya, participants from other local film festivals
noted how they were affected by this in terms of the institutional decisions they
will eventually have for their own. Cinemalaya has a large support group
headed by Laurice Guillen. Guillen has served as the head of Cinemalaya
Foundation for years, and is now going to become a consultant for ToFarm Film
48
Festival. Sonny Guingab of the latter festival said the implications of having
someone from a more established film festival to consult for them. This merge is
evidence that there is no competition anymore, as Shandii Bacolod and Teddy
Co stressed in Table 4.14, which stated that all film festivals in the Philippines are
helping one another. In fact, part of Cinemalaya’s programmed films are
content from other local film festivals. With the run of “Festival’s Best,” a highlight
of films coming from other festivals during the festival period of Cinemalaya, a
large support can be seen. The entire network of film festivals in the Philippines
are complementary in terms of they are beneficial to one another. Cinemalaya
provides good data and films to be exhibited to another film festival, and so as
the other film festivals to Cinemalaya. As one of the selection juries for short films
at Cinemalaya, Teddy Co revealed that he endorses films from Cinema Rehiyon
to Cinemalaya, and Cinemalaya to Cinema Rehiyon. It’s a two-way process, he
said.
Table 4.14: How does Cinemalaya affect your Institutional decisions?

Sonny They provide a good data para samin para galingan namin yung festival
Guingab namin. High-end sila eh ang laki ng mga nirerelease nilang pelikula.They
have a very big support group and headed by Laurice Guillen tama? So
right now masaya kami consultant namin siya since she will share actually
some tips para mapagaling pa namin dito.”
(They provide a good data for us to improve our festival. Cinemalaya is a
high-end festival, they released big films. They have a very big support group
and headed by Laurice Guillen right? So right now, we are happy because
she’s our consultant since she will share actually some tips for us to improve.
)
Shandii “… nung nagsisimula yung lahat. May competition eh. Mararamdaman mo,
Bacolod nagpapabonggahan. Actually, Cinemalaya pala shows films around the
festival. They have a section, a program sa yearly nila na tinatawag na
Festival's Best. Coming from all festivals. Ngayon, parang iba na. Wala na
talagang competition. Everyone's friendly na talaga.”
(When every festival is just starting. There’s a competition you can observe.
Actually, Cinemalaya has a section that features films from other festivals
entitled Festival’s Best. Coming from all festivals, Now, it’s different. There is
no competition. Everyone’s being friendly. )
49
Jerome “Meron ako mga nakuha sayo na pwedeng gamitin lalo na yung ano pre-
Dulin screen na yan (laughing) so yun siguro yun yung titignan natin in terms para
sa marketing kung ico...kung ano tawag dito ia-apply siya saamin.”
(I’ve got something that we can use especially in pre-screen [holding

programs ahead of the festival run in establishments such as school], we’ll
see if we can apply it in marketing.)
Teddy Co “Aahh kasi yung ginagawa naman is compliment pa rin to all the festivals e
kasi wala naman kaming competitions we don't know who'll be the best
picture, best director naman kasi samin exhibition lang lahat and in fact we
are also dependent on the bigger festivals especially Cinemalaya,
CinemaOne because they lend us they also produce regional films which
we manage to borrow and show in our festival. at the same time we also
discover some regional short films na later on pinapalabas naman nila.”
(In fact the action is still compliment to all festivals. Because we don’t have
competitions, we don’t know who'll be the best picture, best director.
Because for us everything is exhibition in fact we are also dependent on the
bigger festivals especially Cinemalaya, CinemaOne because they also
produce regional films which we manage to borrow and show in our festival.
at the same time we also discover some regional short films that later on
they show it. )
“Well, affect is not the right word, but affect is also correct no. Eh
compliments kasi vice versa yan eh di naman ibig sabihin yung isa ang
cause ng nito o vice versa. Kasi meron akong nakikita minsan na nauuna sa
Cinemalaya, nakita ko oy pwede pang cinema rehiyon ito. Pinupull ko.
Minsan meron naman akong nauna naman sa Cinema Rehiyon nakita ko,
tapos nirekomenda ko sa Cinemalaya ganon. So two way straight yun eh
see? Wala naman exclusive eh. Bigayan actually give and take.”
(Well, affect is not the right word but affect is also correct. It’s a compliment
because it is vice versa. It does not mean that one is the cause of it or vice
versa. Because sometimes, I have seen some films in Cinemalaya that is
qualified to Cinema Rehiyon. And sometimes I have seen some films in
Cinema Rehiyon, then I recommend it to Cinemalaya. So it’s a two way
straight. There’s no exclusive, it’s actually give and take.)
Table 4.14. How does Cinemalaya affect your Institutional decisions?
The other local film festivals noted that they want to adapt various
aspects of the festival. They mentioned that it is the festival’s popularity among
the people. Cinemalaya has established themselves a following that other local
film festivals still does not have. For one, the centralized venue for the festival
period that is the Cultural Center of the Philippines, and as another mean
50
Bacolod wants for his own festival, how the films were chosen. There is something
different in the way Cinemalaya chose their films. With careful and strict
adherence to “artistic excellence,” the festival managed to incorporate this
mandate on how they program their films. Table 4.12 suggested that
Cinemalaya always offer something that audiences love every year. The big
budget of Cinemalaya in terms of their publicity is something that Teddy Co
wants for Cinema Rehiyon, his festival.
Going back to Table 4.3, Cinemalaya Foundation-CCP does not actually

have a big budget because they utilize free publicities in the mode of media
partnerships, and personal touches with their own patrons. Higher reliance
towards social media is also Cinemalaya does to publicize their content.
Jerome Dulin of North Luzon film festival wants to adapt how Cinemalaya
Foundation-CCP markets their content. As someone from a film festival that is
new to the market, Dulin mentioned that Cinemalaya serves as a testing ground
for them to know what type of films do the audience actually want. The data
they will get here will be advantageous in determining what types of content do
they need to program in future editions of their own film festival. (Table 4.14)
Table 4.15: What aspect of Cinemalaya do you want to adapt on your festival?
Sonny “Yung kanilang popularity among the people… [On the question:
Guingab How would you execute that?] Through good films. Bagong mga
judges. Bagong criteria. Bagong rules. I-involve na namin yung
kabataan sa bagong criteria namin, and dadagdagan namin
yung pelikula other than 6, gagawin naming 7. We have more
creative people right now kasi dati, isa lang ang director, now,
dalawa na. Ayun. Meron na kaming consultant from Cinemalaya.
So definitely, yun ang springboard namin para marating yun. Kasi
guided na kami ng mas maganda ngayon compared last time.”
(Their popularity among the people… [On the question: How would
you execute that?] Through good films. New judges, new criteria
and rules. We will incorporate more involvement of the youth on our
51
new criteria, and make our movies 7, than 6. We have 2 creative

people right now, compared before which is only 1. Then we have
a consultant from Cinemalaya. That’s our springboard in order to
achieve that because it’s more guided than the last time.)
Shandii “To be honest, feeling ko the way they choose their lineup. Mas iba
Bacolod pa rin ang Cinemalaya. Mas exciting pa din”
(To be honest, the way they choose their lineup. It’s different when
it comes in Cinemalaya, it’s exciting.)
Jerome Ibig sabihin akin to noh , siguro ang makakatulong sa amin talaga
Dulin diyan yung ano ba mas agaran ay hindi mas maiging
pagmamarket pa ng nga ng pelikula in terms sa marketing ng films
kasi saamin ano lang e kung sino lang mga kakilala namin yun lang
yung kino-connect yung mga films for examples oy may festival sa
FDCP I mean may free screening sa FDCP ganito yung tema so
kung ano yung mga rate namin yun yung ibibigay namin sakanila
tapos magugulat kami ay nakapasok na pala yung ay ibang film
festival kasi tinulungan ng FDCP”
(I think it would really help us in thoroughly marketing of the films,

because to us, we just basing to those people we know, they are
just the one who connects their films. For example, there is a free
screening in FDCP this is the theme, so we’ll rate the films and we’re
surprise coz some of the film festivals were already part of it
because FDCP helps them.)
Teddy Co “Maybe higher profile more of publicity because they have budget
unlike us we only have small amount of budget our budget this year
same as when we started in 2011. Unless you would like to help us,
free services.”
Table 4.15. What aspect of Cinemalaya do you want to adapt on your festival?
52
INTERPRETATION AND ANALYSIS OF THE STUDY RESULTS
The results presented in the initial part of this chapter were taken into
consideration, based on the problem addressed by the research, “How does the
emphasis in message system and patron relationship of Cinemalaya Foundation-
Cultural Center of the Philippines affect local film festival organizers in terms of
their future film festival plans?”
Pursuing the first objective

One of the objectives of this study is to identify the “emphasis in message
system” and “patron relationship” of Cinemalaya Philippine Independent Film
Festival. The researchers assumed that the “the careful use of emphasis in
message system enables the Cinemalaya Philippine Independent Film Festival
organizing committee to strengthen their relationship to their audience.” This is
true when compared with the actual data gathered.
Cinemalaya Foundation and CCP’s strict adherence and following to the

concept of “artistic excellence” as emphasis is what drives their audience to go
back. The institution develops a long process of producing content. Their
deliberation process of selecting screenplays took at least two years before
accepting it for an upcoming edition of their festival.
The term “artistic excellence” is what stands out during the interviews. It
also happens to be part of CCP and Cinemalaya’s mission and vision that the
content they produced must always adhere to. The researchers found out that
this term is heavily influential in their creative decisions inside the institution, as
well as their work operations.
Although audience interest is prioritized in creating content released for

the public, it must be marketed as an artistically produced material. These
materials are disseminated to different mediums, one of which includes the
billboards installed within the CCP Complex. Because of its bureaucratic set-up,
as Lino Matalang said, contents must be approved by the institution’s artistic
director before the release. It was also revealed that in order for this content to
53
be approved, there must be adherence to the level of excellence they

maintain.
The institution maintained or strengthened their relationships to their

audiences through content or materials by addressing the misconceptions of
content through after-show talkbacks.
The researchers give subscriptions and different kind of programming to

their patrons regularly, to promote other projects of the institution aside from film
festival. A database was created on people who bought program passes from
them.
The participants communicate to their audiences aside from e-mails and

letters is through traditional methods that are still being incorporated to
communicate with their audience. These traditional methods include giving the
audience hard copy letters that were delivered.
The participants’ relationship with their audience has been good. The
audience count is increasing over time, due to the program venues branching
outside CCP to make it accessible for non-Manila residents. It was addressed
that the institution is understaffed, resulting to lack of communication to all
audience post-run of the program(s). Lino Matalang of the Arts Education
department suggested that there must be constant communication between
the institution and the audience. Gemma Marco added that personal touches
were still being made despite the understaffed condition of the institution.
The participants said that in emphasis in message system, the content

released by the institution to the public are specialized to cater to a specific
target audience, depending on the nature of the content itself. The same thing
goes to the promotional materials of the said content(s), as its designs were
traced to the content of the program/ project themselves. Contents were not
restricted or regulated because the institution exercises artistic freedom. Vicky
Belarmino of the Cultural and Arts Division said that their messages has to cater
on a wide scale of audience, as it will be shown at different platforms for
worldwide distribution.
54
The participants keep in mind when creating content for their audiences is
the interest of the audience when releasing it for the public, although it must be
able to be marketed as an artistically produced content, because that’s the
integrity of the institution adheres.
The participants’ content being released has to be approved by the

institution’s artistic director, and has to adhere their mission and vision because
of the level of excellence they have to maintain. Contents produced came from
the artistic units.
The participants disseminate different kind of messages depending on the

nature of the program/project and their audience who would possibly consume
it. A formal message are made and maintained for the institution’s website.
Pursuing the second objective
For the second objective, the researchers want to know how other local
film festival organizers receive the emphasis in message system and patron
relationship of Cinemalaya. When conducting the focus interviews of the film
festival organizers in accordance to the second objective, the researches
assumed that the local film festival organizers found the emphasis in message
system and patron relationship of Cinemalaya to be effective due to the
continued support of the audience to patronize the festival.
The participants agree to the statements/ data from Cinemalaya.

However, two participants (Shandii Bacolod and Jerome Dulin) stressed that the
problem with Cinemalaya is the lack of support they have with the filmmakers.
The long deliberation process and the fund themselves are nothing but
exhaustive. The seed grant they give to the filmmakers are not enough to
actually fund the film. Bacolod compared the P3-million grant given by his film
festival Cinema One Originals to the P750,000 money given by Cinemalaya.
Dulin, however, suggested that Cinemalaya should lean more towards the
transparency of their objectives, in order to set and fulfill their intentions easily.
55
The participants agree that an institution must adhere to the “artistic

excellence” followed by Cinemalaya in their content and other institutional
processes. The festival industry started with Cinemalaya because of the
excellence they managed to maintain through the years, which draws in the
following they have with their audience. Also, Cinemalaya has always a new
line-up that became trending to its audiences that they managed to achieve
through programming which reflect the “artistic excellence” mandate.
Pursuing the third objective
For the final objective, the latter part of the data generation method
discoursed on how would these (emphasis in message and patron relationship in
process system) would affect the local film festival organizers in their future film
festival plans. In this manner, the researchers formulated an assumption that the
emphasis in message system and patron relationship in process system
happening within Cinemalaya have hugely affected local film festival organizers
in their conceptualization of future festival plans in terms of extending time-frame
of their own festivals, as well expanding their scope from their previous number of
participating venue and cinema chains. The festival organizers are also affected
by means of changing their programming and rules in terms of selecting “in-
competition films.
The researchers managed to find out that their assumption is partly

correct with the data they managed to gather. The “extending time-frame of
their own festivals, as well as expanding their scope of participating venues” part
was not actually a factor to affect other local film festival organizers. They,
however, sees Cinemalaya’s central festival venue, Cultural Center of the
Philippines, as something that they lacked in their own respective film festivals.
The participants wanted to incorporate Cinemalaya’s popularity and its

film line-up to be more exciting. However, Dulin of North Luzon Film Festival and
Co of Cinema Rehiyon mentioned that the marketing of the films and the
56
publicity of Cinemalaya is something that they want, for them to excel more as a
festival.
Guingab of ToFarm Film Festival’s institutional decisions was affected by

Cinemalaya in terms of providing a good data since they have Laurice Guillen
as their consultant. Bacolod compares that there was a competition before
when the festival is just starting. But today is different, there is no competition.
Dulin thinks that maybe they can do also the pre-screen (campus tour) as what
Cinemalaya did before the festival period run. Meanwhile, Co suggested that
they can have the films from Cinemalaya to be recommended, and vice-versa.
Co added that the relationship among film festivals in the Philippines, especially
since there’s not enough competition anymore,
Supporting the study framework
The researchers’ incorporation of a framework to support the data of their

study is important to measure the validity of their interpreted data as well as the
fulfillment of its objectives.
This study’s framework is modelled after the concepts given by George

Gerbner in his paper “An Institutional Approach to Mass Communications
Research,” specifically institution’s emphasis in message system and patron
relationship. It is important that these two is effective to actually affect other
institutions’ (labelled in this model as sub-institutions) endeavors.
After interpreting the data gathered, the researchers found out that the
emphasis in message system and patron relationship of Cinemalaya Foundation-
Cultural Center of the Philippines (CCP) was able to affect sub-institutions in
terms of their endeavors. The sub-institutions, in the form of the local film festival
organizers (used as participants for objectives two and three), sees Cinemalaya-
CCP as the first independent film festival in the Philippines in recent memory to
actually headline the emergence of other film festivals.
57
The popularity of Cinemalaya Philippine Independent Film Festival on

audiences, that they were able to form through the its publicity and marketing
campaigns, was something other local film festivals want to employ in their future
plans. Cinemalaya’s popularity among the crowd can be rooted to how the
institution retains a certain level of excellence in their content, allowing the
audience to continue patronizing their content due to the image and brand
they also have made on the process.
Cinemalaya’s strict adherence to their agenda “artistic excellence” is

validated by not just organizers/ staffs from the institution, but also to other local
film festival organizers as well.
Supporting the review of related literature
The researchers were able to compare their gathered data with what
they have researched from other sources, as another method to validate their
overall results.
Cinemalaya Foundation and Cultural Center of the Philippines are veered

towards the fact that all of their audience has to be of “artistic excellence.” The
nurturance of cinema isn’t the only focal point of the institution, as they conform
to other means of showcasing their agenda by having a clear variation in its
programs.
On the category of its festival, Cinemalaya Philippine Independent Film

Festival falls under the “audience festival” type. Mark Peranson wrote that “the
local audience in the city in which the festival is hosted, benefits from the
audience-orientated film festival, giving the festival greater cultural value.”
The CCP building enables Manila residents to have a central venue when
viewing Cinemalaya during its run, even with the participation of Ayala Mall
cinemas located in select cities at Metro Manila and other regions.
Cinemalaya’s selection of films, as Peranson stated is “more likely to be oriented
towards the audience taste.” Gemma Marco of CCP mentioned that the way
58
they create content are based on the interest of their audience. They must
satisfy audience expectations and needs.
The programming of the institution enables the fulfillment and cultivation

of its agenda. Vicky Belarmino of CCP pointed out they promote or introduce
works of similar field in events that are actually running. It has been always for its
target audiences and possibly new emerging ones, as Richard Fung said that this
is one of the main reasons why programming is a must for identity formation.
Cinemalaya Foundation-CCP also followed Omeda’s four key functions

for the management of audience relationship: (1) Acquire; (2) Unify; (3) Manage;
and (4) Activate. This is reflected on the newsletters Cinemalaya-CCP gives for its
festival pass subscribers, the interpretation of the audience and external
partners’ profiles, and the handling of audience to participate in other programs
offered inside the institution.
The “written festival” concept developed by Daniel Dayan in his study

“Looking for Sundance Film Festival: The Social Construction of a Film Festival” is
an essential promotional tool for Cinemalaya Philippine Independent Film
Festival. Dayan established “written festival” as a method used by a film festival
to publicize their content, using print materials to connect to audiences and
other local film festivals. Although Lino Matalang said the [Cinemalaya] festival
doesn’t need that much publicity because of the audience it was able to create
now, Gemma Marco of the Marketing Department said they still incorporate
print materials (for print, brochures, etc.) for other programs that need more
patrons. In fact, albeit the advent of e-mails becoming more essential to news
dissemination, Marco revealed that they send hard copy letters delivered to their
clients’/ patron’s premises aside from sending them e-mails.
In the case of the effectiveness of Cinemalaya’s message system, John

Lammers’ statement of a message becoming more “institutional the larger and
greater its reach and endurance” parallels to the institution’s dissemination of
messages outside the Cultural Center of the Philippines building. This is
performed, as our participants from Cinemalaya Foundation-CCP said, programs
59
in the form of school tours, out-of-town exhibitions, workshops, and more. Jerome
Dulin of North Luzon Film Festival said that these methods are very helpful in
actually sending the name across, outside the traditional methods of publicity
and other means.
60
CHAPTER V
FINDINGS, CONCLUSION, AND RECOMMENDATIONS
This chapter is based on the gathered, analyzed and interpreted data

that the researchers came up with the following findings presented in
accordance with the research questions formulated in statement of the
problem.
SUMMARY OF FINDINGS
In order to find out how the institutional processes of Cinemalaya affects

the message system (emphasis) and process system (patron relationship) of local
film festival organizers’ future festival plans, focus interview has been used as a
method to satisfy the objectives. 1) To identify the emphasis in message system
and patron relationship of Cinemalaya Philippine Independent Film Festival 2017
organizers. The qualitative results are as follows:
 The term “artistic excellence” is heavily used and incorporated in
Cinemalaya Foundation and CCP’s content and messages. The institution
makes it a point that they maintain a certain level of quality in order to
satisfy their audiences. The term is enclosed in the mission, vision of the
institution. This term is also the “emphasis” of their message system, given
how the people inside the institution embraces it on their message system
as well as their respective work processes.
 Cinemalaya and CCP’s relationship with their audience has been good,
to the point of having audience count to their programs increase over
time. Even with a centralized building that is the Cultural Center of the
Philippines, the institution still needs to branch out to other venues to cater
audience outside Manila and other regional spots. The institution also
manages to have personal touches with their audience, offering them
different kinds of programming in order to promote and nurture the artistic
61
freedom they followed in accordance to the “artistic excellence”

mandate.
 Cinemalaya and CCP are very formal in terms of settling misconceptions
and handling other forms of crisis management. The marketing/ P.R.
department gave out apology letters to them to address the issue
formally. The content being released has to be approved by the
institution’s artistic director, and has to adhere their mission and vision
because of the level of excellence they have to maintain.
 The data matched with the assumption set by the researchers, which
stated that the careful use of emphasis in message system enables the
Cinemalaya Philippine Independent Film Festival organizing committee to
strengthen their relationship to their audience.
While the objective 2) To know how the emphasis in message system and
patron relationship of Cinemalaya Philippine Independent Film Festival 2017
was received by local film festival organizers. The results are as follow:T
 The local film festival organizers agreed and react to the findings [of
Objective #1] as valid statements. Cinemalaya already made a name
and level of popularity for itself enough to validate the excellence they
managed to maintain.
 Cinemalaya’s programming as seen on their film and events line-up during
their festival run. One participant stressed that Cinemalaya produce one
or two films annually that are really good quality-wise.
 The datas gathered for objective 1 are valid, given the stand of
Cinemalaya now, which drew 80,000 viewers for its 2017 festival edition. The
popularity of Cinemalaya is proof of the effectiveness of their promotion,
content quality, and relationship with their audience.
 The assumption set by the researchers matched with the data they
gathered for objective 2, which assumed that “the local film festival
organizers found the emphasis in message system and patron relationship
of Cinemalaya Philippine Independent Film Festival 2017 organizers to be
62
effective due to the continued support of the audience to patronize the

festival.”
And for objective 3) To know how these (emphasis in message system and
patron relationship) would affect local film festival organizers in terms of their
future festival plans. Below are the following findings:
 Sonny Guingab ToFarm Film Festival wants to achieve the popularity of

Cinemalaya by producing good films and enlisting the right people and
filmmaker to help in improving their own festival while Shandii Bacolod from
CinemaOne Originals wants to incorporate the way Cinemalaya programs
their line-up of films. However, Jerome from North Luzon Film Festival and
Teddy from Cinema Rehiyon mentioned that the marketing of the films and
the publicity of Cinemalaya is something that they want, for them to be
more excellent as a festival.
 ToFarm Film Festival was affected by Cinemalaya in terms of providing a
good data since they have Laurice Guillen as their consultant. This will
enable Guillen to teach the former festival the learnings and experiences
she learned while serving as head of Cinemalaya Foundation.
 Bacolod revealed that there was no competition that can be seen now
among the film festivals in the Philippines. This was proven by Teddy Co,
who admitted that he recommend films from Cinemalaya to his own film
festival Cinema Rehiyon. He added that the relationship among film
festivals must be two-way and complementary. Cinemalaya was
beneficial in a way to other local film festivals as other local film festivals
were to Cinemalaya.
 ToFarm North Luzon Film Festival, and Cinema Rehiyon would like to adapt
the patron relationship of Cinemalaya for having large number of
audiences and supporters.
 It partly satisfies the assumption for objective #3, which stated that
“Cinemalaya Philippine Independent Film Festival 2017 affect organizers
63
of other local film festivals in terms of changing their procedures on

communicating with audience and other external forces, programming,
and emphasis/ organization of messages.”
The results satisfy the three (3) objectives of the study by conducting focus
interview to selected film festival representatives from different departments.
CONCLUSION
After conducting focus interviews from Cinemalaya Foundation, Cultural

Center of the Philippines, and other festival organizers from other local film
festivals, the researchers were able to conclude that Cinemalaya Foundation-
CCP’s agenda “artistic excellence” is used as an emphasis for their messages
and content.
The bureaucratic set-up of Cinemalaya, in which an artistic head
approves the content to be disseminated before release, enables the strict
following of their agenda conformed to their own content and messages, in
which artistic units (creators of messages inside the institution) must conform to
the mandate of CCP-Cinemalaya Foundation because of the excellence they
have to maintain through their content.
Adhering to this agenda, Cinemalaya and CCP employees managed to
adapt this on their operations inside the office. They are conformed to submit to
this, especially on the onset of creating something to be released for their
audiences. Cinemalaya has been classified as an “audience festival,” which as
Mark Peranson defined, is geared towards the intention of producing content
that must satisfy audience need and interest.
This is proven by the patron relationship of Cinemalaya-CCP that has
become strong through the years. Today, non-Metro Manila residents are now
being able to access films/ content from them through the expansion of
Cinemalaya Philippine Independent Film Festival’s list of venues. The festival’s
partnership with Ayala Mall cinemas enabled them to build a relationship and
64
following with those who are far from its central venue, the Cultural Center of the
Philippines.
Omeda’s four key functions for the management of audience
relationship: (1) Acquire; (2) Unify; (3) Manage; and (4) Activate can be
patterned on how Cinemalaya interact with their clients/ audience, and also
how they shape them, which can be seen as effective due to how more and
more number of audience, including existing one support the festival through
time.
The institution were able to affect local film festival organizers in terms of
the former institution’s success in identity-building or branding through marketing
and reaching out to audiences outside their initial reach.
Cinemalaya-CCP’s emphasis in message system, the artistic excellence
angle in their work, content and other forms of texts, was able to affect local film
festival organizers by the audience’s reliability and extreme support for them.
Their branding has become a staple to not just among audience, but also film
festival organizers, to the point of a local film festival like ToFarm to have
Cinemalaya head Laurice Guillen offer her time to become its creative
consultant. Artistic excellence also means variety in terms of programs to be
presented. The programming of Cinemalaya is diverse enough to an extent of
supporting other local film festivals by having Festival’s Best, a showcase of other
film festival’s award-winning works. Shandii Bacolod of Cinema One Originals
suggested that there’s not even a competition anymore, given how everyone
supported each other, but he and other local film festival organizers made it a
point to validate statements that Cinemalaya did in fact started the
independent film movement after the collapse of Philippine cinema in the early
‘2000s.
In terms of Cinemalaya-CCP’s patron relationship, local film festival
organizers raised that the institution made valid actions in terms of their reaching
out to audience. The local film festival organizers were affected by this in terms
of how the institution market their films to the public, to the point of having the
public in return have a sense of assurance that what they want to see is actually
good. The patron relationship of Cinemalaya-CCP goes back to the agenda
65
itself: the artistic excellence. An institution must conform to its agenda, as Jerome
Dulin of North Luzon Film Festival said, should be transparent with their objectives
in order to lay the intentions clearer to the audience.
The researchers managed to satisfy their assumptions for the three
objectives. However, the third objective partly agreed with the data we
managed to garner. But nevertheless, the researchers were able to know that
the local film festival organizers indeed were affected by the emphasis in
message system and patron relationship of CInemalaya.
The researchers were also able to justify the model they structured under
George Gerbner’s concepts of emphasis in message system and patron
relationship in his 1969 study entitled “An Institutional Approach to Mass
Communications Research.” The variables “emphasis in message system” and
“patron relationship” were able to actually affect other local film festivals in their
sub-institutional endeavors, which translates to their “future festival plans” in the
conceptual framework of the study.
RECOMMENDATIONS
Based on the foregoing findings, the following are recommended for
future studies in relation with organizing film festival:
The programming angle of Cinemalaya Philippine Independent Film

Festival is a good study on its own, as it covers both the emphasis in message
system, patron relationship (giving the audience what they need and more).
Programming is an important aspect of an institution, as it enables the researcher
to identify also how they produce content for their respective message system.
Since that the study proves that the institution can affect film festival
organizers, the researchers recommended that in making film festivals the
organizers can look after the institution and adapt its process and also to make it
as their basis to their future festival plans.
There is a small amount of support towards film festival research, or the

institutional research field for that matter, especially on the Philippine context. Fe
Di Chiara noted that it has become an “autonomous research field” (2011) and
66
future researches need to address the different aspects of these to contribute to

the weak body of discourse.
For a study that deals with patron relationship, the side of the patron itself
can be used.
George Gerbner’s paper entitled “An Institutional Approach to Mass

Communications Research is an essential reference when the researcher is going
to have institutional researches in their study. The concepts of message system
and process system is crucial on the different processes occurring inside an
institution. There are different concepts under these systems that can be utilized
in future researches aside from an “emphasis” and “patron relationship.”
As for Cinemalaya Foundation and Cultural Center of the Philippines, may

this research serve as their guide in their respective institutional practices to
improve and nurture future editions of Cinemalaya Philippine Independent Film
Festival. The emphasis in message system and patron relationship are two
valuable concepts that can be studied for the improvement of institutional
contents and other forms of processes.
67
BIBLIOGRAPHY
Barley, Stephen (2011). Signifying Institutions. SAGE.
Bazin, Andre (1955). The Festival Viewed as a Religious Order.

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TRANSCRIPTION OF FOCUS INTERVIEW FOR:
Lino Matalang (Officer, Arts Education, Audience Development Division)
Lino: Nag work na ako for Cinemalaya kaya masasagot ko naman yang mga
tanong niyo.
Matthew: So uhm introduce muna namin sarili namin. I'm Matthew Escosia.
Pauline: I'm Pauline po
Dennis: Dennis Limpiada
Angelou: Angeloux Ricaforte po
Angelica: Angelica Labrador po
Lino: Ako si Lino
Lino: Lino Matalang
Matthew: Nice to meet you sir
Matthew: uhm bali po we're students po from Trinity University of Asia uhm ahh
students po of broadcasting po bali po ang uhm ang study po namin is yung
institutional process po ng Cinemlaya or ng CCP uhm yun po bali sa instituional
process po uhm ine-aim po namin aralin is ahh focus lang po kami sa message
system tska po yung patron relationship po ng institution sa kanilang mga
audience yun po ang concept so.. uhm for the record po uhm can you
introduce yourself
Lino: I'm Lino Matalang Jr, I've been with CCP for 3 years ahh I used to work in
production we do video documentaries, documentations, audio - visuals
presentation and I've been with Arts Education Department way 2012 so it’s like
my 5 years working with the Arts Education Department. We have 3 divisions, the
cultural management division, the artist training division and the audience
development division. I belong with audience development division.
Matthew: so yung anoo po, yuung part niyo po sa Cinemalaya, ano po yung
part niyo po don?
Lino: ay wait ano yung gusto niyo malaman sa Cinemalaya? Institutional
processes?
Matthew: Opo
Lino: ahh saakin, about Arts Education, tama ba ako? Kasi sila Gema, about
marketing, other people are.. okay
Lino: My concerns about the Arts Education so when we started Cinemalaya

2005 basically it’s just ahh because of the alam niyo yung kwento nung time
nung 1900s yung wala ng nanunuod sa sinehan? so lagi na lang DVD ang binibili
nila tapos dati kasi tayo ang pinakamalaki mag produce nung films sa Asia tas
naging India na so pag nagproproduce pa tayo ng film, lugi pa sila Mother lily,
lugi pa yung three big companies. That's where we come in, we started the
Cinemalaya just a test kung kakagatin. So nasimula yung Cinemalaya 2005 with
the intention of uplifiting the Philippine Cinema, the industry of the Philippine
Cinema. So we started with young artist as a film makers, so we wanted sana na
mabuo yung concept ng artistic freedom na lahat ng gusto mangyari ng
direktor or producer, nasa kanila, walang kokontra don sa pamamagitan . Di
katulad ng ginagawa ng mga studios system o yung mga big system. So
nagsimula kami 2005 ang audience pa namin nasa mga students. Wala talaga,
so ang ginagawa namin, pumupunta kami sa mga schools, binebenta namin o
pinopromote namin yung Cinemalaya, we give like 50% discount atmost free
para lang mapanuod nila ang Cinemalaya and then second year, ganon din,
so we started at ah! we tie-up with institution like UP Diliman, sila yung kasama
namin. Tapos si TonyBoy Cojuangco, siya yung independent producer na
nagbigay nung seed money. That time, parang 500,000 pa on a staggered
basis. So, ang maganda don, nakacreate kami ng ripple within the artist
community as well as sa industry. Kasi nagiba na yung lahat, ngayon kung
titignan lahat na lang ng sulok ng Pilipinas may film festival, so its started with
Cinemalaya. Although that time may CineManila na. CineManila is from kay..
sino toong director na to? Tikoy Agilus. Nagsimula na si Tikoy Agilus with Cine
ano.. Pero itong Cinemalaya talaga is Philippine Films ang pinopromote niya
talaga. Independent films produced, yun talaga ang ano ang with the guidance
with.. nag start kasi siya with submit your scripts, submit your concept, taops
may casting, kumbaga lahat ng processes nagawa.. okay? so, yun yung
kagandahan ng Cinemalaya, kasi kmai yuhng nagsimula nung pag buo nung
bagong revolution. Kasi that time, bumagsak na talaga ung film industry,
bumagsak talaga as in wala talaga. Tapos kami ni Carino ang nag create nang
Independent Film actors na galing sa theater, tapos ngayon makikita mo
mainstream na sila ngayon as well as sa mainstream naman kelangan nila
ngayon pumunta sa independent para maqualified or majustified ang pagiging
artist nila. Yun, so dun nagsimula yun. So, 2005 nagsimula yun, medyo hirap kami
interms ... diba mas malaki pa yung gastos namin kesa dun sa.. anyway, yun
naman ang trabaho ng CCP, wala naman kaming intensyon to create, to get
profit, so yun yung.. dahil institution kami na.. kumbaga mandate naman ng
CCP is to develop number of audiences and artist, so tama yun. Ang
magandang nangyari rin sa Cinemalaya in terms of processes, lahat ng
departments namin, magkakasama kami lahat sa isang project lang, as you
see in bureaucratic form of government, medyo iba yung takbo. Merong iba iba
yung project per division.Nung nagsimula yun Cinemalaya, lahat kami
nagtrtrabaho sa isang common goal, kaya ganon yung success nung
cinemalaya lahat kam.. lahat ng mga divisions sa CCP hands-on.. talagang.. so
ayun talaga ang isa sa qualifier ng success ng Cinemalaya.
[00:06:48.29] Matthew: So, yubg uhm.. let's talk about the.. institution.. CCP, ano
po yung core values niyo na inaaply niyo po sa workspace niyo po?
Lino: ah, well.. base don.. kung sino yung bagong artistic director, bago rin yung
amin vision, so ang pinaka vision namin is.. base kay Chris Milliado, art matters.
So kung lahat ng ginagawa ng tao eh nagmamater yun through the use of arts..
so ayun ang kanyang.. art matters in the society, so yun yung ginagawa naming
lahat ng mga programs namin is geared towards that goal, in achieveing
artistic excellence, in nurturing activity, in briding audiences and artist, so yun..
ganon yun. Makikita mo dun, sa pagpasok mo sa pinto..Vision, Mission and
objectives namin.. yun yung ang amin guiding principle.
Matthew: uhm, yung sa workspace niyo po? ano po yung common practices
niyo po sa loob ng CCP?
Lino: panong workspace?
Matthew: yung opisina niyo po anong po yung mostly ginagawa niyo. Is it all
work po or medyo clerical po yung trabaho? or..
Lino: ah! una muna, very structure ang CCP noh, very sturcture. Merong kami
division chief, meron kaming mga.. in-charge sa finance, sa admin,
programmer. ganon.. so kahit kami, ang kagandahan nitong CCP, dahil
production work siya, so kunwari.. ang talent ko ay dance, kunwari dance artist
ako, so dahil programmer din ako, lahat ng alam ko tungkol sa dance, kasama
don, nagriripple down don, kunwari ang talent ko ay graphic designing or
advertising, sa marketing, lahat yun.. kaya very specialize to, kaya nagagalit
samin ang Civil Service kasi minsan ahh hindi namin sinusunod yung 8 to5 na
oras.. nandito kami sa ano.. kaso dahil very specialize yung trabaho namin
kunwari.. ako mas film ako, major ko, mas yun yung ano ko... so anything na
related dun sa artform ko, workshop man siya, art appreciation man siya,
audience development man siya, or anything to defend about the artform,
andon kami. So para siyang.. as again sa NCCA, ewan ko lang sa NCCAA kasi
mas clerical kasi fundraising, ay.. nagbibigay sila ng pondo samin. Kami kasi
programmers talaga, so nagprorprogram kami ng mga activities sa art..
Matthew: uhm.. you mention po yung institution mismo uhm parang sama sama
po kayo dapat. ahh.. yung sa Cinemalaya organizers po, how many people are
involve in the..
Lino: ang dami.. kunwari kela Vicky, may selection committee.. madami pa yan
eh.. meron kaming film unit, remember? meron kami isang division na in-charge
talaga, pero dahil malaki siyang.. paano ko ba sabihin? ahh ganito na lang,
etong Cinemalaya, ito yung template na ginamit ni Nest Hardin, dating
presidente ng CCP na ipagbuklod lahat ng division or department sa CCP kasi
dati dahil bureaucratic kami so may kanya kanya kaming trabaho.. Kunwari
ang marketing, may trabaho sila, Ang PED.. PED is Performing Arts Department,
that time,Performing Arts Department ang tawag sa kanya. Ngayon iba na ang
tawag ngayon. So, dahil kay Nest nakita niya na kaya pala mag unify ang
buong system ng CCP.. Kaya pala magwork sa isang project. Kasi kami sa CCP,
kanya kanyang project kami. Kunwari literature, o gumawa siya sarili niyang
festival, kunwari dance, gumawa kayo ng sarili festival ng dance. First time
nangyari sa Cinemalaya film festival na lahat kami nandoon, kunwari kahit
opening program and closing program andun yung isang division ng performing
arts para bumuo ng dance, bumuo ng tula, bumo ng ano.. andun lahat. First
time nanyari yun. Kaya ayun ung termplate ni Nest, dahil nga.. ay! nagwowork
pala ang isang institution pag isang project lang. Yun, ang kagandahan sa
nangyari sa Cinemalaya, na lahat kami magkakasama in support kami dun sa
isang project..
Matthew: na-aaply niyo parin po ba ngayon yun?
Lino: hindi lahat, ewan ko ba bakit may exclusivity ang cinemalaya na kaya
niyang pag buklurin lahat nung units. Kunwari ung documentation siya ung
nagdodocument from day one hanggang matapos ang cinemalaya, tapos
yung mga papeles nababayaran, lahat yan may nakatutok sa finance namin
par don sa ano.. na hindi usually nangyayari.. pero yun ung magandang
principle na gusto namin gawing template sa CCP, na dapat pag may festival,
lahat tayo isa lang para maka create ng impact kasi kung hindi kunwari
literature lang, ang nangyayari kasi pag literature lang yung mga audience nila
mga literary artist lang din, kung dance lang din yung festival puro mga dance
lang din yung mga ano.. Paano ka makakacreat ng new audiences? dahil nga
ang Cinemalaya nakakacreate siya ng.. kung makikita mo, ang laki ng iniakyat
ng audience rate namin sa pag punta ng Cinemalaya, ngayon di mo na
kailangan ipromote yung Cinemalaya, di na kami pupunta sa mga schools
para ipromote yun. So ang laki ng impact na ibinigay niya.
Matthew: Ahh yung, yung let’s talk about don sa Cinemalaya po last year. Ahh,
What sets Cinemalaya Film Festival 2017 different from the previous editions of
the festival?
Lino: Ahh, Kailan ba yung nangyareng may controversial diba? Ahhh syempre
natural naman yun sa isang ahhh project na may mga controversies na
nangyayari naalala nyo yung time na nagprotesta yung mga filmmakers, 2008
yata 2008 or 2014.
Matthew: Yun po ba yung involved po si Jett Pangan? Manila 143
Hindi pa, yung Manila oo, 143 or 134 basta ganyan na dahil pinakealam yung
film nya, gusto ni Lories yung anak nya ang ipasok
Pauline: Yung sa casting po?
Lino: Oo sa casting pero ang gusto nya si…. Yung may namatay na ba yon? O
buhay pa yon?
Matthew: Buhay pa po ata.
Lino: Yung nasa ang TV, yung may sakit.
people laugh: HAHAHAHAAHHA
Lino: Yung sa may ang TV na comedian? O yun yung gusto nyang maging lead
actress nya e gusto ni ah…
Pauline: Joy Biado po?
Lino: Yon Joy Biado, buhay pa ba si joy?

Interviewers:Patay na po.
Lino: Ahh patay na, si Joy Biado ang gusto nyang maging leading lady that
time i-ano nyo na lang ha (Laugh) hahaha
Interviewer: Laugh
Lino: So yun, yun yung nagsimula yung controversy tapos sumunod pa na gusto
kasing ah gusto kasing i-upload sa youtube para mag-earn diba? Pero dahil
ang contract lang naman ng Cinemalaya with the Directors is ditto lang sa CCP
yung showing, pag-mamayari pa din ng Director yung film. Wala pa rin wala pa
rin nakakatanggal don sa ano, dahil in-upload sa youtube nagalit ngayon yung
mga nagprotesta ngayon yung mga ilang filmmakers na hindi sila nasabihan
don. Oo naiintindihan ng filmmakers na, oo nga kayo yung nag-fund ng film
pero technically or artistically, samin pa din ipaalam nyo sa amin. So yung
unang, pangalawang ripple, una yung Manila pangalawa. So napansin nyo at
that time kalian 2015, 2016 walang full-length film, naalala nyo yung parang
short film lang talaga sya. Meron may taon na short film lang yung in
competition, wala talaga yung mga ano. So yun yung time na bumabangon
yung Cinemalaya don sa nangyari sa kanya kasi nga dahil nga marami
talagang it’s a venue for development for refining for learning. Ganon naman
talaga e. Hindi naman na maiiwasan yan e as long as hindi sya money making.
Pag money making n aka agad yung ano mo, wala talaga, hindi talaga yan
magwo-work. So, nung in-introduce na naming ulit yung, tinanggal na naming
ngayon yung Directors showcase.
Matthew: Opo
Lino: Nawala na yung Directors showcase, so new breed nalang talaga sya.
New breed na ah full length tsaka short feature. So, ah paano yun kakaiba ah
2017? Ano ba yung in-introduce naming bago? Wala naman, ganon pa din
naman yung template nya e, wala pa din naman nabago. Nag introduce kami
ng visions of asia nung time na nawala nung nawala yung full length. Yung
visions of asia ito yung mga winners sa buong asia na dinadala naming ditto
para i-exhibit, para I ipakita. Pero non-competing films yon, nananalo na sila sa
ibang lugar ah kaya lang naming inala dito. So, paano ko ba masasabi kung
ano yung kaibahan nung 20…2017?
Matthew: May difference po ba sa number of audiences?
Lino: Laging umaakyat, lagging umaakyat ang numbers of audiences tapos lagi
kaming nagsosort ng iba’t ibang venue kasi hindi na naming kaya dito sa CCP
so lagi kaming humahanap ng kunwari may ita-tie up kami with Ayala cinemas
sa trinoma, pumunta na kami sa Laguna pumunta pa kami sa Pampanga para
lang eventually parang yun yung gustong mangyari ng CCP eventually gusto
nya nationwide ang magiging ano ng Cinemalaya. Dahil hindi lang maka.. ahh
Kaya August.. ito ito yung sinasabi nilang dead month ng ano.. ng ano ng… pag
sa mga bookings ng film exhibitions, ito daw yung patay na linggo, patay na
week kaya don kami pumapasok. Don kami pumapasok.
Matthew: para less competition?
Lino: Oo, ang nangyari.. ang… ganito yung nangyari ay ito pala yung nangyari.
Kaya pala yung kung tanungin mo dun sa ah impact, dahil nagkaproblema
kami ngayon kasi first week ng pasukan? First week yung nangyari yung
Cinemalaya. So yung mga estudyante daw wala pa yung regular nilang
allowances so nahirapan silang mag-cope up…. so medyo… umaakyat yung
audiences pero nakikita naming kung sino yung mga audiences na
pumapasok parang nawala yung mga estudyante kasi first week palang ng
pasukan diba Tri-mest ah ano nangyari non na parang July na
Angeloux, Pau: July or August
Lino: August na yung pasukan diba? So nahirapan sila don so kailangan either
mag back track kami pa sa August para sa film sa exhibition para lang ma
maano naming. Tapos may nangyari pa, sumabay after Cinemalaya sumabay
yung DGPI?
Matthew: DGPI? Yung sa FDCP po?
Lino:] Oo yun pumasok yun sila… lahat ng mga indies sa buong ano, pinapakita
sa mga malls, may ganon e yung parang Pista ng Pelikulang Pilipino naalala
niyo yon yung…
Interviewer/s: FDCP po, Opo
Lino: Oo yung non-competing naman sya pero ano… so nakaapekto yun samin
na suma.. after Cinemalaya sumabay sila samin so yung
Matthew: (GARBLE)
Lino: Oo so yung estudyante na yun tumitingin sya kung ano papanoorin nya
kung first e tamang tama yung first week kakabu… ano palang sila papasok pa
lang sila so hindi regular yung kanilang allowance na narereceive so yun medyo
ganon yung nakita namin na medyo… wag isabay kung hindi dapat tulu…
Tapos ang nangyari pa nung time na yon, dahil hindi handa ang Cinemalaya
hindi nakasama sya don sa Pista ng Pelikulang Pilipino so dapat sana yung mga
entries ng Cinemalaya, pupunta sana sa Pista ng Pelikulang Pilipino.
Matthew: Paano po, yung i.. (GARBLE)
Lino: Yung ire-reshow nila iaano nila so respeto nagkaron sya ng sarili nyang ahh
sa ano, kumbaga sa anon a susuportahan nung Pista ng Pelikulang Pilipino yung
katatapos na Cinemalaya
Matthew: umm umm
Lino: Kasi logistically mas Malaki yung sakop nila e, ito yung kila Liza Dino.
Interviewer/s: opo
Lino: umm. Kila Aiza, yan.. so yun yung ano yun yung dapat mangyayari na
hindi lang nangyari so sana this year mangyari ulit, mangyaring ganon para mas
maalki yung.. yung leadership.
Matthew: Amm, paano po naha-handle ng CCP yung negative reception po

from ano… from the audience.
Lino: Paano ko ba sasabihin… ahh ano.. ahhh tsk yung sa… naiinterview nyo na
ba si Ed?
Matthew: Ed (GARBLE)
Lino: Ed.. ahh paano ko ba sasabihin? Hindi sya negative reception from the
audiences e, from numbers of…. Paano ko ba sasabihin.. yung meron syang
critic na iba e kunware may ibang mga mga tsk meron syang mga criticsms
from outside katulad nung mga dating programmer din nung Cinemalay meron
yan. Tapos… ah ang maganda sa CCP dahil si … paano ko ba sasabihin? Dahil
institution sya kahit sino magpalit na tao… kahit sino magpalit na tao dahil
mataas ang regard nila sa center hindi pa rin sya ano tainted sa ganon klaseng
controversy… dahil siguro dahil initial naman na na thinking namin ahh we, we
adhere for artistic excellence, we adhere for change laging ganon yun yung
ano namin.. so yung template naming so walang nagbabago sa ganon…
Matthew: Amm, sa tingin nyo po ba paano nakakaapekto yung Cinemalaya sa
Lino: Malaki Malaki ang epekto lalo na sa mga filmmakers natin yang
filmmakers.. they get booking from other international film festivals, they win..
festivals abroad ang dami nilang napanalunan so kumbaga, kumbaga hindi
man sila kung mapansin nyo yung Bagahe hindi nanalo yung bagahe dito diba
yung respeto ang nanalo pero ngayon nanalo ang bagahe sa prestigious film
festival.. nakalimutan ko na yung pangalan… Ayun so, kumbaga parang ano
sya precursor, para syang lagi kaming we plant the seed tapos ang daming
ripp… ang daming nanganganak ang daming foots na nabubuo don.
Nakakapagod sa amin pero sa CCP kasi institution kasi nga.. although once a
year lang naman naming ginagawa, pero yung buong linggo na yun o kaya 10
days na yon pagod na pagod kami… pagod na pagod kami don talaga. Pero
dahil natutuwa na kami.. kumbaga.. kumabaga ahh entry sya sa isang ah film
festival, entry sya sa Oscars, entry sya sa mga… tuwang tuwa na kami non.
Matthew:Ahh sir for other local film festival po. May nakita po ba kayong parang
ahm direct influence po na
Lino:Madami
Matthew: galing Cinemalaya
Lino: Oo madami na.. kumbaga yung Cinema Rehiyon, kumbaga ahh.. ang
dami Cinema Rehiyon, yung mga nasa parang Mindanao.. meron silang film
festival si…. Sino nasa Bacolod? Mga artists, yung Bacolod meron din silang Film
Fest, cinema negrense meron narin sila. So andami na, andami ng pattern kahit
mga schools ang dami na rin nagcicinema ahh nagfifilm festivals ngayon e.
Ahh yung Laguna yung Calabarzon meron silang Film festival diba?
Matthew: Sine Cabalen po yon
Lino: Yun ba yon?
Matthew: Sine cabalen po?
Lino:Hindi. Caaaa… nalimutan ko na yung pangalan. Basta Calabarzon meron

silang Film festival yang calabarzon na yan. So andami andami, maraming…
maraming nanganganak na… na Film Festivals in the area, in Manila as well as
in the provinces na… ang gusto lang sana naming marating ang CCP ngayon
yung parang mas marami pang film entries sa iba ibang regions para hindi lang
Manila centric, ayaw naming na dahil nasa Manila center kami, ang CCP gusto
din naming lahat nung mga works kunware yung mga works sa regions, works
sa Mindanao makapag-compete sa amin.
Matthew: Ayun po ang dami na nga pong lumalabas na film festivals. Ano po
ang tingin niyong brand ng Cinemalaya na different po from other festivals?
Lino: Syempre we strive.. basta ano, kasi sa CCP lagi kaming
nagsisimula....trailblazer ba kami? ang dami na kunwari yung Pasinaya kung
naremember niyo. Yung Pasinaya Multiarts Festival, ginagaya na rin ng NCCA.
Marami kaming programs na ginagaya. Siguro dahil sa wala kaming pera, yung
creativity namin mas lumalabas dahil hindi namin kayang i-manage financially
so ang dami naming network of artists.
Kaya nga naiinis kami kasi nga kunwari etong Pasinaya,aside lang to ah. Parang
sinasabi namin...wala kaming bayad sa artists libre yung honoraryo nila pero
kung yung ibang institution magbibigay ng honorarya o talent so talo na kami
kasi sila nakakapagbigay sila ng talent para sa mga performers, kami libre yung
pag-perform mo sa CCP. The fact na mag-perform ka lang sa isang stage
namin, ibang iba na, iba na yung structure, iba na yung makukuha mong ano...
So yun so feeling namin okay lang samin na may mga film festivals, okay lang
kmai na may CinemaOne Originals, walang problema. Okay lang.
Kase ang tingin pa rin namin eh yun pa rin dapat ang gawin ng CCP. Yun pa rin
dapat ang mandate ng CCP na that arts would be available to everyone. So
wala kaming monopoly of idea. Wala kaming monopoly na amin to. Pero
sinasabi namin na kami yung nagse-set ng standard. Kami yung nagsisimula.
Matthew: As an organizer, how would you rate the satisfaction of the outcome of
Cinemalaya last year in terms of films, box-office number?
Lino: Feeling ko bumagsak kami sa ano, dahil nga may pasok, dahil nga
kakaumpisa lang yung pasukan nung college that time. So medyo, alam ko
medyo nag-dwindle ng konti. Yun yong reason ng time na yon. In terms sa arts
education, baka mamaya matapos na to, gusto ko lang banggitin yung
ginagawa namin sa arts education sa Cinemalaya.
Meron kaming 2 day congress. Congress siya so parang iba-iba yung topic
namin every ano, eto yung CInemalaya Congress. upright from the competing
films, ang dami pa kasing programs na nangyari during Cinemalaya diba. Eto
yung Cinemalaya Congress o yung Cinemalaya Campus na ang tawag namin
ngayon. We invite filmmakers, production staffs, crew to talk about teh industry
and how can they be felt with the students, film students or film enthusiast.
Pano sila makatulong in terms sa procurement ng mga camera's, hw to deal,,

how to pitch a programs or film para maka-connect Yun din naman ang
trabaho namin eh. So yun yung ginagawa ng Cinemalaya Campus, parang ine-
evaluate niya in terms of the academic principles nung filmmaking, nung
theory, theorizing, ano ba ang effect nung text messages, ano ba yung effect ng
(sattletist/saffeltist) nung fiilm. Lahat ng layers ng pelikula pinag-aaralan at
pinagsisi-dikusyonan. So yon that's one. Cinemalaya campus.
Then we do also Kapelikula, kapelikula is... after the audience member

watched a film we parang select a group of individuals talk with the filmmakers
and discuss about the film. Tawag namin dun kapelikula. The first one we did
was we tied up with starbucks. So diyan sa starbucks harbor square namin
ginawa. So we invited like 2 filmmakers. One shorts, one full-length. And then
discuss lang, kwentuhan lang, pano niyo ginawa yung sa respeto, pano ginawa
yung ganto, pano ka nagsimula, pano ka nagka-interest sa ano, yung mga
attempts niya how to join teh Cinemalaya. Pero ang tagal-tagal parang 10
years na daw siyang nanonood ng Cinemalaya. Gusto niya gumawa ng film
then actuallly started doing it. So ganon yung mga klaseng inspirational na
sitories so that's two.
Another attempt of the arts education is to invite institutions like Senate, DBM
(Department of Budget and Management), eto naman yung dahil ah policy
makers sila diba so kahit papano may say sila pag nag-defend kami ng budget
namin. AH kasi in-invite na kami dati ng cinemalaya eh, so may ano yun may
plus points. Kunwari GSIS, kunwari PAG-IBIG. Kung sino yung mga government
institutions na pwede naming i-invite manood.
So attempt din yung for audience development. Kung maganda yung feedback
edi okay. So meron kaming Kapelikula, meron kaming talkback with the Asian
Directors. Ang ganda kasi kunwari nag=invite kami ng mga estudyante
highschool, pero yung pinapanood nila isang Taiwanese film, isang Thailand
film. So ang layo sa experience nila. So parang may isang estudyante from
highschool na may issue din pala ang Thailand on early pregnancy dahil nakita
nila yung film diba. So nako-cross mo yung borders, so kahit papano kahit
thailand siya o kaya isang sikat na bansa , Japan or ano, pareho pa rin ng
problems. Universal din pala yung emotion. So walang pinagkaiba.
So this avenue, this parang ah create a h discourse diba. Mas.. through film..
through the art na-create mo yung anong tawag mo dun parang Social
Consciousness o parang theraphy din as wave. Parang nakikita mo yung mga
problems ng Pilipinas eh ganun din naman pala sa Thailand. So yun that's one.
Ano pa ba yung project namin, ah gumawa kami dati ng is apang audience
dev. project. Kumuha kami ng dalawang artists. So ang gagawin lang ng
dalawang artists, pupunta siya sa mga pagkatapos manood ng pelikula,
tatanungin niya yung mga audiences kung ano yung experience niya, nag-
enjoy ba siya dun sa films. Simple as discourse din , parang magcreate ang
kami ng alma mo yon parang pwedeng sa social media,mag-create kami ng
ripple, mag-create kma ng pag-uusapan. Diba naalala niyo Septik Tank, tsaka
lang namn sumikat yon dahil pinag-usapan siya. O kaya yung ang unang film
ng 2005, is Maximo Oliveros. Ang pagdadalaga ni Maximo Oliveros.
Yung yung unang film, to think na may pagka ano pa diba pero na-bridge nya
yung issue on homosexuality, issue about poverty, kasi kung maittanong niyo
lahat ng sinasabi nil.Bakit lahat ng Indie natin puro poverty porn. YUn yung
tawag nila Poverty Porn diba. Pero isipin mo yung 100 nanalo siya rin, yung 100
na film hindi siya ano post Manila siya. Sobrang urban yung take niya don sa film
pero parang maganda, maganda yung pagkagawa. So hindi ibig sabihin na
pagkikwentuhan natin about Poverty.Dependent na siya.
Matthew: So yung...ah let's talk about yung planning the festival po. How do you
start as institution planning?
Lino: As early as... pagkatapos nung festival sinisimulan na namin. ganon ka-
ano. At importante samin yung evaluation, sobrang importante samin yung
evaluation. At yun din yung sinasabi namin na everytime you have a project,
you have to evaluate and you have to face kung ano man yung binigay niya
sayo. Hindi maganda to, mali yung logistics, mali yung communications, mali
yung branding, mali lahat. Kailangan mapag-usapan yun sa ano para
mareconcile mo sa next na festival maayos na siya.
Matthew:Ano po yung mga observations niyo po from Cinemalaya 2016 na na-

adopt niyo po or parang naforesay niyo po for 2017?
Lino: Ang evaluation namin ng 2017, sabi nmain itatama yung schedule with the
pasukan kasi malaking impact yunq kunwari nakabakasyon yung mga
estudyante. Eh ang aming target audience mostly students and young
professionals. College studets and young professionals. Yun yung target namin.
Dapat itama namin yung schedule that's one.
Two, yung congress namin medyo hindi na siya nagwo-work in terms dun sa
process so ang gusto naming gawin sa congress, ilapit na namin siya dun sa
schools.
YUn yung next na target namin ilapit namin sa in the sense na parang a month
before the Cinemalaya, Ang gusto naming mangyari ilapit namin yung film
entries sa mga school. Talk about it, talk about the process, not necessarily
about the film kasi wala pa eh. Dapat kasi .. ang intention is engganyuhin namin
sila manood sa CCP, or manoor sa mga sinehan. So yun yung gusto naming
mangyari ngayon na parang a month before Cinemalya kailangan pinag-
uusapan na. Kailangan may name recall na yung Cinemalaya.
Matthew: What do your institution keep in mind when creating content release
to the public about the festival?
Lino: Dapat ano..yun kasi yung binebenta ng CCP, yung content which is yun
dun kami nagba-bank lagi na dapat artistically produce film, yun talaga yung
integrity ng .. pag alam naming ah... may mga lumabas na hindi maganda
diba? Yung ang guro, napanood niyo bayon? Meron naman talaga.. may
ganon naman talaga lumalabas na di mo minsan kontrolado. Ang ganda
ganda nung synopsis diba pag pinanood mo pa yung film ang galing pa ni ...
kaibigan ko si Mark. Kaya lang may ganon, siguro na-overwhelm siya don sa
production, dami niyang cast eh, dami niyang binayaran, dami niyang ano na
yung integrity ng film, yung film elements nakalimutan niya yung shot, edit,
production design, yung mga ganon.
So sabi ni Mel Tionglo i-ano kasi siya yung ano may tawag kay Tionglo eh yung
nagsu-supervise, monitoring parang ganyan ganyan. Siya yung pumupunta na
see to it dahil makukulit kasi tong mga filmmakers.Kase ayaw nila ipakita yung
film nila, feelling nila… yun yung comment ni Mel Tionglo. Feeling nila diyos-
diyosan na sila kasi nakapasok sila sa Cinemalaya. Ang ano Feeling nilaokay
nako ganon. So hindi na nila kailangan yung mga mentors, yun yung minsan
yung angas nila eh. So kagaynon pano nakalagpas yung Ang Guro? Bat
lumabas yan as against..... ah eto pa isang comment.
Dalawa lang daw yung films na maganda ngayong taon, hindi katulad ng 2016
na wala kang pagpipilian. Magaganda, may Nora Aunor, yung kay Sharon mali
din ang... sayang yung kay sharon maganda sana yung piyesa pero dahil
nasunod si Sharon sa gusto niyang mnagyari. Instead of five days na shoot
naging three days lang yon. Diba dati ayaw na niya tapos nag-protesta yung
mga fans niya na ituloy so may nacompromise sa process kaya ganun yung
itsura. Alam ko three day shoot lang yon eh. Kaya nakita mo diba.. iba eh mas
maganda sana kung baliktad yung character, si Sharon yung katulong hindi
siya mga ganon na ano..So may mga ganong challenges na nagyayari. What's
beautiful is they accept challenges at yun naman yun eh para mapaganda ng
mapaganda yung proseso.
Matthew: ah yung promotional materials rin po
Lino: late usually, late kasi yun eh nakakainis, oo late yan lagi, lagi naman kami
ganun eh well nagugulat lagi yung mga late lumalabas tapos hindi naman siya,
ah, siguro dahil nasanay na rin kami word of mouth eh parang nagrelax nalang
kami. wala kami masyado ano, wala kami ginastos na ano pangpromote. ni
artista ng ganto walang ganun, wala. diba di katulad dati na pumupunta sa
mga tv station ngayon wala masyado.
Matthew:pero ano po yung mga nagawa niyo po na kahit for to release or to

publicize the cinemalaya 2017
Lino: ah merun kaming ano merun kaming presscon na ginagawa a month

before cinemalaya yung july or june may presscon lagi yan institutional
presscon yun. so may presscon kami about cinemalaya
Matthew:ahm
Lino: tapos nagrerelease yan nung trailers dapat lumabas na yung trailers
Matthew: ahm ano po sa tingin niyo yung ahh strategies na naglalack ang
cinemalaya or ccp?
Lino: nag nag?
Matthew: naglalack po, mga tingin niyo po na pwede i-improve ng ccp or

cinemalaya
Lino: ah lacking... ah dati nung.. may issue ang cinemalaya sabi namin sige
bitawan na natin. bumitaw na yung dating presidente namin kasi di na siya
president. gustong-gusto ng kunin yung ano ng gustong gusto na kunin ng
quezon city kasi yung quezon city merun na sila ngayon film festival gustong
gusto nila. pero kaya ayaw ni tony boy na ibigay sa iba well kasi syempre merun
pa rin si tony boy kahit papano na investment...parang feeling niya ang ccp
lang ang nakakapag (snap)organize ng ganung klaseng ka-massive at kalaking
festival kasi it was outlook kaya tong mga rental ng mga theater namin it was
outlook kaya lahat nung mga personnel ng ccp nagtulong-tulong para mabuo
yung cinemalaya. gumawa ka ng cinemalaya ibang ibang pwesto mong
gawin mas magastos mas mahirap i-manage e kasi andito na yung theater
andito na kami buo ng ccp ang tutulong sayo itry mo siyang ilabas di ganun
yung magiging resulta .
Matthew: ahm yung pag o observation niyo sa form other local film festival, ano
po sa tingin niyo yung pwedeng ma-apply ng mga ibang festival na ginagawa
niyo sa cinemalaya
Lino: ano to, eto yung sa metro manila film festival ? ano ba? (hahaha)
Matthew: ah kahit saan po
Lino: ah si ed kabagnot maganda na nung ginawa ni ed kabagnot yung ahh

manila film festival, metro manila film festival last year hindi ngayong taon na to
yung evaluation
Matthew:ah yung 2016 po
Lino:2016 ba yun o 2017
Matthew: yung Sunday beauty queen po
Lino: ah yung sunday beauty queen, sana ganun. yun yung gusto naming
template kasi nakikita namin cinemalaya yun noh yun yung cinemalaya. yun
dapat parang hindi sina-sacrifice pa rin yung artistic quality over commercial
liability dapat hindi pa rin ano yun. kung gusto talaga natin turuan ang
audience so kasi lao natin binobobo yung audience pag ganun... kasi
nagcecreate siya ng click e merun na talaga diba merun na tayong alam na
natin how to appreciate films... merun ng ganun. kaya lang tayo lang kasi
pinipilit pa rin natin idoctronate yung ano yung ganung teleserye, soap opera
na ano marami pa rin kasi eh
Matthew: ahm yung... yung kumukuha po kayo ng external members po from

ano other other means po
Lino:oo
Matthew: yung mga jury members po
Lino: oo, oo
Matthew: pano niyo po, paano po yung selection process niyo po ng jury
members
Lino: ahh ahh di ako keen diyan pero feeling ko dapat walang dapat ano
walang kinalaman o di siya kasali o di siya dapat in any other way dun sa mga
filmmakers dapat ano, independent siya at tsaka feeling ko kinukuha yan sa
ibang mga ahh film festival's abroad. kung sino ung kung sino yung mga
nagmamarket sino yung mga ahh sino yung mga creators ng film festivals sila
yung pumupunta dito at sila din yung mga kasama sa mga jury. dahil para kahit
papaano yung films kung hindi man siya yun yung nakakainis diba. di manlang
napanood ng marami pilipino pero pag sa ibang bansa ang daming
nakakaappreciate. yun yung nakaka sakin kunwari satin bilang pilipino yun
yung nakakaano yung mga pelikula ni ni mga mga direktors natin na trail blacer
abroad pero dito saatin di natin napapanood.
Matthew: opo
Lino: yun yung nakakalungkot eh yun yung yun yung dapat dapat mapanood
lahat dapat nasa eskuwelahan yan dapat nasa sinehan yan so kita mo yung sa
larawan ngayon umikot n siya nasa kasabay lang namin sa dumaguete last
week andun yung larawan so dapat ganung klaseng vehicle ganung klaseng
imodule o template ang gawin na i ano siya, kung ayaw man tanggapin ng
commercial dahil may mga bookings na ilapit niyo sa schools, ilapit niyo sa iba't
ibang mga centers, art centers para mapanood ng mga ano. which case
parang ganun yung gusto namin mangyari.
Matthew: ahm pag nag cocommunicate po kayo inside the institution,

ahm...how does it look like po
Lino: mahirap, matagal kasi dahil may pagka bureaucratic form of government
kami. so dapat ang ganito yan. so dapat ang mga programmers nag uusap
artistic programmers ilan yun
mga sampu, bente pagkatapos nun bababa sa isang division sa isang division
ang gagagwin mo andyan yung mga technical supplies tsaka mga logistic at
tsaka bababa pa. so ganun klaseng matagal. pero dahil dahil nga sinasabi ko
nung una ang cinemalaya is taking one project so dpat kayo sa division niyo
kunin niyo na yun as project niyo budgetan niyo na yan. ganung klaseng
concern ganung klaseng institutional project na siya. kahit may project ka pa sa
literature, dance, music, ano, akuin niyo na siya na iisang project siya
Matthew: ahm when it comes to decision po ba ahh yun nga po sabi niyo po
yung parang hierachy ng trabaho
Lino:hmm..
Matthew: ahh kailangan , sabi niyo po na matagal yung process ahm may
nangyari po ba na ano kailangan kailangan po ba sa pinaka-head po ba ang
approval before ma-approve
Lino:yes
Matthew:yung sa baba
Lino: oo , alam mo kung bakit kailangan yan for ahh ano bang tawag mo dun
yung word kunwari may magsasalita samin against kunwari may controversy
dapat yung pinakamataas yung magsasalita saamin kasi siya yung may
authority, siya yung may liability. ngayon kung sa taas ibig sabihin sa taas
nanggaling yan masasala mo na yung pagkakamali e kesa sa kung sa baba
mo kinuha yan pag nagkamali ang hirap niyang idepensa. naintindihan niyo
Matthew: opo
Lino: so dahil may authority yung nasa taas sainyo mataas yung liability niya.
pag mataas yung liabilty syempre ayaw niya magkamali pag bumaba na yan
less na lahat yung mistakes as against na wala siyang liability ang control nasa
baba kung saan-saan manggagaling diba mas magkakagulo
Matthew: ahm yung nirerelease niyo pong ahm mga messages po or text sa
mga audience po or public sa media ahm what type of messages are you
usually being ahh ano po yung mga normal
Lino: depende merun kaming institutional press release na napaka formal

merun kaming to the sort ng social media na parang millenial lang yung type
ng pakikipag usap so iba ibang forms ang ginagamit namin to keep depende
sa tinatarget naming mga tao. kunwari mga estudyante ang target namin so
dapat yung language nung estudyante yung ano iba yung branding namin sa
ccp kunwari sa ccp website nakalabas siya so sa ccp website medyo formal
ang branding pero pag mga diba merun kami mga facebook facebook page
yung ganun depende sa target naming audiences n iniiba naming yung
communication, same pa rin pero parang may tunog millenial tunog parang
hmm spoken word poetry ang dating may mga ganun.
Matthew: so nakadepende
Lino: nakadepende sino yung target audience namin may pang deped din
kami na parang memo memo yung type na deped alam mo very structure ang
deped. merun kaming mga ganun na letters na pinamimigay
Matthew: so yun nga po may target audience po kayo, gaano po kalaki yung
scope po niya is it for all po ba na
Lino: iba iba, kunwari hm ang pr mas institutional linkages sila. samin art
education mas nakadepende kami sa schools deped mas teacher training
trainers ganun yung mga ano namin
Matthew:so ayun nga po cinemelaya is on the peek na rin po, how did you
maintain or keep your relationship with your audience po
Lino: we offer different, kunwari ang ginagawa namin film enthusiast lang siya
diba so we, parang for diversity we offer parang o baka gusto mo manood ng
ballet wont you try parang gusto niyo ng form of kultura merun kaming spoken
word poetry merun kaming workshops so yun parang to steer them then after
that naging parang ano sila audience members na din namin sila naging
parang subscriber na namin sila yung ganun, ganun yung ano namin. ang
problema lang namin ngayon is children programming dun kami mahina wala
kaming ganun klaseng program children's programming siguro dahil yung
institution namin is very elusive for children parang ayaw niyang magpapunta
ng mga bata parang ganun. kasi diba iba yung structure niya di siya children
friendly yung environment wala ka nakitang painting diyan na dinedescribe
yung pag nakita nung bata , ay eto pala yung gawa ni idales wala siyang
ganun. yun yung problema namin di kami nkakaattract ng bata lagi kami dun
sa ano. tapos yung ginagawa namin since kami kami lang mga artist yung nag
uusap so minsan sabi namin paano tayo maiintindihan kung tayo tayo lagi nag
uusap so kailangan ibaba pa namin ibaba namin sa estudyante ibaba namin
sa teachers dapat si teacher i-equip din namin siya pano i-understand yung art
kasi si teacher minsan gino-google nalang niya gusto rin namin si teacher
mameet niya rin yung artsist para rin total ba total package yung personality
nung ano
Matthew: ahm yung communication po inside the office ahm how do you as an
employee po of ccp how do you communicate with your peers
Lino: naku iba iba depende kung matanda siya o ano kung matanda na siya
mahirap na yan
Matthew: pero yung ano po nakikita niyo pong trend po in terms of
communication
Lino: facebook(laugh) oo sandali minsan di kami nagtetext na finafacebook

nalang namin siya o kaya ano ahhm minsan makuha ka sa tingin ganun yung
anoo makuha ka sa tingin... sa office ahh ganun yung ano namin.. pag di ka
namin kinakausap ibig sabihin gumawa ka na ng paraan ibig sabihin di ka
involve di ka namin ibig sabihin nakatrabaho ka na namin di kami kuntento dun
sa gawa mo so di ka na namin sinasama. ganun lang yun
Matthew: pero you still make it professional
Lino: oo professional pa rin kami. pero nag aaway pa rin kami kunwari may isa
katatapos lang yung bigyan ko kayo scenario. katatapos lang yung pasinaya
palihan ako yung head ng palihan tapos ahh under siya ng office of the
department manager namin lahat ng utos lagi kay boss namin siya ano so
sinabi ko na sakanya na inuutusan kita para dito nagalit ngayon sinabi ko
sakanya pero di pa rin siya sumunod so sinabi ko dun sa boss nagalit yung boss
sakin e sabi ko boss di ko siya inuutusan para sa personal na matter inuutusan ko
lang siya para sa project na to. itong project na to para sa institution to, para
satin. so may mga ganun , nangyayari pa rin naman yan. kailangan lang i-
address kasi kung di i-address sobrang stressful yung trabaho namin, sobra
kasi nga yung problema samin ewan kayo man napapansin niyo. ako nagwork
ako sa korea for six months bilang parang exchange employee parang ganun.
sakanila pag natapos na nila yung five o clock uwi na wala ng tatapusin ibang
trabaho pa di kagaya dito sa ccp o sa pilipinas nakauwi ka na tinetxt ka pa ng
boss mo o kaya may ginagawa ka pa may tinatapos ka pa may ineemail ka sa
korea hindi pagtapos na yung trabaho mo tapos na talaga yan. friday
saturday iyong iyong yan walang kukuha niyan dito sa pilipinas parang hindi
ganun yung set up parang pamilya natin yung trabaho natin. sakanila hindi,
okay, sakanila hindi yun yung problema e so dapat there must be a way tapusin
niyo yan ahh wag natin gawin stressful yung work. minsan kasi inaako na natin
na pamilya na natin yung trabaho natin, hindi, dapat may buhay tayo
pagkatapos ng trabaho.
Matthew: Uhmmm sa mga external partners po and other people outside the
institution, paano po ang methods of
Lino: Usually, exchange deals. Para kanware paggawa ng TV plug. Ano lang,
branding lang. Part sila, sponsor sila ng Cinemalaya. So wala kaming
binabayad, kanware yung Sachi, sino ba yung nag-produce ng TV plugs
namin... ng Cinemalaya ah, libre. Pati yung Samsung? Libre din yan. Yung
Canon, libre din yan. Ang projectors namin, libre din yon. Isipin mo, dahil lang sa
kasama kami sa Cinemalaya, partner kami ng Cinemalaya, big deal na sa
kanila yun.
Matthew: May na-maintain po kayong..
Lino: Oo, may ganung klaseng ano.
Matthew: Mahirap nga pong magsabing how do you shape your audience. Lalo
na po't may audience na po kayo now po. Pero, how can you shape an
audience, or how can you improve this number of ano...
Lino: Siguro, balik ako dun sa sinabi ko. Kung katulad din ng bata na, kumbaga
yung pelikulang nagrereap ng awards sa ibang bansa ay napapanood natin,
kasi hindi eh. Di ba hindi? Itong mga films ng Cinemalaya, kung mapapanood
din sana nung mga batang nasa Ilocos or nasa Dapitan, or nasa Dumaguete, or
nasa Morong at Samar or san man, may equal din. Ang swerte natin, taga-
Manila tayo, sobrang accessible sa'tin. Kaso hindi. Dun ko makikita yung oh
finally, kasi in a bigger scale, hindi naman yung art form eh, hindi naman yung
Cinemalaya ang tinitignan namin. On a bigger scale, tinitignan namin yung
Pilipino ka ba? Makatao ka ba? Makadiyos ka ba? Makabayan ka ba? Kasi in
the end, yun naman ang fulfillment mo bilang artist o bilang manggagawa sa
sining na di lang nagustuhan yung artwork mo kundi may kinalaman yung
pelikulang nagawa mo sa pagbabago ng buhay mo, o pag-iinspire sayo. So
feeling ko, yun yung gusto naming mangyari bilang cultural worker na ang art,
hindi siya kakaiba. Kumbaga ang art ay kasama natin araw-araw sa buhay
natin.
Matthew: So, what are some ways the institution used to regulate ang satisfy
audience need and satisfaction and expectations also.
Lino: Regulate? Feeling ko wala naman kaming... We regulate because sinasabi

naming PG to o kaya... but because we exercise artistic freedom, we exercise
freedom of information, so lahat pwede. Lahat accessible, dapat ganun. Dapat
lahat kaya nila, dapat ma-educate sila.
Matthew: So do you think, more varieties will be advantageous po sa

pagdevelop sa relationship niyo with your audience.
Lino: Oo dapat ganun lagi. Atsaka alam mo who's your audience. Yun muna
dapat eh. Tapos ah, lagi kami, pag-gagawa kami ng program, dapat inisip
muna namin, ito lang muna ang kaya. Pasay City muna tayo. Di muna kami
lalabas. Ito lang muna. Tapos dedevelop namin yun. Tapos pag nakita namin
na kaya, oh Malate area naman tayo. Siguro nagsimula naman ang
Cinemalaya na CCP lang muna siya eh. Tapos, kunan na natin ang Ayala.
Kunan na natin ang ano. So ganun kami. Para i-test muna namin. Is it working.
Manageable ba? Parang ganun. Parang Pasinaya. Pasinaya nag-simula lang
naman yan ng isang araw lang eh. Ngayong two years na kami, dalawang
araw na. So may workshop kami, may palabas. So, ganun namin ginagawa
yung project. So binubuo muna namin kung kaya. Kung manageable. Mahirap
kasi yung bigla kang may pangarap ka ka-agad tapos di naman malinis yung
pagkagawa.
Matthew: Kamusta naman po yung relationship niyo with your audience?
Lino: Oo nga. Minsan nagpapa-ano kami. Dahil siguro, under-staffed, di na

namin natututukan unless friend nila ako sa Facebook. Ganun. Pag-hi sir, hi
hello. Ganyan, kamusta po? Yun lang. Pero minsan kasi, ang ginagawa ci-no-
count lang natin yung audience. Pinapapirma lang natin sila sa registration
form, kinukuha pa natin yung address, di na namin nababalikan. Feeling ko yun
rin yung sa point namin na dapat balikan. Dapat may constant communication.
Di dahil hinihintay namin yung ikaw ang lalapit samin na "Sir, ako yung nanoood
dati nung ano." So dapat two-way din. Feeling ko yun yung kulang samin. Di
namin nababalikan, dahil siguro understaffed din kami. Daming patong-patong
na trabaho. So kailangan may gumagawa para dun sa. *coughs*
Matthew: So how do you handle misconceptions po between your audience?
Lino: Ganun talaga. May mga two side of a coin. So basta faithful ka lang dun
sa ginagawa mo. Dapat kasi pag may project ka, may truth about it eh. So
kapag may misconception. Mag-fafalter na, mag-fafail na naman yan eh. So
kung ano yung ginagawa mo, dun ka sa ginagawa mo. Kung panananindigan
mo siya. Ano parin yan. Magstastay pa rin yan. Cinemalaya, nandiyan pa rin
yan. So, totoo ka dun sa ginagawa mo, sa objective mo, truthful ka. Pero once
kasi na pinatungan mo ng iba, dun babagsak talaga.
Matthew: Sa paggawa po ng messages, ano po yung tingin niyong kailangan

isipin before making one?
Lino: Sandali ah. Actually di ba dapat, alam ko S-M-C-R, yung communication,
yun dapat. Well, ano muna yung objective ng institution? O ano muna yung
objective mo muna bago mo i-communicate sa audience. Of course
importante kung sino yung target audience mo, pero importante yung content,
ano yung idea. Di ba? Ano yung idea? Pinaniniwalaan dapat yung idea na
ginagawa mo. Kaya mahirap sa ads. Problema kanware yung mga nag-
wowork sa ad agency. Content writer. Paano kung di napunta sa kanila yung
gusto nilang idea kaya ang turn-over sa advertising mabilis. Kailangan pag age
forty ka na, mag-retire ka na. Yun. Gamit na gamit na yung utak mo. Idea! Idea
lagi. Content lagi ang nagmamatter.
Matthew: Ano po yung agenda ng CCP or Cinemalaya na na-a-adapt niyo sa

most of your outputs?
Lino: Artistic excellence. Lagi lalabas yan. Kasi pag polido yung gawa. Pag-
artistically, kailangan aesthetic creativity. Nandiyan yan. Susunod na yung ano
eh, nurturing audiences. Susunod na yung appreciation with the Filipino, yung
ganun. Yung identity, susunod na yan. So dapat, excellent. Laging strive for
excellence. Wag mediocrity, diba? Alangan namang ibenta mo yung oh sige.
Kanware, Madrigal singers, di naman sila nagsimula na Madrigal singers. Ensayo
sila nang ensayo. Yun yon. Feeling ko yun yung nakukuha namin. Atsaka, lagi
kung mag-fail. Di tumayo. Wag masyadong lingas-kugon pag nagkamali at
feeling mo tatapak-tapakan ka na, hindi. Process lang ng learning lahat ng yan.
Matthew: Uhmmm, final question po.
Lino: Natapos din. *laughs*
Matthew: Ano po yung plans niyo for Cinemalaya 2018 na tingin niyo po
Lino: Yung binigay kong recommendations nung nag-evaluate kami is ang

gagawin namin sa Cinemalaya congress, gusto namin, ilabas na sa campus. So
parang a month before, gusto namin i-orient o parang i-boost yung mga
schools na i-appreciate. Either ipa-screen namin yung short films a month before
Cinemalaya begins. Para meron silang, na-ano mo na yung spirit nila. Meron na
silang... Kaysa dito gawin, andaming ginagawa pag-Cinemalaya eh. May
congress, may ganyan-ganyan. Gusto namin, a month before, ang Arts
Education, since part naman ako ng audience development division, ano na
kaagad, i-labas labas na namin yung ano.
Matthew: For accessibility po.

Lino: Oo. Mag-invite kami ng artists, mga filmmaker. Kausapin mo sila. Kasi pag
filmmaker ka, di ka lang naman communicator, kasi may mga artist na hirap
magsalita. Understandable naman yan. May mga artist naman na magaling
magsalita, di naman maganda ang mga gawa. May mga teachers na ganun.
May mga artist teachers kami. Ayun, maganda kasi kung pag-interact. Sa pag-
inteact, nag-cecreate ka ng nucleus ng stimulus para magkaroon ng maraming
response. Pag nagkaroon ka ng maraming response, makaka-create ka ng
malaking impact. So ayun. Yun yung gusto ko sana mangyari, kasi yun yung
pinropose ko na sana mangyari na sana sa labas na yung Cinemalaya campus.
Matthew: Sa festival po, ano po yung tingin niyo...
Lino: Ang tingin ko naman sa festival, may mga... mahirap lang samin dahil wala
nga kaming pera. So maganda sana kung may satellite siya. Nangyayari siya
habang nag-fefestival sa CCP. So kumbaga may nangyayari sa bandang Bohol
o Ilo-ilo, o bandang Davao. Kahit city-wide muna. Bandang Ilocos. Na ganung
Matthew: Medyo nationwide.
Lino: Oo. Medyo nationwide yung ano, na kahit di gawin sa mall, meron sa
schools okay lang yung ganun. Yun yung gusto naming mangyari sa
Cinemalaya.
Matthew: Bale, yun po yung interview namin po. *laughs*
Lino: Ayun. *laughs*

Vicky Berlarmino (Film Festival Coordinator, Cultural and Arts Officer)
Matthew: we would like to introduce ourselves first. I'm Matthew Escosia
Pauline: Pauline po
Dennis: Dennis po.. Dennis
Angelica: Angelica po
Angeloux: Angeloux
Vicky: oh, Angel.. The Angels
Vicky: I’m Vicky
Vicky: Yung daughter ko kasi Angelica
Vicky: How old are you iha?
Angelica: 21 po
Vicky: you are 10 years younger than my Angelica
Angelica: (laughing)
Vicky: Pero may Angelica rin kami sa taas.. Angelica Mae
Angelica: Ang dami
Matthew: Ang your position po?
Vicky: I am the festival coordinator ng Cinemalaya. Officially, I am Cultural and

Arts Officer of the CCP. Yun yung mga titles dito. Sa mga divisions, Cultural and
Arts Officers, this being the Cultural Center of the Philipppines kaya Cultural
officers ang mga officers ang mga employees
Matthew: uhmm. yung anoo. yung mismong thesis po namin is about

institutional processes of institution which is the Cinemalaya ohr theCCP. Yung
study po namin would be limited to how the organization or the institution
structured, and their agenda through messages, as well as yung patron
relationship po between the festival and the patrons. Can you give me a
background of the... mismong institution po.
Vicky: Institution when we say kasi institution, are we talking about the CCP or
are we talking about the Cinemalaya? to focus ano ba talaga..
Matthew: Cinemalaya
Vicky: Kasi yun.. the institution is the CCP, the program is the Cinemalaya.
Background? Alam mo hindi ko na yan ikekwento kasi you can read alot about
cinemalaya in the library, or you can get it in cinemalaya.com, you can get
alot.. i Google niyo yan, you can even go to the library take a look at the book,
have you seen it?
Matthew: Yes po
Vicky: Making Waves, or you can even buy your own copy.. meron nyan sa
national. I hope, but kung ano.. andyan, meron rin dyan marketing namin,
hardbounds. Very Cheap. 700 lang ata, hardbound na yun. So, I dont have to
dwell on the background history, You can do that.
Matthew: Just to clear things, Medyo naguluhan po kami in partner with CCP
po.
Vicky: Ang alin?
Matthew: Yung Cinemalaya Foundation po
Vicky: Cinemalaya Foundation is a private institution. it is, ahhm, yung mga

members ng private institution, on their personal capacity. Personal capacity
ibig sabihin although member din doon yung the former CCP president si Mr.
Nestor Hardin, si Mr. Sanchez members din sila but on their own personal
capacity.. yan. Because nabuo yung foundation or Cinemalaya, ano yan eh it
was a group of institution uhm, fueled by the ano noon ni Mr. Cojuangco,
develop content for it channel it on the book, you can read more about it. Kaya
naman nga at that time, yung mga organizer ng cinemalaya noon was the
FDCP, CCP, UP Film Institute, lahat yan sila naging member ng.. para silang
founding member ng Cinemalaya Foundation before it wa formed.
Matthew: Pero its not necessary Owned by.. cinemalaya
Vicky: Hindi siya CCP. It’s a separate entity.. Ang CCP ay, kasi nga.. noong
nabuo siya.. naconceptualize naman na dito gagawin yung festival kaya
naman naging talagang major ano ang CCP dyan.. Major player. When you
say Cinemalaya it's CCP. Parang alam mo na yun na it is also a CCP. Then
eventually it really became the flagship project... program of the CCP which is
directly under our unit… our division department. Our department kasi is the
production and exhibition department. And our division naman is film broadcast
and new media so kami yung ano secretariat ng festival.
Matthew: uhm, I know this I online but I want to hear it from you.. ano po yng
branding ng cinemalaya foundation. When you say Cinemalaya,ano po yung...
Vicky: Kayo?? throw the question back to you. What do you think of
Cinemalaya? when you say Cinemalaya, what is it that comes to mind
immediately?
Matthew: Free cinema
Vicky: hm, see! you are answering your question. So i dont even have to..
(laughing)
Matthew: (laughing)
Vicky: Diba? ano yan kasi.. Pagtinanong mo ang mga taga cinemalaya or taga
CCP ng question na yan, diba parang naman nagbubuhat kami ng bangko.
So pags ganyan, we normally just throw back the question to the one asking
kasi you should tell us what you think of the program
Matthew: how this branding or agenda..
Vicky: We did not create that branding or the perception, its really the people
who eventually naman uhm made the correlation between the yun na nga,, yun
na nga, when you ay independent cinema it should be cinemalaya,, bakit? kasi
nga.. eto na nga, di sa pagbubuhat ng bangko uhm i guess we can really ay
na ang cinemalaya or CCP ang nagpasimula naman talaga ng pagbibigay
buhay uhm to cinema which wa dying or dead at that time or the Cinemalaya
on 2004. The first festival was done in 2005. pero yung sympre ung
pagcoconceptualize was 2004 yan and immediately after uhmm lumabas ang
cinemalaya, sumunod na rin si cinemaone and we alays made fun of it kasi may
trivia yan e, nung nung nilabas na ng cinemalaya yung mechanics to the
competition and festival etc.. eto rin si cinemaone naglabas din ng kanyang
announcement, ng kanyang mechanics, which is completely, almost the same
ours... At kaya namin nalaman yun, even the typo errors nandoon, namin,
ahhhh yung intial release namin ahh talaga naman ang cinemaone, ginaya
talaga tayo. Pero we took that as a compliment kasi alam mo sigena nga gusto
mo rin, sige na nga. Gayahin mo kami sige, yun lang ang nakuha niya ung may
mali pa. Yung mga initial release na may mali, may typo. Oh edi hashtag alam
na.
ALL: (laughing)
Matthew: does the agenda of institution affect your anoo.. your work practice?
Vicky: Ah again, institution.. you are referring to cinemalaya?
Matthew: yes
Vicky: what do you mean by affect?
Matthew: uhm does.. kunyari parang yun nga ung nasabi ni Sir Lino last time,
artistic excellence yung pinapublish nila na messages also adheres to the..
Vicky: yah everything naman has to ahh.. i dont know if you have seen it..
andoon sa may.. saan na ba kayo nakarating dito sa CCP although andto rin
naman sa same floor.. but if you go to the wooden door, andito ung CCP
mission and vision, makikita niyo naman doon ung artistic excellence, promotion
of the arts ganyan ganyan.. andun yun. So lahat yun, un din rin naman ang ano,
dun din naman din ang ugat ng pag adapt ng CCP ng Cinemalaya. It's because
of our mandate ng discovery promotions, support , ganyan ganyan. May
mandate kasi ang CCP sa ganyan. To develop and to support arts and artist,
sympre naman (garble) and its because of that mandate kaya nasuportahan
ang cinemalaya, So yes everything naman ay nagsisimula doon sa mission
vision na yun, but of course ang cinemalaya rin ay nagset rin ng kanyang
sariling vision mission. Again, you go read souvenirs program don sa library and
you will.. andoon yun, andoon yun.
Matthew: Pag usapan naman po natin yung workplace ng cinemalaya

foundation, paano po ang process po don? How are the personalities inside the
office?
Vicky: Ahh so meaning the office? what do you mean by the office?
Matthew: Paano po ung process dun? Is it very hectic po doon or very calm
lang po ang procedures?
Vicky: Sige pumunta kayo dito minasan para makita niyo kami. Kung ano. Wala,
its a happy workplace, generally, dito sa CCP, ano naman.. wag naman yung
talagang toxic na yung ano,kahit naman festival period alfred diba masasabi
mo ba? di naman tayo nagsisigawan diba.. Wala naman ganon.
Alfred: di naman
Vicky: oh see, its a happy and ano naman na workplace and we've learned
naman.. matatanda na kami jusko lord. We've learned to work around each
other. By sickness and by health. So kesihodang may mga hindi dumarating na
pelikula, or andyan ang pelikula walang KDM, yung mga ganyan, or disila
nagpleplay mga ganyan ganyan, oh wala pala audio, malalaman mo at the
last minute, ano na kami, through the years jusko naman mag fifiteen years na
ang cinemalaya. We've learned na to work all around those kinds of challenges.
We call it challenges. They are not problems. Sa mga pinagdaanan namin a
ibat-ibang klase na events or festivals ith all that matter. Alam na namin kung
paano sila sayawan but ofcourse sa process naman ng ano.. wag na natin pag
usapan ung mga interpersonal relationships ng mga tao napapatakbo, ahh
normal naman na there are low days.. pero ano lang yun.. it's all part of the
package uhm pero as we always say dito kasi sa CCP laging may himala, yan
ang favorite ng.. laging may himala, pagdating ng showtime.. ay walang
nangyari, hindi niyo mahahalata na mayroong problema here and there basta
may makikita kayo, basta it's showtime, its showtime. Bawal ang ano.. thats how
it is, thats how cultural work here. Or work with that matter, kahit ano pa ang
mangyari pa.. if it’s time to show something, whether if its live performance or
maybe even a presentation for your purposes. Dapat di nila mahalata na shet
wala pa akong tulog
All: (laughing)
Vicky: kasi kami pag festival period, we literally open and close the CCP but the
next day, ayyy! 8am andito ka na ulit di pede ano.. kasi beautiful kaparin, bago
nanaman kakausapin mo, may iprepresent ka na ganito so yun. Its ano talaga
yan, graceful management. Kasi kung di ka marunong lumaro ng ibat-ibang
challenges, edi wala, ikaw ang deds. And we can't afford to not show
something so the show must go on un talaga yan.
Matthew: ano po ung mga common practices inside of your office po?
Vicky: what do you mean by common practices?
Matthew: yung tingin nyo po ah..
Vicky: is it related to the festival or the way we do our things everyday?

common practice? ano simulan ba natin sa umaga ba ito?
so habang nagkakape palang ay naguusap usap na.. another practice,
magccr kami, dun kami nagmemeeting sa CR oh normal ba un? diba? ano
yan.. and then we have lunch together, hindi kami kumakain sa canteen,
kumakain kami sa office because there's no noon break in the government. But
no, it's not about the no noon break policy but its about yun ang nakagawian
and thats how we bond yun..
Matthew: what sets cinemalaya festival last year to the previous editions?
Vicky: oh my god thats 13 years ago, gusto mo irecall ko?
Matthew: or what are the new things that you implemented last year?
Vicky: ano nga ba bago last year? i dont even remember... ganito na lang.
simulan na lang natin noong early years ng cinemalaya on 1how we progress
up to now. When we started the cinemalaya, dito lang yan a CCP, there were
only 6 shorts and dahil hindi pa naman.. nagsisimula palang umusbong
noondigital filmmaking, iilanpalang ang gumagawa nga so therefore, sa very
first cinemalaya 2005 niwala kaming opening film na maimbita sa organizer
decided na osige rather than showing any of 10 films na finalist sa competition
na full length ang ginawa naming opening film was the 6 shorts, sila yung
nagopen ng festival noong 2005 and then by that time, hindi pa naiintindihan
ng tao.. ano nga ba ang independent cinema na yan? i think 2005 yun, i think
beginning 2007 dyan kami sinimulan lapitan ng mga ad agency and they
volunteered to developed advertising and promotional campaign for
cinemalaya for free. Ang amin naging partner na creative, naging creative
consultant that time was Lilit Reyes, siya ung may kasalanan kung bakit ung
mga panahon na un.. there was a time na meron pa kami mga shorts, may
mga trivia pa about independent cinema you try to look for dyosa, si Anne
Curtis yan, meron siyang ginawang short film, meron din si Ina Feleo ang
paghahanap kay Ricky Davao parang ganon, idol nya kasi i Ricky Davao so she
wanted to see him in person at looking for Ricky Davao and finally meeting him.
Meron din si.. ung ginawa ng abracadabra, si Erik Matti, Kandelabra ang title.
May year yan na ang daming shorts na nabuo, parang yan 1 year lang ata
yun..uhm, meron din na year na yun, dinedefine pa noon yung independent
ano.. si love, the long and short of love?
Vicky: Naka-app ba yon alfred?..... oo meron yun e na ginawa din si Love Diaz.
And ah the other ahmmm directors, may ginawa wilang mga trivia noon for
cinemalaya. Aside of course that’s for the ano the APP’s. Meron din yung,
meron din kaming kapartners, yung sa graphics... was doing for CCP and
Cinemalaya for free for how many years now and that ano graphic agency is
the DNC..... sila din ang gumagawa ng lahat ng mga ammm posters, graphics
ng PPO Philippine GARBLE Harmonic Orchestra. So yung mga ano yan ng.... o
eto yan, gawa nila yan... sila rin ang, ang..... nagbubuo na nyang mga anong
yan decade of connecting dimension that was on the 10th year. There was na
year na..... although on the 5th parang sa 5th year palang ng sinimulan yung
iba’t ibang.... alfred meron ka ba ditong file ng mga souvenirs programs...
whatever you have patingin nga............ Ayan, full force 2012.... oh synergy of
the senses.... yan yung mga taglines. Ay parang pare-pareho lang pala ‘to
alfred. O eto yata on the 7th year e, see the unseen. So, yan mga samples lang
yan ng mga kini-create na taglines of course with the coordination or organizing
committee. Ah we sit down with PNC, we also sit down with the creators of ad
campaign to conceptualize kung ano yung possible na tagline for the year na
ini-implement and from the tagline then.... nanganganak yon, it’s a very long
process magppresent sila ng concept nila, and then hahanapin kung ano yung
common na ano doon and then after them tsaka naman yan ipapasa doon sa
nagccreate ng ad campaign. Tapos sila naman ang magcoconceptualize
(haha) and then they show us their story board, they approve tapos tsaka nila
iiimplement e yung pag produce palang non e ano yun.... it’s a long GARBLE
and very expensive process e kasi kesa hodang 1 minuter lang yan ang mahal
kaya ng production cost non ahhh, yung naging controversial din, very
controversial was that last year, yung kay ahhh Jun Sabayton and Edu
Manzano. Last year ba yon alfred, or the other year?
Alfred: Ano po yun?
Vicky: yung... the other year yata
Matthew: yung may make-up po si ano.
Vicky: yung si ano... si Jun Sabayton tsaka si Edu
Alfred: Ahh yung ano yung
Vicky: Ano ngang title non?
Alfred: Laban
Vicky: Laban oo basta yun hanapin nyo din sa youtube yon. (Laugh) .... na
parang inano nila... they were hitting on the its a fearical campaign e na ano
na they were trying to make a statement comment and the ano na nako yan
na naman lagi nalang nananalo yan... kahit matanda na sya puro bata yung
leading lady nya diba may ganong take?
Angeloux: opo
Mattew: Yung sa 2017 po see the bigger picture
Vicky: See the big ah picture
Matthew: ah how does it ano come ended to that tagline po?
Vicky: Ganon din it’s the same process nya na ahmm ang ang una dyan is
nangyayari na kasi na we sit down with them ahmmm tinitignan yung line up ng
films na GARBLE...... ayan ayan ba yon? Sige nga ipakita mo. Yan ba yung the
big picture, see the big picture. Ayan yun oh tignan nyo yung production
process nyan......
*A Cinemalaya AVP entitled “LABAN” plays*
Angeloux: Galing
Interviewee (LAUGH) ang cute
Vicky: So yun yung campaigns kasi na yan e ano yan e those are some sort of
panggising din kasi sa audience e..... ahh cause we have to make a statement
more or less ahh on the state of ahh philippine cinema and it’s one way of a...
kasi nga yan because ano yan viral sa social media yan nung unang ni-launch
and at the... sa opening yata naka-generate na sya ng million of views just
before we open the festival. Ahhh because nga of this generation is now really
more in to social media kaya ayun diba nagshift na din I’m sure that na sinasabi
na sa klase nyo na nagbago na ang landscape ng advertising. It’s no longer
just... TV, movies, print, radio. Hindi na yung trimedia ang ano ng ano e
nagbago na yung landscapes so there.. nagdedevelop na ngayon yung mga
bagong scheme to.... you know to attract attentions.. either distract or attract or
whatever. Ang importante ay, we are able to say a message to the public na
yun naman ang gusto naming mangyari.
Matthew: ahhmm how does cinemalaya come up with a new set of or updated
set up rules and strategies of their festival?
Vicky: Ahm we dont come up for new rules everytime. It’s always the same rule.
Matthew: Since the beginning?

Vicky: Yes and we have a more or less. I guess we are able naman to am
reserve that ahh ano ng integrity ng Cinemalaya, ahhm andito yan yung
sinasabi ko sa inyo na tignan ninyo..... at ah don sa speech merong isang year
doon na inano na nagsasalita si Louis Guillermo. Ayan oh tapos Cinemalaya
Foundation was establish for the following purposes to help develop and
support of production of cinema, the works of Philippine Independent
Filmmakers eto yun. These are the keywords ah that boldly articulate and freely
interpret the Filipino experience with fresh insight and artistic intergrity. To
discover, encourage, support, train and recognize different Filipino Independent
Filmmakers. To promote independent films, locally and internationally and to
establish a network for exchange communication and cooperation among
members of the Independent Film Sectors. And the project of the foundation is
the film festival and competition. So ayun, yan palang sa ano nayan dyan
GARBLE ang existence ng Cinemalaya. Introduction, yun support ng ano ng
foundation through the
Angeloux: Filmmakers
Vicky: Production of ano, na naka-ano don sa core value ng ano talaga.
Matthew: How about negative reception po, how does Cinemalaya deals with
that
Vicky: We dont, we dont even answer that’s how it is.... it was and GARBLE until
now.... ahh kapag may dumadating na mga ganon, ahhh we just take them
and try to move on from their.... madami ng ano yung mga issues noon. Ahhmm
nakikialam sa mga castings, sa ganito, ganyan ganyan. But in the end itong
yung mga filmmakers naman e ano they comeback to us and say, you know
what buti nalang nakinig ako sa Cinemalaya kasi if I did not baka wala ako
ngayon dito. So ano lang yun ahmm marami kasi dyang am feeling nila kas
mga bata pa sila and it’s their first project, masyado silang ahmm... ahmm...
possessive sa kanilang mga creation. So feeling nila kapag may mga
suggestions, kasi ano yan e ang Cinemalaya kasi if you’ve read anything about
it yung ano nya kasi meron kaming competition and monitoring committee sila
yung nakatutok sa inyo if you were a finalist sila yung nakatutok sa inyo, giving
you inputs kung paano mo gagawing maayos ang iyong pelikula. At some
people they proceed it another way na yung ahmm pakikialam or mabe
suggestions na binibigay ay talagang ano nga ahmm talagang literal na
pakikialam na. E ang ano lang naman dyan e tinuturu... tinutulungan kayo o
sinasabihan nila kayo na Oh baka gusto niyong iconsider ito... pwede mo
naman sabihin na ay ayoko, ito lang talaga gusto ko bakit ba problema niyo,
diba? Pwede ka namang gumanon, pero pwede ka ding makinig at diba
pwede mo naman gawin yung mga sinusuggest sayo kasi nandyan naman
yung mga ano e nakatatanda para naman ah bigyan ka ng suggestions para
lang maayos, maging mas maayos yung iyong output. So those are some of the
wala pa namang super negative issues na thrown our way that we have not
GARBLE na kailangan talaga ng bonggang wala naman wala namang ganong
issues. As far as we are concern. Pag may mga ganon we just GARBLE internally
and talk to the people concern..... yon but we dont go out to the media.
Matthew: ahmm how was the relationship of your organization to local

filmmakers
Vicky: I dont know maybe you should ask the filmmakers but sa filmmakers
namin ahmm ano naman sila I guess they are all greatful naman sila to than
being part of cinemalaya and everybody especially the first timers ang lagi
naman nilang sinasabi ay itong material na ito ay I’ve been developing it for
years, and I really made it specifically for Cinemalaya. I want to be for
cinemalay na for anything else and ahmm You better ask them ang ano dyan is
kasi naman kahit na natapos na yung festival we continue supporting them in
whatever way we can for example, pag may mga festivals abroad na mas
kilala yung CCP at lumapit sila at nagtanong samin, o edi shempre ang una
naming ipopromote ay ang Cinemalaya Films. May nga suki na kaming ilang
festivals na yearly ay nagrerequest ng Cinemalaya Films for consideration to
their festival. So yung ganon yung, hindi natatapos yung support ng CCP at
Cinemalaya sa festival period. We continue to somehow nurture mentor and
support them even after kasi nga that’s how it is yung ano kumbaga yung
support mo sa mga filmmakers especially for the films na hindi naman naging
asing popular ng mga ibang pelikula kasi shempre sa sampung pelikula minsan
may mga ilan dyan na hindi nagshishine.
Matthew: ah eh can you cite us some strengths or or weaknesses of your

organization
Vicky: naku, ang strength of course is the films kung magaganda yung pelikula
aba e syempre maganda kami (laugh) sa lahat ng aspeto diba. ang weakness
again nag iistart sa pelikula (laugh) kung mga chakanes sila oh edi ano din
malamlam din ang audienceship yan. ahm... organizationally, until now ang
struggle although it's not really within us or among us yung ano e kasi may
ngayon may tinitignan nga kaming ano aspeto, ano bang problema bakit bakit
tayo nag babackout. dumaan na sila sa proseso dumaan na sila sa process of
selection etc etc. tapos eto nalang gagawin na yung pelikula bakit para
kayang di sila makakuha ng tamang co- financier bakit ganun so that a set
back, we are trying to yun nga find a way to help them more or what pero
ngayon ang talagang ano is cope with action, ang hirap, hirap ang filmmakers
to find additional findings for their films kasi the government naman as being
government kasi nga yung seed production branch ay nanggagaling nga
ngayon sa government so kailangan din pangalagaan namin, ccp being a
government agency yung pera na yan na pinagkakatiwala kasi pera natin
lahat yan. baka magalit naman si mang juan kapag di natin mapangalagaan
ng maayos yung pera niya diba so yun naman pinaiintindi namin sa filmnakers,
but there's a lot more challenges na that happens behind the camera before
the films are shown na yung iba naman ay internal processes nalang but hindi
yan di naman involve masyado yung mga filmmakers ahmm it's really our
internal processes rin na yun na nga yung pag ano pag proseso ng funds
because nga ang finance namin ang tingin nila doon really a funding na
kailangan mabusisi yung ano bago maibigay sayo yung two hundred thousand
pesos mo ganun. so, but otherwise wala namang malalaking problema if u
want call it that way that we are facing except yun nga maybe its the ano din
na ang dami dami ng film festivals ngayon and they would have a lot of
options. baka kaya although we are still sursprise na ang short film entries namin
is still amount of to ilan nga ba hundred sixty one ay no hundred sixty two pala
may humabol, hundred sixty two entries this year for shorts last year was one
hundred seventy four ngayon hundred sixty two entries tapos magiging sampu
lang yan pagdating ng festival. so that's how stiff the competition is, oo, kaya
although sinasabi nila naku baka ano na tayo kasi nagdedealinw kami
nagdedeadline si CineFilipino e ang mga filmmakers ngayon para silang ano
nagshoshopping na rin ng festivals
Matthew: iniikot po nila lahat
Vicky: uuhm . iniikot, iniikutan nila lahat that's ano naman pwede.
Matthew: ahm we learned po kasi to our passed interview na ano na

specialized po yung jobs sa loob ng ccp or cinemalaya ahm how do you
distribute works po inside the
Vicky: ahhh! kanina nga I mentioned that we are the division is called film
broadcast and new media. so yung division namin ang primary concern lang
niya ay lahat nga ng film related projects programs yun lang yung focus namin
and cinemalaya nga is the flagship program ng division. we also have our
gawad yung gawad ccp para sa alternatibong pelikula at video is the longest
running ahmm competition festival of students work. diyan nagsimula halos
lahat ng namayagpag sa cinemalaya ay lahat ay nanggaling sa gawad ccp.
when gawad ccp was doing it on film in the early days thirty five millimeters
sixteen millimeter pa yung mga gamit na pelikula from and then vhs betamax
yumatic to betacam to digital yan ang gawad dun nagsimula ang lahat. so
bukod ang cinemalaya because of the ano nga cycle of ng processes
Permanente na yan na ginagawa namin ahm kasi nga nasa amin ang
secretariat so we still have the gawad and we have the archives we have the
ccp art house cinema so all things audio visual kami ang in charge doon. sa
ccp kasi ah in the early days after the ahh after the marcos administration nung
nagkaroon ng re-organization nag create ng iba't ibang coordinating centers
for the arts. during that period ang tawag sa film broadcast and new media is
coordinating center for film there was also a coordinating center for literature
for traumatic arts for dance, music, etc etc. so by the name itself, kung ano ka
kung film ka edi film lang ang ano mo wag ka nang makisawsaw sa iba
although of course nung araw merun din kaming workshops we also implement
workshops but after again after yunf rationalization program nagkaroon ng arts
education department so most of the workshops sila naman ang nangangasiwa
so kung ang workshop naman nila ay tungkol kunwari sa pelikula or music or
dance then they get experts from the different films ganun lang yun ganun ka
ahmm kaya siguro nabanggit yan ni Lino yung specialization is such that ganun
nga kung pelikula ka edi pelikula ang hawakan mo kung dance, music ka edi
yun ang focus ng iyong ano para kapag kunwari career pathing din yung mga
empliyado ganun ang, was like me for example ahm when I move to film I went
into film archiving , film archiving is the aspect of film na you look after the
preservation, conservation of your holdings of your materials. so ganun yun ,
ganun siya ka- specialized in that way na nakafocus ka sa field na yan e ang
dami-dami naman kasi aspeto ng isang art form diba di lang naman it's not just
the ano the the discipline of just show it there that's promotions o pano naman
yung preservation niya so you have to ano madaming aspeto ng
pangangalaga or pag support pag promote ng iba't ibang klaseng ng art
forms for film for that matter e cinemalaya is our ano.
Matthew: Ahm as an organizer of the festival how would you rate the
satisfaction of audiences towards cinemalaya last year.
(How would you rate the satisfaction of the audiences towards Cinemalaya last
year?)
Vicky: ang hirap kayang ano yan ang hirap yatang irate yun. ang masasabi ko
lang diyan ay tignan nalang yung ahh yung number of audiences na
naggegenerate ang festival every year so from the first festival na nasa mga
five thousand lang ata kami nun o six thousand to last year which is about what
eighty five thousand ata so diyan mo makikita na na nag iimprove.
It’s the number of audiences that generate the festival every year. Our first year
had five or six thousand audience count, while 2017, we had eighty five
thousand, so you can see it from this data that it’s improving... More and more
people are really patronizing the festival.
Matthew: it's growing...
Vicky: oo, oo, nag iimprove. more and more of people are really patronizing the
festival. sa number of audience nalang yun ang ano yun ang engage mo. ahm
mahirap we have not done a ...study or survey I think the last time we did was
what 2014 yata and may video report yun . umikot yung arts education asking
people on how are they perceive the festival may ganyan may video report.
ahm but lately di pa ulit nagawa yan so yun nga ang gage mo lang talaga is
the number of audience. kasi di mo naman masasabi ahh effective ba ,
naintindihan niyo ba mahirap intindihin yung study na yan . its more in depth
study dapat mong gawin.
Matthew: how do you start planning the festival for the future editions
Vicky: as i've said it's a never ending cycle. okay, let's start with the end of the
festival. the festival ends usually mid august kasi ang festival is always in the first
week of august, ten days yan. so, this year is august 3-12. sa awards night doon
inaannounce yung opening of the next festival. so diba awards night yan
august 2018 iaannounce niya na... oh i'm sorry, nabago na pala yung cycle. sa
awards night for the second year namin to ginagawa sa awards night ng
august 3-12 pala august 3-12. sa august 12 ipepresent na sa public yung 2019
finalists. which means that yung selectionnng 2019 naganap last year pa.
sinimulan silang iproseso, last year pa. so ang and then ipepresent yung 2019
and then iaannounce yung opening of the next cycle meaning yung 2020. so
two years ang process so 2018 presentation of 2019 finalists and opening of the
next festival. the first deadline is usually kung august 12 yun the first deadline of
submission of your synopsis and a full sequence treatment is sometime october.
and then ititrim down yan to a siguro from the first submission ikakalat yun sa
mga selection committee by sometime december may semi-finalist na . and
then magkakaroon ng one on one interview of the semi-finalists. after the one
on one interview of the semi-finalists which happened last week lang ahh. after
the one on one interview trim down sila ulit to about fifty and then dadaan sila
yung fifteen na yun yun na yung magsusubmit ng kanilang full script. oh so
ipoproseso sila ulit para maging ano naman sila naman maging next set of
finalist for the following year so its a never ending work. habang, habang
pinoproseso namin or sinasara yung 2017kasi 2018 tayo ngayon ano. habang
sinasarado namin ang 2017 festival sinasarado meaning nagbabayad kami ng
mga suppliers ng nakaraang festival prinoproseso yung mga naiwang
requirements sa mga filmmakers 2017 nagsasarado. prinoproseso kasama yung
2018 kasi sila yung isusunod na ipalalabas diba habang nagsisimulang pumasok
na yung requirements ng 2019. so yung trabaho namin sa secretariat diba
parang tatlong ano yun tatlong taon 3 sets of filmmakers kaya minsan nalilito
nga kami. sino ka nga ba ano nga bang ano minsan ano nga bang film mo kasi
its a never ending cycle. kaya di siya madali nakikita niyo kami parang petics
lang kami ahh hindi aah (laugh) magaling lang magdala ang mga tao( laugh)
oo kaya those two ladies na nakitaniyo doon eto akomay isa dito may isa dito
those are tawag na nga mga contractual yun na hinire ng cinemalaya and
ang kanilang orimary function is really focus on cinemalaya matters kasi kami
yung organic employees ng CCP meaning ang trabaho namin di lang
cinemalaya merun pang lahat ng aspeto ng pagpapatakbo ng programs ng
ahh ccp on films kami yun but those two ladies ang focus lang nila is
cinemalaya secretariat yun eh. kasi di naman kaya ng powers namin jusko lord
wala na siguro hulashulas na beauty namin pagka kami lahat ang gagawa
nun. e nung araw nagsisimula nag cinemalaya my god i am here on a
saturday sunday ala una alas dos ng madaling araw ako ang nag eedit nito
lahat ng laman nito kami ang gumagawa and then we said tama na. this is not
for our beauty and sanity so we hired someone to do it for us but still yung final
ano nyan titignan rin namin titingin pa rin kami sa final look and content kasi
diba ang dami kayang letra niyan(laugh) so may mga typo diyan wala tulog na
mga lola niyo di na talaga napansin di na talaga maiwasan na minsan talaga
may nakakalusot kahit tatlo apat na mata na yung tumingin di nakakaano pa
rin talaga but that's how it is.
Matthew: during meetings po ba ,what are somethings that are taking into
consideration especially since ano po very hectic yung workplace
Vicky: ano yan, noh we have our regular organizing committee meeting every
month. well that was our ambition hirap na hirap kami mag set ng meeting
because some people are also taking of other important works. ang festival
director kasi is also the vice president artistic director ng ccp yung aming
deputy festival director is also the head of our administrative services
department. so ang dami daming concerns like and then the president of
cinemalaya foundation ah ayun malapit na matapos next week si tiyang at si
emma diba she is the director of that the most popular(laughing)
ano siya show on earth today ang ika-anim na utos so diba mayroon din siyang
sariling buhay kaya my God para maka-set kami ng monthly meeting talagang
ano yan extra challenge kasi we have to ano lahat ng availability lahat ng
mga tao ahmm yun nga because the organizing committee nga is composed
of ccp officers and employees and those people outside although ang outsider
lang naman is of course the monitoring and competition director and that is Mel
Chionglo and si Laurice as the president and Mr. Cojuanco as the chairman of
the foundation. but kung ano kasi diyan during the org comm ano yan e may
kanya kanya kaming toka sa buhay e so the ccp marketing department of
course is in charge of marketing the festival merun kaming media relations in
charge of all the ahm publicity and promotions on print yung trimedia and
social media outlets ganyan sila yung gumagawa ng media plan for the festival
at least yun outside na of our responsibility syempre ang focus lang namin ay
mabuo ang mga pelikula kami yung nasa likod syempre with the help of the
competition and monitoring director kami yun yung pagbuo ng mga pelikula.
It’s a challenge since we have to see the availability of all people since most of
the CCP officers and employees are coming from outside. Our monitoring and
competition director is Mel Chionglo, Laurice (Guillen) our President, and
Chairman of the Foundation Mr. Cojuangco…
iba rin yung kila lino naman sa arts education ang kanila namang hawak ay kasi
during the festival merun namang film forum. so sila naman yung ginagawa
diyan sa theater i don't know if you have attended anybut its a series of a
psycho conference na nao yan iba't ibang topic ang pinag uusapan ahm
concerning the industry at large etc etc . filmmaking last year was ano nga ba
ang topic last year distribution ata yung isa sa focus last year. so iba iba and
then we also do the film financing forum we do it naman with the directors guild
of the philippines may mga partners na syempre sa tagal naman na ng
cinemalaya we were able to develop naman na our networks , partnerships
may mga regular partners na kami. now year in and year out di mo man hingin
ang kanilang tulong ay nandiyan sila parati to assist us to implement the
program yun.
Matthew: What does your organization keep in mind when creating content released
to the public?
Vicky: Ahhh, we actually don't create a content literally because it is the filmmakers
who do that, but we make sure that the contents created are always in the mandate
of Cinemalaya and CCP for that matter.
Matthew: How about yung mga promotional materials po?
Vicky: The promotional materials as I have explained earlier, there are two regular
partners. For the print, it's B + C Design. For the ad campaign naman, we've been
working for the last 2 years na yata gumagawa sa'min is si Leo Burnett, and as I have
said, it's long process. It goes through a series of meetings bago mabuo yung
campaign na ilalaunch for a certain year, and it almost always start nga with
brainstorming session. Ang pinag-uusapan is yung anong pwede nating gawin pag
*garble* ... So, pag nabuo na nila yung, kanware ad campaign, pag napakita tapos
bibigyan muli ng suggestions and recommendations ng Org Comm or the festival
director for that matter, I-te-tweak nila yung material according to what we think is
better for it, hindi naman pinapapalitan or ano. It's a long process, when you get to
work nga with agencies, especially advertising agencies, makikita mo yung proseso ng
pag-present nila ng kanilang campaign, you will appreciate what i'm saying. Ano yan,
ibang presentation niyan eh. Yung simpleng "see the unseen," andami kayang inano
diyan, sinabi naming ano kayang pwede gawin diyan, tapos mag-stostoryboarding,
tapos mamaya may pegs na silang ipapakita sa'yo, ganun. Ang Cinemalaya kasi or
CCP ay we don't really meddle with the ano, as long as swak ka sa gusto naming
account mo, and yung gusto talaga ng mission/ vision ng festival or the people for that
matter. Pag pasok naman doon, wala namang problema.
Matthew: Yung mga strategies po na ginamit niyo po last year, can you cite them.
Vicky: Strategies? For what?
Matthew: Yung mga AVPs po, television commercials...
Vicky: Hindi ko maala---, (to other Cinemalaya employee) ano nga ba yung last year?
Aahhh, si Joel Torre ba yun? Yun yung ma-drama.
Cinemalaya employee: Sa ospital.
Vicky: Oo, yung sa ospital. Yung mamamatay na, tapos di pa pala. Leo Burnett din
yung nag-create nun eh. Ang Leo Burnett kasi, they started working with us way back
when, 2007 ata or 2009. At dahil nanalo sila sa Cannes, sa advertising awards, so
parang na-inspire sila noon, yung mga ci-nreate nila na ad campaign for Cinemalaya,
ano yun eh, may series noon, director, writer, ganyan, kung paano yung
conceptualization happens behind. Pinapakita nila. Yung what is a director. Nung araw
kasi, nung nagsisimula yung Cinemalaya, dine-define lahat yun. We're trying to define
ano nga ba yung screenwriter. Ano nga ba yung director? Ano nga ba yung
cinematographer? Ano ba mga trabaho niya? So may series of ads yan na yung
ginawa nila. Yung iba pa nga, 16 millimeter yung ginamit nila, and they won awards.
So, since then, na-inspire sila to work with Cinemalaya because yun nga, Cinemalaya is
already a brand, kapag sinabi nila sa mga contests abroad, wherever, advertising
competitions, alam na kapag Cinemalaya yan na it's a recognuzed brand yan eh kaya
hindi na siya mahirap i-push sa market although ang nakakalungkot lang, fifteen years
na kami, hindi kami pinapatulan ng mga telcos, meaning Smart, Globe. If you see or
notice dun sa mga ano namin, hindi sila pumapatol. Eh si Globe, meron na siyang
sariling theater. Meron na siyang, nag-ce-create na rin sila ng content, so maybe that's
the reason.
Matthew: Yung mga messages po na ginagawa niyo for the public, sino po yung
gumagawa. How...?
Vicky: Ikaw talaga, babalikan ko na naman ang kwento. Sabi ko nga, si B + C eh.
Diba? We start nga with di ba nga, may finalist na. So what we do is to give the agency
the design, we give the agency them the semi-finalist. We give them the first ano ng
submission nila. The synopsis, et cetera. And then, pinag-aaralan nila yun. They have a
pool of writers. They study the content of that year. Kung sampu yung finalist, pag-
aaralan nila yung ano yung mga lumalabas from the synopsis of the films. Tapos, they'll
go back to us and say, parang ito yung nakita naming common ground. Also sige,
what do they think could be a good tagline for the year based on what you saw. Kaya
nangyayari na iyan...
Matthew: Pero sino po yung may final say dun.
Vicky: Kami. Ang organizing committee. The organizing committee naman is the final
decision maker when it comes to Cinemalaya. There is an organizing committee. There
is an executive committee. So ano naman yan, na-po-progress naman yan kapag...
Matthew: Yung messages po ba, yung content po, may target po kayo na parang dito
lang po ilalagay yan.
Vicky: Ay hindi naman. Ang ano naman diyan, it has to be always general patronage
for the general public. Di ka naman pwedeng mag-create ng content at films for that
matter. Tapos naka-specific ka lang, ay ganito ang gusto ko, sayang naman yung
opportunity di ba, specially the films being shown are showing in commercial cinemas,
and especially ang intention naman is to be shown at different platforms out there.
Dapat ang ano mo parati is worldwide distribution, hindi selective ano ano ko.
Matthew: How do you maintain or retain your relationship with your audience? How do
you strengthen it?
Vicky: Ano yan. Through the other programs of CCP. Kanina sinabi na hindi natatapos
yung trabaho namin from Cinemalaya and the support of filmmakers for that matter,
kasi nga after the festival, again, you move on to other projects that you do. Ano ba
yung mga ibang proyekto namin. Yun nga, we have the archives, the Gawad, we
have the CCP Arthouse, because we have the venue. We have a 100 seater cinema,
so we do regular programs every second or third Thursdays, we have the Arthouse
cinema. Every second saturday of the month, we have the reflexive cinema. Reflexive
cinema is a three year program, we started at 2017, and we will go on until 2019. It's for
the celebration of the centennial of Philippine cinema. So ayun pa lang, puno na
kaagad ang upuan namin. Every second saturday, nandito kami. Every second at last
Thursdays, we have the Arthouse. Every first Tuesday, ay nasa Greenbelt, merong Met in
Opera HD. So, how do we sustain the viewership and audienceship? It's through all
those programs. We try to engage them in different kinds of programming para mag-
stick sila sa CCP for that matter. We keep on creating programs para lagi silang excited
pag pumunta dito. It couldn't be all about independent films because if you don't know
how to look sa nakaraan mo, anong sabi ni Rizal... diba? Osige nga. Oh, nakalimutan
mo!
*laughs*
Vicky: That's why we have a reflexive cinema. Why is it called reflexive? It's a mirror. It's
looking back at Filipino films, its centennial, it's 100 years of cinema. So it's a series we
are uhmm, last weekend, we have Elwood Perez and Nick De Ocampo, pinalabas
yung 'Otso' niya, kasi nga, these are films of filmmaking. So parang pinakikita naming
mga films within a film, or films talking about films. Kaya pagdating sa sabado,
ipapalabas ang Pagdating Sa Dulo. Si Manoy ay pupunta, si Eddie Garcia. Pupunta
siya dito to talk about how he did that film in 1970 with Ishmael Bernal. So if you have
the time, alas tres dito ng hapon. BUkas, ang SOFIA ay susugod sa UP naman para sa
premiere ng Citizen Jake ni Mike De Leon. Ayun nga, as I have said, we have to cater
on all kinds of audiences. Yung Reflexive Cinema, naku ang fanbase niyan, mga oldies
but goodies, but they always look forward to going to CCP to see these films kasi they
want to recall the days. Kasi di ba ang pelikula, ano talaga yan, document, diba the
landscape, mga pananamit, pananalita, nandun sa pelikula. Makikita mo ba yan sa
painting? Hindi di ba. Sa pelikula, oh my god, nakita ng lolo ko yun. Diyan kami
namamasyal, sa Escolta. Oh di ba. Ay nung '80s, ganyan pala ang buhok nila nung
araw, pati pantalon ganun. Di ba ang bongga bongga, oh next week. Ayun, si Eddie
Garcia. Ikekwento niya. Meron na kaming public audience kaya (garble)... meron kasi
na mahilig sila sa ganun, pero may mga bata naman. So, may Arthouse cinema ng
Thursdays. Ngayon, ang ginagawa namin ay yung Gawad winners, kasi mag-thirty
years na ang Gawad. So we try to show the winners from the '80s, '90s. Paano namin sila
napapalabas? Through our archiving kasi naitago namin ng maayos yung pelikula.
Matthew: Pero yung mga programs niyo po, it must adhere to the agenda of...
Vicky: Of the CCP. Of course. It has to. Di ka naman pwede mag-imbento ng ano. It
must always adapt to what the center is all about. Kasi you are here for that purpose.
Matthew: How do you communicate with your audience, because yun nga, may mga
promotional materials po kayo. Ano po yung sa tingin niyo po kailangan marinig ng
audience?
Vicky: Ewan ko, kayo? Ano gusto mo marinig from us?
*laughs*
Vicky: Diba. Kasi, kung ano, ang pelikula. Ano ba yung gusto naming ma-ano, is for you
to appreciate and maybe to better understand what happens in front or at the back of
the films that you are seeing. Yun ang dahilan bakit namin iniimbita yung mga director,
yung mga primary actors of the films we are showing because we want to engage with
the audiences. We wanted them to know yung mga kwento nila nung araw. Kung
paano ba sila gumagawa ng mga pelikula dati. And that's what we would like to
communicate with the audience kasi ngayon ang mga bata, mga millennials na
kagaya ninyo, ang gusto niyo sa inyong buhay ay ATM. Di ba, gusto niyo, na maisipan
niyo na ganito, gusto niyo nandiyan na siya. Magic. So now, we wanted to tell you guys
na anak, hindi naman ganun nangyayari ang mga bagay-bagay. So, by inviting all
these people involve the different aspects of filmmaking, I hope naman that we were...
to communicate what you appreciate, because otherwise, ay wala, akala niyo lahat
ay magic. Lahat ay ginagawa ng machine. Lahat ay digital. Eh nung araw, pano to?
Di ba. There are things that we call slow food and fast food. May ganun din sa
paggawa ng pelikula.
Matthew: Aside po dun sa mga programs niyo po. What are some methods or
strategies that your organization used to regulate para ma-satisfy yung ...
Vicky: Regulate? We don't regulate per se eh because di ba ah at least for films

diba nga wala namang regulation, walang censorship. We are trying to
promote yung self-expression. It's here, I will read it again okay? Ang sabi nga ay
“boldy articulate and freely interpret the Filipino experience di ba. Boldly and
freely interpret with fresh insight and artistic integrity. So oo nga, pinapayagan
kita na mag-express ng iyong artistry, yung excellence. Pero kailangan naman
ay naayon pa rin sa tama, kailangan may tamang landas. Hindi lang eh.. bakit
ba gusto kong ganitong itsura ng.... gusto kong output eh. Huwag naman
ganon, kaya nga nandyan naman ang Cinemalaya and CCP, the organizing
committee for that matter to guide you, to how to present it properly. Ahm diba,
hindi naman pwedeng basta basta, warla warla ka lang ganyan ka na. Hindi
naman, may tamang paraan sa tamang panahon. Ganon talaga yon.
Matthew: How is your relationship with.. How is the institution or the organization’s
relationship with the audience? Yun nga po may patronship na nagyayari... Pero
does it go beyond patronship may support ba sa ibang programs?
Vicky: What do you mean support?
Matthew: Ahm does your relationship with your audience go beyond the
festival?
Vicky: Not really kase mahirap naman after festival susunod pa ko sa

eskwelahan niyo para ano-anuhin ko pa kayo, kung ano naintindihan niyo ba
talaga or next year balik kayo ha may ganon. Ang ano lang naman diyan is
continuous lang yung pagpo-provide mo ng.... i guess to us ah parang tama na
na makapag-create ka ng maayos na content and kase nga chances are ikaw
kunwari... Ikaw pumunta ka ngayon eh graduating ka na, malay ko kung san ka
na pumunta diba. Graduating ka na sa eskwelahan mo so ang ano diyan. I
guess the responsiibility naman is vested on you to infect other people. So pag
nag-trabaho ka na, baka pwede mo naman ishare sa company mo na uy alam
niyo may magandang programs sa CCP. And that happen to... hindi lang nag-
materialize last year but there were two girls from Hyundai, the motors, yung
gumagawa ng kotse. Bigla silang tumatawag, they want to sit down with us,
they wanted to see how they can be part of Cinemalaya.
Sabi namin, bakit ba ano kaya yung ano. Sige nga so isip na yung.. nag-iisip na
kami pano kaya natin ii-engage ang ano. Oh sige gamitin natin ang ... kasi diba
they have , may van sila, may ganon Pano kaya natin i-encorporate eh bawal
pa namang magparada ng sasakyan diyan sa ramp pagka festival period kase
very busy yung ramp. Pano kaya natin sila i-involve? Ah ganito kase
nagpapalabas tayo sa Ayala, they maybe we can use the van, transport the
jury, festival guest from CCP to Ayala. Then yung mga ganyan. Then maybe we
can put ganyan. Meron namang tv dun sa loob ng van. So anyway cut 2. Sige
nga magkipag-meeting tayo sa kanila.
Ang nag-ano pa sakin ay ano si what's the namen of that... si IC Mendoza.

Biglang Ms. Vicky oh nakapgset-up tayo ng meeting, parang ganon. When we
sat down with the girls sa sinasabi ng karamohan na Hyundai, alam niyo ba na,,.
sabi namin pano niyo na ano ang Cinemalaya? Ang sabi nila Maam, san nga
ba sila nag-aral, sa Mapua or something... Kasi po nung students kami sa
Mapua regular po kaming nanonood ng Cinemalaya. And so now that we
are... I think she was marketing head of Hyundai. So we thought of… were trying
to conceptualize to also you know get dwon there to the market because
marami naman daw na madatung na mga bagets.
Maybe they can also afford now to buy cars. Siguro we can also be partners.
And that's how it is diba.As I've said nga ah sustaining the audience. How? As
I've said hindi naman kami pwedeng sumunod, sundan-sundan kayo kung
nasaan na kayo. I guess ano yan eh it's a mutual responsibility between the
creator and the audience na dapat multiplyer effect na kapag ikaw ay
naapektuhan then you try to infect your kapitbahay or yung parlor, yung
parlorista mo ikwento mo. Malay mo naman may capability din siya to maybe
go to CCP and not only see the film program but the other programs happening
here kase admittedly ang liit naman ng Maynila pero ang dami-daming tao na
hindi pa pala na nakakapunta dito because they still have that perception na
elitist ganon. Hindi sila pwedeng pumunta kapag nakatsinelas lang.
Lagi naming sinasabi ay hindi, kami nga pumapasok naka-tsinela. So pwede

naman kayong manood diba so yun. I guess yun yung ano eh yung what the
CCP as an institution as a whole, is trying to do is to open up the doors which we
literally do pala very first sunday of February, I don't know if you attended the
Pasinaya we also doing that for how many years now. It's an open house
festival. We try to open up the CCP para ma-appreciate niyo makita niyo yung
iba't-ibang nagyayari dito. And it's not only Cinemalaya, although ofcourse
Cinemalaya syempre magbubuhat ulit ako ng bangko. In my mind, it's the very
first program festival na nagpapasok ng maraming tao dito from different walks
of life. I mean you can see the main theater lobby, talagang it's a sea of
humanity, ang daming tao during the festival for ten days talagang parang
palengke yung CCP, ang daming tao. So ayun meron di kaming Virgin Love
Fest, meron din kaming mga dance programs, yung love fest kasi is the staging
of unstage of newly created place. Halos magka-edad yan sa Cinemalaya eh
halos sabay silang ano.. tapos sa ano naman sa dance, meron ding ... no
there's another program for dance na ano din it's a new discovery of
choreography etcetera etcetera.
So yun, it's introducing the arts to everyone concern, kasi naman ano naman
yan eh kapag naglaunch ka ng program, it's really to whom it may concern and
kung sino yung bumalik then maybe yun yung mga naapektuhan. And if you
are able to again infect yung mga katabi mo and it's a better ano.. because our
dream is really to translate all those people coming to the CCP for free. Kasi we..
kapag nago-open house libre lahat yung programs eh sana bumalik sila to buy
tickets naman.
Matthew: Ahm final question po, yun nga po maraming nagsilabasan na film
festival. What makes Cinemalaya different or unique to those other film festival?
Vicky: Again pagbubuhat ng bangko na naman yan, but you should ask most
filmmakers what drives them to CCP or Cinemalaya kase kung titignan mo yung
landscape ng productions ng mga independent films. Yun parang Seiko wallet
lang eh, if it's from Cinemalaya, it must be good. Diba? eh kase yung unang
competition monitoring head namin noon si Robby Tan who owns Seiko films
diba. I think naman if you compare the film outputs.. kase ang Cinemalya diba
ang... nung sinimulan siya talagang we decided to make films na feature siya,
feature length because diba there are different genres of... I mean iba't-ibang
ano categories ng pelikula.
May experimental, may documentary, may feature ganyan pero ang

Cinemalaya sabi namin we wanted to make feature films. We want to tell
stories. So karamihan talagang feature... talagang ma-ano yung kwento sabi
nga ni SineFilipino ang kwento ang hari. Mga kaibigan din namin lahat yan. Wla
namang ano wala namang away na nagaganap between festivals. We are all
alies, magkakapatid, we have a network. Magkakakilala kami, nung sinimulan
ang CineFilipino, they were actually asking us a lot of questions because
kaibigan ko oh sige tulungan kita ganito ganyan. Of course you don't release
naman all those inside information on how you do things because they have
naman their own sets of officers to do that.
Pero ganon yon, but if you naman look at the output ng Cinema One Originals,
karamihan naman ng pelikula nila doon ay medyo experimental yung atake. So
may kanya-kanyang ano siya, hindi naman nagsasapawan o ano. And ayun na
nga naka-schedule din ang mga festivals na .. hindi naman halatang sunod-
sunod diba. So pag... sige simulan natin ngayon... ang February ay Arts month,
so March ongoing ngayon ang SinagMaynila diba, march yan. Tapos sino nga
ba ang SInag... kami na yata july ang .... hmm. Pista ng Pelikulang Pilipino ng
FDCP ng June tas kami ang July ay August. May July sino nga si July..
ToFarm?ToFarm ang July. Kami ang August. September, October si QCinema.
November si CinemaOne.
So dito sa Maynila pa lang parang pitong festivals na yata lang nakakahilo

diba at ang sakit sa bulsa pagkawala kang festival pass. Kase kung panonoorin
mo lahat ang ano na yan jusko diba ... oo mauubusan ka ng datung kakahabol
ng mga ano... yun there's a very healthy competition and yun na nga diba if
you notice I think for the past three years, four years now na meron kaming
fetivals best. We invite the best films of all the festivals. Pinalalabas namin sa
Cinemalaya, meron kaming in the nation yung isnag section namin In the
nation Pinalalabas din namin yung mga if the festivals thinks na swak doon pag
nagspecial jury o may nanalong ganon pinalalabas din namin. So walang...
everybody happy we give ano evryone a chance kase narerecognize din
naman nila. I think the big difference for almost all these festivals is may CCP.
Yun ang wala sila may CCP na doon nagco-converge ang mga tao. Kasi sa
mall diba parang disjointed pa rin naman eh kahit naman na diyan ka sa ano
parang walang fetsivals atmosphere.
The big ano talaga ng Cinemalaya is may CCP... oo na may isang venue na
pagka gusto mo ng festival atmosphere talga you go to the CCP. Although
ofcourse diba sold out din kmai sa Trinoma, nagsosold out sa Glorietta and
Greenbelt may ganon. But there's nothing like being at the CCP
pagkaCinemalaya talaga you have to be at the CCP. Pag nagpost ka sa IG or
Facebook mo na napanood mo na, nakakompleto ka na on the third day
mainggit yung kaklase mo ay shet sana makahabol din ako. May mga ano
kaya kami na naglileave sa trabaho pagka festival period, may mga kakilala
kaming ganon. May Usher dito, she works with PAL, pag festival period dati kasi
siyang Usherette dito but now she's a ground crew sa PAL. Every festival yan
nagli-leave sa PAL , naga-Usherette siya. May mga ganon and then may mga
regular volunteers na rin kami, we're trying to develop that volunteer ano din
program.
Although it's still struggling ano aspect of a festival pero it's trying to pick-up
them. Kasi diba what do you get, ofcourse the very first perk is you get to see
the films kasi volunteer ka sa venue na yun may free access ka. Eh ang hirap
hirap kaya pumunta ka sa sinehan magkano ang ticket 150. oh pag volunteer
ka te you can watch the films. KUnwari diyan ang venue mo edi libre ka na at
the end of the festival anong reward mo ay I'll just give you a t-shirt. Depending
on your attendance haha ano pa yun may classifications pa yon. May festivalt-
shirt ka te ganon. So yun may mga ...but ofcourse yung support mechanism kasi
nagsisimula doon yung interest. Kase it starts yung parag yung pagkagusto mo
sa isnag proyekto. Oh ganito na lang yung pagdevelop mong love for someone
diba. It starts naman with trying to make a connection at the very first diba
you're trying to make a connection and then you try to sustain that connection
and then you hold on to that connection by sealing it with what diba.
If you’re already in a relationship then you try to find ways to sustain that.Diba?
Nakakarelate ka ngayon? Ganon lang yon. When you want to sustain a
relationship eh lahat ay gagawin mo para masustain yung interest niya sayo
hindi mo hahayaan na tumingin sa iba diba, mawalan ng gana. So ganon din
yan sa pagkikcreate ng program specially that we owe it to the people
because we are using people's money and that's what is important. You give to
the people what is dew them. Unintentionally trying to ano nga na... nag-iinject
ka na ng values etcetera etcetera. Pero yun kasi ang trabaho ng ano eh diba
that's part of culture and arts development. Merong subliminal. oh ano may
hihirit ka pa?
Matthew: OKay na po hahaha.

Gemma Marco (Division Chief Three of Sales and Promotion Division Marketing)
Gemma: Institution itself, sabi niyo institution itself?
Matthew: ahm opo yung process po inside
Gemma: ano yun is it just the CCP or the Cinemalaya?
Matthew: ahhh... Cinemalaya po
Gemma: oo kasi yung samin kasi pag institution is the ano CCP. kasi long time
ago I'm sure nabanggit ito ni Vicky.
Angeloux: Yes po ma'am
Gemma: We started Cinemalaya it's a Cinemalaya foundation and CCP

together so it's a co-production of the Cinemalaya Foundation. (girls laughing)
tapos when we started year one ahmm ano siya yung funded siya yung
Cinemalaya foundation of course ni Mr. Tony Boy Cojuangco, hanggang
maraming years yun eh na ganun yung set up namin. until the time na parang
di ganoon ka ano yung ahh ganun kalaki yung funding na nakukuha namin
kung nabanggit sainyo ni ano to (door opens)
Matthew: Ni Sir Lino po ata
Gemma: Oo ganun din yung sinabi ni ano ni lino so ang we asked budget from
the government so nahingi yun through the initiative of senator legarda ah...
CCP was able to get a budget to continue kung ano ginagawa ng cinemalaya
kasi if familiar kayo sa Cinemalaya and you've been here ahhh... during
Cinemalaya festival. There was a festival na within a show full length all short
features. Because ang composition ng Cinemalaya (door opens) of course
finalist for the full length of course laging sampu yan and then ten shorts laging
ganyan short feature. and then there was a time talagang nag nag ano siya
nag boom siya ng husto i think on the 5th 6th o seventh na merun kaming
nagdagdag na lima rin competition na competition which are ano ng directors
mga commercial directors. Kaya tinawag siyang directors showcase so dahil
nga medyo nalimit na yung budget dumating yung time na na alis muna
namin yung directors showcase and we focused again dun sa ten full length
and then ten shorts. so after the time na nga nung di na nagawa yung tumigil
muna sa full length kasi limited yung budget and then we were able to get it
from the governments ngayon we're back with again ten full length and ten
shorts of course affected lahat yun including ( door opens)our ticket sales in
terms of yung audience reach diba kasi talagang yung very limited lang yung
napapanood nung audience i mean puro short film lang e diba a short film it
takes onky what minsan may fifteen, twenty minutes mahaba na ang thirty
minutes pero ganun yun in aahh...in a show showtime nakaset siya in one set
five shorts and then yung isang set five shorts ganun kaya lamg dahil konti lang
yung offer kaya pati yung scheduling edi ba di siya ganun ka ano what do you
call this, interesting na maramimg nangayayri. so now we're happy that we're
back i think two years ago we started again with ano with full length and then
last year and then ngayon continue na ulit kami. hopefully sana mabalik ulit
namin yung directors ano directors showcase. so yun... ( sneeze!) branding aa
branding of the company usually every year merun kaming ano theme na iba-
iba yun I don't have here yung
Angeloux: Pinakita po ata samin
Gemma: File namin, pinakita yun
Angeloux: Yun ba yun
Matthew: Oo
Gemma: Yung last year was yung building ng CCP diba tapos makikita mo
parang lense ba yun na ganun yung ano ganun yung look niya na parang this is
a venue yung eto talagang CCP yung pa ring venue and ahh yung gathering
nitong ganitong
Angeloux: Yung parang mga students
Gemma: yeah... nung ganitong klaseng na ano na ganitong klaseng film ahh
festival. para ano every year ahm dahil nga yung reputation ng Cinemalaya is
there ahh... itong design na to B and C design lagi siyang nag-vovolunteer or
nag sposponsor to do it for us so bnc design does the look for Cinemalaya every
year of course ahmm... it's approved by the CCP and the Cinemalaya
Foundation so ngayon wala pa kaming look. so yun every year yan lagi kaming
may ganyang look. so ganun yung branding. of course kung yun na yung na
approve in all our collaterals ganun siya dapat lalabas. makikita niyo yan sa
mga tarpaulin sa websites, so that's the branding para pag kita niyo ng ganun
it's cinemalaya thirteen.
Matthew: Pero po yung ano yung na-approve oo ba na mga materials may
trend po ba siya kailangan po like pinakita niyo po last year ahh it has to
adhere to the to the branding na-sinet nung other previous...
Gemma: Hindi naman, if there is a connection. Hindi naman, so it all depends

pa rin of course yung kung pano pano siya ipoposition ipoposition ng marketing
or ng CCP and the Cinemalaya Foundation para icommunicate sa public about
this ano about this festival. So ganun yung ano but of course syempre yung
element diba lagi merun ganun na dapat it's a film festival and it's Cinemalaya
festival maiidentify mo na Cinemalaya festival siya of course there's always the
the omnibus ano ng Cinemalaya yung ganun yung balanghay yung lanyard
because that's the logo of Cinemalaya. So yun, pero wala namang ganung ano
wala naman ganung ka na dapat e sinusundan natin in connection dun sa
previous ano wala naman
Matthew: pero yung mga tag lines po nung ano pano po...
Gemma: ano rin yan we do brainstorming every year we picked up from the
kunwari sa pelikula diba ganun. That's how we do the ano e mga tag line mga
copies.
Matthew: yung mga trend po
Gemma: yeah even in other productions lagi kami may marketing PR meeting
we do brainstorming ganun of course minsan maraming ideas yung aming
artistic director and then doon namin siya iaaline lahat ng communication pati
ang aming pr the way its ano written sa press releases publicity kailangan
pareparehas kami.
Matthew: pero yung all of your materials parang adhere dun sa ano sa ano
artistic excellence ng...
Gemma: of course that's the mission of the one of CCP mission CCP's mission yun
eh yung artistic excellence
Matthew: opo
Gemma: oo kasi syempre pag ccp ka dapat ganun kaya pati yung nga
pinapalabas syempre dapat artistically dapat excellent. so yun ano pang
tanong mo dun.
Matthew: ahmm yung branding po ng institution yung artistic excellence

(phone ringing) does this affect your work practice in some manner.
Gemma: ay yes dapat sumasabay din yung ano including yung mga personnel
diba. it is dapat.
Matthew: yung ahh . can you describe the work place inside the CCP or sa
inside CCP
Gemma: Oo in terms of anong ano.
Matthew: ahm yung personalities of people how do they operate very mabilis
po ba yung proseso ng mga ng mga work o ano.
Gemma: Well I can speak for my ano for my office noh. samin kasi nasa amin
yung promotions so yan yung tickets samin lahat yan so in terms of yung
processes talagang dapat talagang customer oriented kami noh ang aming
front line office which is the box office, we don't hold lunch break oo. so we also
observe yung campaign ng civil service kasi we are a government ano kasi
CCP is a government ahh agency that ahh public service muna so we don't
ano ang CCP box office does not have ano lunch break so talagang customer
service oriented ano personnel ano... ahh its good na medyo ngayon nagiging
millennial na yung (laughing) group kasi syempre sa government diba yung
length ng service vinavalue yan kasi diba when they retires kasi diba
givernement ano yun government service insured yung mga yan so minsan
makikita ka in a typical government office minsan mga matatanda na sila of
course yunf iba are waiting for retirement yung mga ganun pero ngayon wala
na tayong mga ganu masyado so mas movable in terms of office personnel so
pagka I'm not saying pero diba kasi ano ganun yun e mas aggressive yung mga
millenials and actually marami nga kami natututunan sakanila I' d like to get
kore ideas from them kasi lalo na ngayon iba na yung campaign natin iba na
ang marketing trend ngayon di na yung old school. so I should say na customer
service oriented. meaning pag may tinanong si client immediately na aano yun
nasasagot na.
Matthew: ahh yun nga po na mention niyo yung na support this is a government
po institution
Gemma: uuhmm
Matthew: what sets Cinemalaya foundation or CCP's practices and work ethics
different from other institutions yung makita niyo po na something na pag ito
CCP eto.
Gemma: hmmm... siguro kung ikukumpara mo kami sa mga local government
units diba ano well di ko naman masabi kasi yung iba rin nag improve na pero
yung dati when you go to office or to municipality office yung ganun diva ang
dami dami ganun yung parang typical makikita ko nagpapaypay lang diba
minsan makikita mo ( laughing) diba makikita ko minsan yung mga ganung
work ethics diba pero tingin ko naman we follow naman our ano leader ano so
kung yung president natin masyado rin sjyang masyadong binabantayan yung
mga ganoon diba so I think pati yung mga local government units natin ganun
kasi may mga local governments na ano munisipyo na ibang iba na eh dahil
umano siguro sumasabay na rin sila ngayon sa computerization na ngayong
computerized system na lahat so lahat na ngayon mabilis you can now ano do
it online diba. nagulat ako nung nag renew ako ng ano ko ng driver's license ko
that day nakuha ko alam mo yun talagang nag iimprove din yung system siguro
sumasabay din dahil lahat na ngayon computerized ano na rin siya system.
Matthew: How does your institutions manage negative reception?
Gemma: hmmm.... trabaho yan ng aming PR so kung merun ganun negative

ang kailangan namin ilabas positive to turn it over diba kung negative yung
ganito so kailangan labasan natin ng positive oo para yung mga ganoon e di
masyado kumalat noh or kung merun complain si client addressed it ng gayon
diba maging ano na siya kumbaga ma calm down siya and then ma explain
sakanya kung pano or sometimes pa nga e we write then we apologize yung
ganun may mgabganun kaming customers.
Matthew: ahmm.... what does, what are the some of the impressions of your
institution wants to give to the audience for Cinemalaya, Cinemalaya last year.
yun nga po parang may parang may see the big picture po yata kayo na ...
Gemma: yun yung campaign namin see the big picture oo kasi kumbaga see
in big screen yung ganun
Matthew: pero kung may something po kayo na ano na parang kailangan eto
yung makita or maidentify nung audience na pagnakikita nila yung ano
Gemma: ahh ako kasi pag sinabi kasing cinemalaya alam mo na it's a film noh
so dapat ganun e ganun yung o the way you ano eh you communicate it with
the public kasi diba ahm kung di kasi ganunyung kinocommunicate maliligaw
siya hindi niya malalaman na it’s a film festival and again Cinemalaya itself it's
already the brand noh kasi yun na nga na maintain niya na yung kanyang
reputation na kapag sinabing cinemalaya it's a brand itself alam na credible
itong mga to at ang mga pinapalabas dito ay hindi ano hindi ano ano lang at
alam nila na sa cco ito pinapalabas so they know the venue of CCP so di siya
parang kung anung-anong lugar lang oo diba may mga ganun parang
cheap cheap (laughing) yung mga ganun na naku baka naman yung mga
palabas diyan diba ano ganun anonklasemg production yan yung ganun
Matthew: ahm pano po ba yung.distribution ng works or tasks sa inyong

committee sa marketing department.
Gemma: hmm so okay sa marketing department we have two divisions one is

the sponsorship division and the membership division so sa sponsorship dun yung
mga corporate funding noh so dito naman sa other division which is my division
sales and promotions division na kung nasaan ang creatives na we do the
printed printed and digital designs as well as the printed collaterals kami yung
nag uutilize or we upload videos we maintain and manage the CCP website
because it's a marketing tool. all the information about the CCP about the
upcoming events dun niyo siya makikita sa website and we maintain it and we
manage it lahat ng leds pati yung mga tvs diyan those also under the creatives
kung ano yung nilalagay dun announcment ng mga monthly events so its ano
again manage created by the by the office pati yung billboard doon sa roxas
boulevard so we ano we upload it kami yung naglalagay kung ano yung mga
announcment ng CCP tapos lahat ng mga printed materials yung posters yung
marquees that's under under this office now aside from that yung mga creatives
pati yung digital yung mga design ng sa mga facebook though ang
naghahandle ng facebook account ng ccp is yung aming market
development the other division talos lahat ng tickets under din dito so selling of
the tickets kahit yung diyan sa may box office retail sales black sales sponsorship
ng isang show it's all being done here so that's why its ano sales and promotion
kaya masyadong busy etong office namin ( laughing) kaya lahat ng mga
kameetingan inaattendan naminn tapos yun when we have events like this or
mga shows noh laging nakapabantay ang box office namin kaya its always
open palagi pag merun show and kapag naman CCP production CCP events
mga special event there's always a table na minaman ng marketing and as
well as our merchandising booth. Basta anything na pwede pagkakitaan
syempre kasi parang yung bulk nung income nung department ahh
nadedeliver ng office.
Matthew: Yung mga content niyo po, how are they formed?
How are your contents formed?

Gemma: The content, of course, it has to be approved by the artistic director.
Kasi ang mga tawag namin dito sa mga artistic ano namin, units, ang CCP kasi
we have two set-ups eh: yung artistic office, which is headed by the vice
president, headed by yung ating artistic director, and the other one is the
support, yun naman yung sa vice president for admin and finance. So kapag
artistic, lahat, yung nagpapatakbo ng show, production and exhibition, yung
arts and education, film, that's artistic. Sila yung naggagawa, nagpoproduce,
nagcecreate ng mga shows na pinapalabas dito sa CCP.
The content, of course, has to be approved by the artistic director. At CCP, we

call artistic departments as units, and there’s two set-ups: (1) the artistic office,
headed by the Vice President and Artistic Director, and the other one is the (2)
support, which is for the Vice President for Admin and Finance. For everything
arts, they are all in-charge for the run of the show, production and exhibition…
Matthew: May sort of criteria po ba kayo na kailangan i-set kapag gagawa ng

content or...?
Are there any criteria being set to the creation of your content(s)?
Gemma: Meron. Kasi siyempre kailangan sinusunod niya yung mission vision ng
CCP. Kapag meron din gustong makipag-ano samin, partner, kailangan pati
credibility ng partner, kasi pwede yun eh. Yung isang entity gustong makipag-
co-produce sa amin, kailangan credible din yung entity siyempre. Mine-
maintain natin yung excellence siyempre. Tapos in terms of the content, san
nanggagaling yun? Sa mga artistic units namin. Lahat ng in-a-approve namin sa
website, in-a-approve yun ng artistic director. Actually, even yung mga designs
ng mga collateral, yung posters, in-a-approve rin yun ng mga festival directors
or kung sino yung unit coordinators. Basta we do, we execute, we create based
dun sa kanilang request kung paano sasabihin nila. Kanware, this is a musical
show, tapos kailangan ng element na ganito and ilalagay nila yun sa request
para ma-execute ng ating graphic artist.
Yes, and it must follow the mission, vision of CCP. If there’s someone who want to
partner with our institution, the potential partner must also be credible, because
we have excellence to maintain. In terms of the content produced, all of it
came from our artistic units.
Matthew: Pero all of it must follow or support dun sa mission, vision ng CCP.
Gemma: Oo. Kasi pag-inapprove yun ng ano natin. Nag-aapear din kasi
siyempre yung programmer, ibig sabihin ko dun sa programmer yung
coordinating unit. Kunyare, a music production for example, diba. Ang
programmer, kunyare, itong production and exhibition department, kung sino
man yung festival director, kung sino yung programmer, sa kanya yun i-papa-
approve. Kaya most cases, in-a-approve ng ating artistic director, si Mr. Millado.
Everything actually, even sa Cinemalaya. Before we release it to the public, it
has to be approved by the festival director and the artistic director.
Matthew: Yung mga content po ba, paano po ba yung structure when it comes
to promotional materials? Are they... specialized po ba for specific audience po
ba or kailangan mas maging appealing po ba siya para sa lahat.
How do you structure content when it comes to your promotional materials? Are
they specialized to cater a specific audience or it must appeal to the general
public?
Gemma: Depende dun sa project, and depende din sa target market. Kasi
kunyare ang project na ito, theater kunyare, theater production. Kailangan mo
i-identify based dun sa theater playright na yun kung anong level niya. Kasi dun
mo makikita kung anong ages ang dapat na tina-tap natin. Kasi we are tapping
and targeting mga young audiences, dapat ang design mo medyo appealing
to young audiences. Meron naman kung tina-tap natin high end, dapat medyo
classy yung dating to elite. Dapat ganun. So depende sa project.
It depends on the project and the target market. For instance, there is a theater
production. You must identify the levels of age you have to tap based on the
content of the theater playright. The design must be appealing to this level. If
we need to tap high end clients/ audience, the design should be classy to the
elite.
Matthew: Does the same follows for Cinemalaya?
Gemma: Yah, actually everything. Kaya kung makikita niyo iba-iba yung design
ng collateral di ba. Meron naman iba, kunyare yung series, the CCP special
concert series, usually kasi soloist lang kasi yun. Tapos itong soloista na ito, meron
siyang instrument. Kasi nag-iisa siya, kung paano namin siya dinedesign, siya
lang talaga ang binebenta. Ang talagang mag-aapear dun, yung mukha niya.
Or yung kanyang instrument. Merong ganyan din kasi, mukha lang ng tao.
Lagay mo dun, kilala na, mabibili pa. Ganun.
Matthew: Ano po yung mga mediums na ginagamit niyo sa pag-release ng

promotional contents.
What are the mediums used when releasing promotional materials.
Gemma: Well ngayon, ang malakas is social media. Tapos of course, may mga
partners din kami. Yung mga radio stations, so we do radio plugs through the
help of our P.R. So ang MBC, yung Love Radio, DZRH, mga pang-masa, yung
mga ano yun, Yes.
Pauline: Yes FM.
Gemma: Yes FM. Yung mga ganyan. Kasi partner namin yan. Kasi we don't have
budget to pay, kaya ang ginagawa namin ng marketing, we partner with
media, and in exchange, binibigyan namin sila ng tickets tapos in-a-air namin
nila yung mga yan. Meron kaming ganyan, media partners ang tawag namin.
Tapos yan, may mga online partners na rin kami na tinutulungan rin tayo na
mag-promote online. Plus, of course, yung ibang mga prints na nalalabas namin
ng one-fourth, one-half page ad, puro partnership, kasi wala naman kaming
budget to pay for that. And then, yung aming P.R., they do press releases, tapos
dun sa editors na contact nila, ayun, pinapadala para ma-publicize. Plus, we
use, of course, yung nabanggit ko sa inyong mga pwede naming paglagyan.
Yung mga billboards na within the CCP Complex na kami ang nag-hahandle.
Marami kaming gustong labasan, even sa T.V., kaya lang kailangan makipag-
partner, tsaka kailangan pumayag sila. Pero ang Cinemalaya kasi, dahil star-
studded, showbiz, napapansin din namin yan. Kapag ganyan, maraming
positive. Mas maraming gustong mag-review, mag-cover kasi nga, ang daming
mga artista dito di ba. Let's face it, ganun nga. Lalo na yung showbiz. In order
for you to get channel two, channel seven, kung nandiyan ang talents nila,
nandiyan din sila, nag-co-cover sila. Kaya nagkakaroon ng mas malaking
impact kapag ganun.
Today, social media is strong. And of course, we have partners from radio. We
have radio plugs at radio partners for plugs with the help of our P.R… We don’t
have budget to pay for everything, so that’s why we have media partners. In
exchange of air-time, we give them free tickets for a show… Then there are our
online partners for online publicity, the press releases from our P.R. that we sent
to editors, and billboards within the CCP Complex which we handle.
Matthew: Throughout yung contents niyo po, yung materials niyo po, how do
you maintain or strengthen your (garble) with your audience?
How do you maintain or strengthen your relationship with your audience

throughout your content or materials?
Gemma: Ano? Strengthen your what?
Matthew: Relationship.
Gemma: Ahhh relationship.
Matthew: Through your promotional materials.
Gemma: Uh-ummm. Well, uhhm, we ano din, actually for us to build long
partnership, one, we offer them the subscription, which every year, we offer to
them. Alam na nila, yung long term. Like, Cinemalaya for example, we offer
them festival passes. Nasa database na namin yan na lahat ng bumili ng festival
pass, they are our festival passholders. Every year, every Cinemalaya,
pinadadalahan namin sila. So para lang updated sila, what's going on in CCP,
and know what their interest. Kanware, festival passholders mo. Bakit ba sila
bumibili ng festival pass ng Cinemalaya? Ibig sabihin, yun yung kanilang interest.
They love to watch films. May festival passholders kami ng Virgin Lab Fest. Ibig
sabihin gusto nila. They love theater. Meron kaming subscribers ng Philippine
Philharmonic Orchestra. They love classical symphonic music. So ayun, dun yun,
to strengthen and to build longer relationship. Tapos ganun kailangan, you keep
them updated of what was going on. Maniwala kayo yung subscriber namin,
every month yan pinadadalan ng "This Month" ganyan, ganyan. Eto yung mga
shows. E-flyer. Kaya we require now, e-mail addresses, kasi it's getting hard to
get in touch with them. Although, ang aming subscribers, may mga donya-
donya na diyan, mga matatanda na kaya lang, they just want to support. They
just pay lang, but di na nag-a-attend, so minsan empty ang kanilang seats. May
mga ganyan kami, alam na namin sila, kaya we have to call them. Sabihin
namin na "Hey Ma'am, sa Friday na po yung concert. I will see you." May mga
iba, kailangan personal touch talaga. Kaya when they call you, minsan nag-re-
request ng ganito, kahit kanware Cinemalaya, kahit hindi Cinemalaya yung
request, ibang show, we have to attend to them para... kailangan personalized
eh. Ikaw, di mo ba gusto yun? Ay, ang bait bait naman. Yung ganun, to
maintain the relationship.
For us to build long partnerships, one, we offer them the subscription, which
every year, we offer to them For Cinemalaya, we offer them festival passes. It’s
on our database that those who buy festival passes are regular festival pass
holders… All we need is personal touch to maintain our relationship with the
audience.
Matthew: Dito po sa office, paano po ang communication process?

Gemma: Kasi ngayon, magkakasama na kami. Kaya kung may kailangan ako, I
call them. And then, I meet them once a month. Tapos yung updating kung
ano yung events namin, what's going to happen ganyan, I have my
informations officer na magbibigay sa kanila lahat ng mga information
especially the box office. Dapat ang box office namin, di nahuhuli yan. Kasi
everytime na may tumawag, mag-inquire ng ganitong show, dapat alam niya,
updated siya. So, sometimes, of course, e-mail and messenger. Napaka-
effective sakin ng messenger, alam niyo kung bakit? Walang signal dito sa
office namin kaya mas ano dito sa amin ang messenger. Kapag ako, out of the
office ako, I can reach them through messenger kasi I know na kahit mag-text
ako, hindi nila yun marereceive. *laughs* Pansinin niyo, walang signal dito. Buti
na lang may Wi-Fi kami kung hindi, paano na ang aming communication.
Naubos na ang load mo kakatawag ng landline.
Matthew: Namention niyo po kanina yung parang newsletter sa e-mails po. Are
there other ways to communicate with your audience?
Aside from newsletters at e-mails, are there other ways to communicate with
your audience?
Gemma: Yes, yun paring old school. We write letters tapos we send them the
hard copy, kasi we also write yung mga mayors or sponsors, kailangan medyo
formal. Hindi yung e-mail, e-mail lang. And also, we send the hard copy and
sometime, we send the e-mail sa mga secretary.
Yes, we still incorporate old school methods. We write letters then we send them
the hard copy, since we also write them to mayors or sponsors. It must be formal,
and we never rely on just e-mailing them.
Matthew: How do you shape your audience through your materials or content?
How do you shape your audience through your materials or content?
Gemma: Paanong ibig mong sabihing shape?
Matthew: Yun nga po, may content po kayo. Paano po magkakaroon ng

shifting towards another attitude...?
Gemma: Ako, I think it depends on the interest. Interest pa rin ng audience.

Although we do cross-marketing. Minsan, kunyare, yung audience nitong
theater or yung Lab Fest, kasi yan yung experimental, so kapag may isa pa
kaming production na experimental din, tulad ng kung narinig niyo yung
(garble) na experimental dance, dun namin ginagawa yung cross-marketing na
available din yung aming collateral like postcard doon sa kabilang event. Kung
minsan, may nangyayari sa Little Theater, may nangyayari sa Huseng Batute, so
nandiyan na yung tao, might as well give them the information. Pero ang
importante, lalo na sa marketing at alam mo kung yung sa objective mo, alam
mo kung sino ang taong target mong i-reach. Because that's very important
para ma-hit mo yung tamang target kasi otherwise, kahit sumulat ka nang
sumulat, mag-email ka nang mag-email, kung wrong market pala sila, hindi sila
pupunta sa'yo. Okaya, pambata yung show, tapos ang dinala mo college,
patawa na nang patawa ang cast, hindi matawa kasi mali ang target market
natin.
Angeloux: So paano niyo po nagagawa yun. Kunware, may target audience

po kayo, how do you give them the informaiton?
Gemma: Yeah, we tell them. O kaya, itong theater for example, children's
theater siya. When we met--kasi we met with the production eh--when we meet
with the production people, tinatanong na namin na okay, this is a children's
show. Hanggang anong age siya, na hanggang sa ganitong age kaya na niya
ba yan? Meron kaming isang show dito na kahit talaga baby pa pwede, kasi
ano siya, Introduction to Symphonic Music in a very funny way na children come
in costume na kasi it's a halloween trick or treats ang dating. Ginagawa namin
yung ganyan sa production meeting. Kaya bago pala i-release ang
communication, mga collateral, identified na kung anong age ang tinatarget.
I think it depends on the interest of the audience. Although we do cross-

marketing… Before we release our collateral and other forms of
communication, we already identified the age we are targeting.
Angeloux: The same with Cinemalaya rin po?
Gemma: Yes. Sa Cinemalaya, tinatanong na namin. "Ano ba diyan yung may x-

rated...?" Kasi baka may manood, di pala siya dapat para sa ganun. Though
wala kami ditong...
Matthew: Regulation.
Gemma: Yung sa MTRCB. Wala kaming ganung restriction kasi ano kami, free
arts kami. CCP kami eh. So we have the freedom to express diba? So wala
kaming ganyang restriction. Pero, kailangan naming maglagay sa theater ng
advisory na parang "This film is recommended to ganito," "There are some
scenes..." ganun.
Angeloux: The same rin po sa mga religions. Kanware, may nanonood na
muslims...
Gemma: Oo. Naglalagay kami ng advisory namin kung sensitive sa audience.

Kasi nangyari na yan, "Oh my God, (garble) ba yun?" Dun kami naghahabol ng
advisory. Dapat naka-ano yun sa website. Kasi ang public, kailangan lang ng
well-informed lang, eh noh. Kasi minsan pag di sila well-informed, we received
complaints. Siyempre nagagalit sila, minsan may dala-dalang bata tapos "sorry
po, di po pwede yung bata. Kayo lang po." "Ano yung gagawin ko sa anak ko?
Iiwanan ko?" Yung ganun. So dapat, the communication is very clear. The
information is very clear.
Matthew: How do you handle misconception with your audience?
Gemma : Misconception? Pano yun?
Matthew: Parang in terms of kunwari naguluhan sila sa isang portion ng content,

ah how do you handle?
Gemma : Oh well sometimes kase minsan ano na yan ng production namin eh

ah kapagka nandyan well kung kaya namin iexplain ie-explain namin. Ngayon
kung talagang naguguluhan kung minsan nagkakaroon kami ng talk back
yung ganon yung para na natatanong kung ano yung mga gustong malaman.
Kapag alam namin na minsan medyo yung mabigat siya or merong diba alam
mong may mga katanungan, naglalagay kami ng talkback after the show. Oo
so yun. Tapos misconception, well sometimes pagkakakilala mo sayo lumapit
then we explain tapos minsan sasabihin pa namin.Or if you want I can endorse
you to the Director para ano and hen address your concern. Pero bibihira lang
naman yun eh, it all boils down sa communication eh. Kase kapag hindi mo siya
nacommunicate ng well dun magkakaroon ng misconception.
Matthew: In terms of the planning stages of the festval. How do you start it?
Gemma: Nako. Right after the Cinemalaya Awarding last year, pagkatapos nun
nag-evaluation... we did evaluation muna. After that tuloy-tuloy, merong
kaming Cinemalaya Org Committee meeting.So after a month, nag-start na ulit.
Based don sa mga evaluation, sa mga reccomendations, tine-take namin yun.
Tine-take namin na okay eto yung reccomendation nung nakaraan, we need
to improve sa ganito, yon para naman sa susunod na festival eh better siya o
improved na siya. And then yung mga ganitong problems ia-adress. Oh last
time eh nagkaroon ng ganitong problema ganon para ano. And then that's
the time also na pinepresent... kung sino sino yung mga finalists. Kase diba 2018
nagyon ano? 2017 pa lang sa awarding inaanounce na yung finalists para sa
2018 kaya alam na natin kung anong pelikula ang ipapalabas netong 2018.
Ngayon, yun na lang kung paano siya aanuhin ng filmmaker, kung sino yung
casting, yun dun ngayon yung mga pinag-uusapan namin sa meeting. Kase we
need to know also dahil yung artista eh ano mo yan pwede mo siya gawin ring
marketing tool. Uy gaganap samin si ganito kung sinoman. Diba. Oo kung sino
man siyang popular artist diba. Yon ginagawa yon, there is a monthly meeting
to update the committee kung ano na yung mga final, nasan, anong stage na
sila? nakapag-casting na ba? Nagsimula na ba silang magshoot Yung ganon,
and then we give them deadlines when to submit yung mga kailangan namin.
Kunwari syempre kahit hindi pa gawa yung pelikula, sino yung mga stars nila,
yung mga ganon. Kase yun yung mga vital na kailangan malaman para masell
natin yung festival. So yun.
Matthew: Yung finding niyo po of previous edition sa festival, ano po yung naa-
dopt niyo para sa creation film festival?
Gemma : Yung alin yon?
Matthew: Yung mga findings niyo po and evaluation from previous editions of
Cinemalaya. Ano po yung na-adopt niyo sa creation ng 2017?
Gemma : Syempre minsan yung content hindi na namin pinakikielaman yung

kasi artistic side yun. Ah minsan kase, eto openly sinasabi ang sina-submit
naman kase diba mga final para ikaw ay ma-chose ka as finalist diba yung
script mo. Syempre pag binasa yan ng mga sinong committee man na pipili
diba nung finalist yung script mo. So yon, based on your script kung maganda
siya, mapipili siya doon. And then kung paano siya ngayon gagawin into a
cinema, diba makikita lnag natin yon on the day of the festival. So ganon yung
proseso.
Ngayon syempre ang lagi nating kino-correct, ewan ko nga ba hindi na natin
ma-correct yon. Yung submission ng mga, halimbawa nag-set ka ng deadline,
hindi talaga marunong sumunod sa deadline diba. Eh Domino effect yun,
kapag ka hindi nasa-submit lahat it follows, Lahat yan magiging late, kasi diba
the earlier we release, the earlier for us, and the earlier for us to sell the tickets.
Kaya lang minsan syempre we rely dun sa, kunyari sa production o kung
anoman, kung sinomang filmmaker. Minsan kahit nag-set ng deadline, pag
hindi nasubmit hindi magiging perfect yung ating schedule, yung plan natin
kung kelan natin siya gustong mameet. Laging gnayan yan, nako jusko minsan
nga nagfe-festiva na naghahabol kami ng progamming ng tickets eh ang dami
dami nyan. Ilan yan, 2 weeks yan tapos lahat ng screening lahat ng venues
namin, simultaneous may pinapalabas kaya nasa 120 to 130 screenings yan. 130
ang pinapaprogram namin sa ticket world. Isa-sahin mo baka nagkakagulo
yung date yung ganon.
Matthew: Pano po ang strategies na ginagamit ng institution niyo sa

pagpromote ng all film sa festival specially yun nga may parang may for sure
may least grossing film dyan pano po niyo nare-raise yung demand for those
content?
Gemma : Kailangan lang talaga anuhin mo ng promotion, ngayon talaga

malakas ang social media so kapag ka sa filmmaker malakas siya syempre
marami syang friends, marami siyang supporters, ishare ng ishare dia=ba so
ganon siya kaingay. Kapag nire-release naman ng P.R. ang promotional
materials ng films at kami din nilalabas namin, as a whole. [referencing to the
press release containing every program in the event] Kapag ka nagplace kami
nag Ads sa Newspaper as a whole yan. Kunyari ung 10 finalists na to kailangan
irelease. And then susunod etong sa mga short films.
Angeloux: (garble)
Gemma: Oo sila. Ang production team neto o ikaw ang filmmaker ng ganito o
ikaw ang Director ng ganito. Sila they promote their own. Kapag malakas
magpromote siya eh ikaw tatalunin ka edi promote ka din ganon. Tapos sila din
kung maano sila sa social media talagang ano.
Angeloux : (garble)
Gemma : Hmm. Actually all the festival kasi may iba-ibang sections yan eh
bukod dun sa competition. Yung main competition natin yung 10 full length at
saka yung 10 short films may mga exhibitions yan. Ayon yung merong tayong
asian section na yung mga asian films like from Japan,meron tayong ganon dati
pinapalabas natin yan. So minsan kung pano namin siya nire-release by section.
Merong Documentary, ganon mays ection. Pero usually lalo na kapag dating
palang ng festival omnibus yan the whole. Tapos you can see kung ano yung
section kaya lang syempre ang main feature natin yung competition kase yun
naman talga yung inaabangan ng mga tao eh.
Matthew: If you were to site, what are the strengths and weaknesses of your
institution in terms of the work process etc?
Gemma: Sa work process? Siguro kahit sa ibang office maririnig mo yung
weakness medyo limited din kasi sa staff. Medyo limited din kasi talaga kami sa
staff. Siguro because nung nagrestracture kami kase may ganong call ang
government eh ,may restructuring medyo ini-stringline yung mga staff. So
talagang very ano lang siya very limited. So talgang yung mga staff talaga eh
syempe dire-dretso yan talgang pukpukan talaga puyatan ganon.
Even sa production eh puyatan kaya talagang after the festival ang

nangyayari samin okay leave (laugh) kumbaga you have excuse na magleave
ka kase 10 days na ano siguro yon. Tapos in terms of the strength, well CCP as
an institution is a strength already it supported by the government tapos
supported by the Senators diba. And other mga corporate sponsors. So yung
ganong credibility its a strength already. Plus of course the strength yung mga
leaders namin diba, yung artistic director, yung president yung marami rin silang
connections. So that's the strength already.
Matthew: Final Question na po, How is your institution’s.... how is your relationship
with the audience po? Pano po yung state ng relationship niyo today with your
audiences?
Gemma: So far naman okay naman. Hanggang nakikita namin sila dito
regularly diba, they love us. Kase otherwise diba mawawala na sila dito.
Matthew: Do you see any increase or decline...
Gemma: There are increase depende pa rin sa show na Meron talagang mga
nag-iincrease kase let's face it diba hindi pa tayo ganon ano eh na we accept
or we are educated pagdating sa classical music because CCP pa rin of course
ah showcase says classical music dun mo nayan makikita kapag mga classical
music diba no. Ano konti lang yung audience kase minsan nga sabi nga namin
libre na nga eh iniinvite mo na nga eh ayaw pa nilang pumunta. Pero pagka
mga Star studed ang dami. meron pa kasing ganyan yung mga
Filipino nung ano pa rin eh no mentality.
Minsan nga sabi namin nung nandidito yung mga broadway musicals. Yung
mga cats, (GARBLE). Akala ba namin walang mga pera yung mga tao eh bakit
pag bumibili yung 7500 yung ticket bili ng bili ang dami dami lumalabas yung
pera. Kapg binebenta namin yung mga ganitong products kahit na mura lang
yung ticket eh hirap na hirap. So siguro ano talaga we really need to educate
the people no. That's how we do it. Specially yung mga students, kayo nga
tanungin ko have you seen a classical or watched a classical in CCP? Oh you
see, have you seen PPO performance?oh diba yung ganon. Kaya talagang we
ano kasi diba minsan kahit pumunta kami sa school kapag a si Professor or si
Dean di naman mahilig manuod so wala ng... it's really hard.
Kaya yung mga taong mahilig sa arts, oo talagang binibuild namin talaga yung
relationship kase siya yung magiging ambassador nga diba. Actually meron
kaming ibang mga teachers na kakilala dinadala yung mga students niya
nanunuod, students palang yun ano. Nung grumaduate na sila nakikita pa rin
namin nanunuod, So ibig sabihin naeducate sila at na-appreciate nila at
nagugustuhan nila and some of them subscribe.
Angeloux : (garble)
Gemma: Ay oo kase kailnagn namin yun eh. Yah otherwise syempre no diba
that's also one of our mandate eh diba na kailangan ipalabas din namin yung
ano.... Kaya nga diba what we do now with the .. under the office of the
president. We bring the orchestra to the regions. Actually yun din ginagawa ng
outreach namin na dindala doon yung PPO...
Matthew: Pati yung Cinemalaya po ba?
Gemma: We've never done yung Cinemalaya. But we partnered with like Ayala
Theaters no Greenbelt ganyan pinapalabas siya para mas ma-extend yung
ating venues and maging accessible. Kase hindi natin nari-reach yung mga
parte sa Quezon City kaya dun na sila manonood sa Trinoma. Yung mga
Makati, dun na sila manonood sa Makati. And we partnered din sa Alabang,
diba yung mga malalayo dun na sila. So kaya may mga ganon ding partnership
para naman maging accessible to the public.
Gemma: My name is Gemma Marco, I'm the Division chief Three of Sales and
Promotion Division Marketing.
Sonny Giungab (CSR Officer, ToFarm Film Festival)
Sonny: Okay ano ang maipaglilingkod ko sa inyo? We have 30 minutes
Matthew: Okay. Ahmm
Sonny: I will be ano be very specific doon sa kailangan mo, this is about the film
festival ano?
Matthew: Ahmm basically yung previous email po kasi namin ahhm bali may
change of course po kami withi, in terms of our problem so ang pinaka-focus po
namin is how the Cinemalaya affects, how does the institutional process of
Cinemalaya affects ahh local film festival organizers in terms of their future
festival plans. So,
Sonny: Ohhh that is a big change don sa usapan natin ah. Hindi mo ako in-email
Matthew: Ahh yun nga po nakalimutan ko din
Sonny : Hahaha tha's not my problem, okay sige pero I will try my best to answer
don sa aking hawak na data kasi kaka-start lang ng ToFarm Film festival namin
this year
Matthew: Opo, sorry hindi ko din po nasabi sa inyo.
Sonny: Okay yeah haha. Okay sooo
Matthew: Bale, ahmm for the sake for the record po ahmm your name and
position of...
Sonny : My name is Sonny Guingab, I'm currently the CSR Officer of Universal
Harvester and I handle most of the CSR Project including the ToFarm the ToFarm
Film festival, the ToFarm Song Writing Competition, and the ToFarm Photo Video
Contest. Right now we're ongoing process of the To Farm Film Festival 2018 just
currently handled by Direk Bibek Orteza and Director Joey Romero. Sila ang
pumalit kay yumaong Director Mari jay Delos reyes. We just finish our press
conference last wednesday sa Makati Shangrila it was attended by more than
140 plus people and ahhh we added a new category, a short film category para
ma-in tayo sa mga kabataan na sumali sa movie making. Following the theme of
course the theme base is a celebration of life and ahhm it was a superceded by
the previous theme na planting GARBLE. So basically lahat ng mga films na
ginagawa dito is about farming yun yung target.
Sonny: Ahhh how does your institution plan for the upcoming festival.
Sonny: Well initially ang ginagawa namin every year we gather up lahat ng mga
committee members namin starting with the managing director and the festival
director. So with the target activity in mind is to make sure lahat ng advocacies
namin in line don sa mga pelikulang ginagawa we gather up then we create the
themes. Now, once that the theme is created magkakaron kami ng press launch
to announce na magko-call na kami for entries to get scripts and these scripts
should be consistent don sa ToFarm. ToFarm kasi is stands for the outstanding
farmers of the Philippines this is not our major project. Our major project is this, this
is our model project this started 2012, initially this is the outstanding farmers of the
Philippines where we gather outstanding farmers, woman farmers, young farmers,
outstanding cooperatives, maraming criteria. Then we get them here sa Metro
Manila then we give the man award para marecognize yung hard work nila. Kasi
laging dina-down ang mga magsasaka as a dirty work pero hindi naiintindihan
lalong lalo na ng mga kabataan na napakaimportante ng role nila sa society.
Wala tayong pagkain kung wala sila e. So then hindi sila gaano naappreciate
kaya yung si Dr. Mila How sya yung Chief Advocate namin who is also my boss,
sya yung nag-start ng proyekto na ito. Noong sinuportahan ito ng maraming tao
sa iba't ibang parte ng Pilipinas gusto nya yung advocacy nya ikalat nya not just
sa award system na ito. Since artist din sya gusto nya mapropagate ito sa music,
movies and multimedia. So, nagsanga-sanga na ito. Nag-start sya sa Photo Vidoe
Contest then nag-start sya sa. Sa writing competition which is nag-invite kami ng
mga ahhh composers, song writers para mag-cmpose sila ng magagandang
music na may kinalaman sa farming and ahhh as a result nakagawa kami ng
album, first album pero although it is not for sale noo pero yung susunod namin
this year gagawin naming sellable na sa market yon.
Matthew: Okay
Sonny: Then the Photo video contest and lastly, actually yung second na
malaking project would be this, ito yung souvenir program namin last year. This is
the details ng mga pelikula namin noong 2016. Ang ToFarm Film Festival nag-start
noong 2016. Yon so na-produce namin na film so far is 12
Matthew: Ahhhh in terms of planning of the stages of the festival ahhmm may
kasama po bang research on other festivals din po ba yon?
Sonny: Minimal, because we rely on the festival diretor's skills and the experience
para mamanage nila ng maigi yung aming festival. For example, isa sa mga trust
ngayon ng aming festival director na si Direk Loris is to make sure na hindi kami
sasalubong sa ibang festivals. Kasi may mga naka-schedule na yan every month
e so each year which is nagiingat din kami Cinema Rehiyon kakatapos lang,
Sinag Maynila this March, CineFilipino April, PPP august 2018 including Cinema
Malaya. ToFarm Film Fest naka-ear mark kami sa September. So far walang
conflict wala lang sanang ko-conflict sa amin na Big Titles kasi doon bumabagsak
yung ano e yung pupwedeng magandang income sana sa festival kasi
halimbawa kung sabayan mo ng Marvel movie yan, patay. Wala talagang
kikitain so that would be an example. Pangalawa, iniiwasan namin magkaroon
ng conflict sa ibang mga Film Festivals in terms of not just the scheduling noo yung
sa mga awards, type of awards. We're a happy to announce na this year na
magkakaroon kami ng yun nga Short film festival category para mainvolve yung
mga kabataan. So sumasali na din kami sa bandwagon ng ano ng short film kasi
normally ginagawa namin full-length e. Pero nothing so critical about sa process
ng planning na may kinalaman ang ibang mga festivals e. We just making sure
na wala kaming babanggain, wala kaming sasalubungin kasi we also need the
support of other festivals and in return sinusuportahan din namin sila.
Magkakapatid yan sa industriya e. So we just rely on the professionalism of our
new festival director.
Matthew: In terms of ano the planning your festival yun sabi niyo po ahm sino po
ang mostly nagdedecide ng ano ng mga decisions niyo in terms of...
Sonny: It's actually joint it's headed by the executive producer Dr. How siya yung
boss ko she supposed to be here pero she's very busy pero this should be
concurred by the festival director currently si Laurice Guillen ay no no no, im
sorry, Bibeth Orteza. Laurice Guillen by the way is our consultant. yun so actually
yun yung ano dun kami nag ingat because siya yung tinitignan naming
candidate na papalit kay Direk Mario pero nung nag meeting kami dito natakot
siya because it might cause controversy for us because conflict e. sa ano siya e
ahh Cinemalaya siya e. yun that's conflict of interest pero we want her kasi
because of her professionalism strickness and skill it's the same quality din kasi
tulad kay Direk Mario kaso babae tapos matapang di mo pwede banggain,
lumalaban yun. naranasan ko yun personal medyo nakakatakot na tao. pero
gladly merun naman kaming ano ahh additional na directors ahh we did a
research nakausap namin si Joey Romero and he's not he's not really busy so
he's ... and lalong lao na yung atin ano director na si bibeth orteza na ano yung
tawag dun i think nakulong siya noon kasi activista siya eh diba. yun so
napakabait very professional din and ahh siya yung napili na namin eventually
Matthew: ahm pano niyo po napili si Ms. Bibeth Orteza ?
Sonny: nung mamatay recently si Direk Mario, si Dr. How as our executive
producer nag worry because we're ano e nag geerd eh geer na kamo lalakad
na yung ano e lalakad na ang project then bigla yung leader namin nawala so
kinausap namin ni Dr. How ang manager ni ni ano direk mario si jun rofino and
we were asking for advise kung sino yung mga director na pwede namin
iconsider na medyo malapit at least sa ugali mabait kasi si direk mario and
same level of professionalism and strictness so she gave us along with other
suggestions walong pangalan then we narrow down minimeeting namin sila
pag pumapasa samin okay shi-no-shortlist namin if not di available di namin
nililista na nag narrow down dun sa tatlong nalang initially si bibeth orteza, joey
romeroand si ano si Laurice Guillen. after the meeting with laurice guillen nag
beg up siya to lead us because conflict then nauwi run sa dalawa since ang
ganda ng tandem nung dalawa we supposed to get one lang pero we
decided lalo na si Dr. How decided na i-keep na yung dalawa. si bibeth us
festival director and si Direk Joey as the managing director. before walang
managing director so hirap na hirap kami lalong lalo na sa manpower eh kasi
merun na dito Joey Romero na highly skilled siya actually ang naiinvolve sa mga
international films lagi sa mga born legacy, new born series tapos kinukuha siya
sa ibang bansa hew would be a good addition para mas maganda yung
festival namin this year kumapara dun sa previous two years.
Matthew: ahmm how does your institution form a relation, form the relationship
with your audience?
sonny: institution, well, ahh other than providing the public dun sa mga ano sa
aming mga pelikula we go to schools we promote our advocacy and we
provide the screenings para naging aware ang mga kabataan. Basically yun
lang yung mga ginagawa namin. We're kinda weak pagdating dito sa spot na
to admittedly ano we we are just new in the industry. Usually ang ginagawa
namin dito to promote our advocacy would be the awards basic marketing
promotion marketing online and a through other projects na prinopromote din
namin so right now we're new and a hopefully in the next couple of years
medyo lumakas lakas din kami. We're kinda ahh underman and ahh we need
more people na jumoin saaming organization. this is under gowi chai kasi gowi
chai is the soul sponsor and Dr. Mila How is the executive producer of to farm
film festival she's also the president of this company yun so basically yun lang
ang honestly ahh yun lang walang nothing ano nothing critical nothing fancy
basic approach lang ginagawa namin . It's kinda slow pero effective
nonetheless although humahanap pa kami ng ibang mga partners para
lumakas ang aming ano visibility sa kabataan and sa public.
Matthew: uhmm yung advocacy... apart from advocacy itself uhm what do you
think is the difference of your festival to other local festivals?
Sonny: Well it’s big. Because were under specific theme eh, our theme is mostly
geared on the farms. Gusto namin yung mga magsusubmit ng mga script dito
hindi lang ung magsusubmit ng mga buhay dito, ang challenge namin sa mga
script writers is to make sure na mapakita nila yung paghihirap, successes ng
mga farmers, yung ano talaga yung dinadanas nila sa buhay, yun. Mostly yung
mga nagsusubmit kasi samin dito ng mga script binabagsak nila Direk Mario
before because it so generic na farm setting lang pero pore on dun sa
advocacy namin, we make sure na sa mga gusto na magsubmit ng mga
directors ng script namin naiintindihan kung ano yung ToFarm and machampion
natin ang kahirapan na ginagawa ng mga magsasaka at lalong lalo na
magandang,, maganda ang script, naappreciate lalo na ng kabataan pag na-
isapelikula na nila.. Yun ang difference namin between other festivals. Other
festival kasi meron silang standard theme pero kami specific..farm. The farmer.
Hindi namin tatanggapon kung halimbawa may farm setting ka prto di naman
nakahighlight dun yung buhay at yung aspirations ng mga magsasaka don,
ibabagsak namin yun.Pag napunta ka sa ibang festivals, pwedeng lovestory
yan, pwedeng ano.. although ang challenge lang samin is yung kita, ang hirap
kumita ng advocacy films e. Eh kayo kung bibigyan ko kayo ng chance na
manuod ng ibang magagandang pelikula gaya ng 100 tula versus panuorin
niyo si Bembol Roco or sila Cherie Pie Picache na nagpepedicab sila from
manila papuntang probinsya para bumalik sa probinsya kasi kelangan nila
magsaka, idealy, pupunta kayo sa patok sa edad niyo sa 100 tula, so that alone
is a proof na mahirap, so we're trying to revise our rules para maging.. yung mga
script writers gumawa ng mas enticing na script na maging attractive sainyo na
pwepwede niyong isipin or pwede nyong iconsider na parang subukan nga
natin, panuorin nga natin.. diba? yun yung challenge actually samin right now,
that's why we're revising our criteria and we're involving young people kasi
gumagawa ang kabataan ngayon ng mga shorts films eh and nanalo kayo sa
mga.. kayong mga kabataan nanalo kayo sa ibang bansa so we're trying to
study that avenue and eventually naiannounce na namin sa prescon na
magkakaroon na ng short film category.
Matthew: Ahhh yung mga ineemplement niyong bago.. kunwari short film
category is it rooted as an influence from other local film festival rin?
Sonny: Correct.. correct, kasi ang involvement samin ng mga script writers
maabot lang..kung mapagbabasehan natin ang statistics, nagkakaroon kami
dito ng mga entries na around 200..300 pero that would be the full film and
some of them even fake eh makapasok lang eh.. makapasok lang nag lagay
lang halimabawa ng pekeng script, wala namang kinalaman sa farming eh
then lalagyan lang nila ng page 1 page 2 merong kinalaman sa farming pero
sympre magagaling mga judges natin babasahin lang... tarantado to ah, peke
to ah..
All: (laughing)
Sonny: para lang ma ano.. para lang sumikat lang siya pero sympre may time
na nakaligtas siya before pero this time di na kami papayaag kasi before
nagkakaroon na ng mga special prizes e. 1st ten na magsusubmit, we will give
5,000 pesos.. sympre sila nagtake advantage, yung script sa baul na wala
naman kinalaman sa farming lagay mo, palitan mo ng page 1 then submit na,
so meron na sila 5,000 then binasa ng mga judges.. ano to?! (laughing) yun so
ang laking problem nun sa amin.. so base lang don sa statistics na yun, konti
lang pero again.. naaattract kami don sa possibility na mapropagate pa yun or
makilala kami lalo by involving the youth na gumagawa ng shorts film kasi it can
be done by cellphone lang eh, may iphoneX ka, may maganda samsung
phone ka and marunong ka sa cinematographym you know how to record
sounds, maganda boses niyo, pwede niyong iconsider yun.. submit ka lang dito,
nanalo kayo ng prize so ayun.. maganda yun, di niyo kelangan maging
professional just make sure yung product niyo not less than 2 minutes not more
than 10 minutes then maybr pag nanalo ka samin, bigyan ka naming cellphone,
you got the 30,000 cash, ano tawag don? yung aparatong ginagamit para
maging stable yung camera?
Dennis: stabilizer
Sonny: yun.. yun..
Matthew: uhm, didiscuss lang po namin yung ano.. yung findings namin from
Cinemalaya, ahhh and lets.. We would like to know how would you received it..
uhm bali po kasi sa findings namin from Cinemalaya uhmm ang messages na
uhmm yung content nila is very diverse ehsince they promote artistic excelllence
and uhm yun nga they.. through that content may parang nagbloblossom na
parang ano.. increasing audience because of that. So, how would you react to
that po?
Sonny: Actually, I am very happy about it.. Sumasali ngta kami sa kanila eh,
yung ibang films namin sinasali namin don.
Matthew: Cinemalaya?
Sonny: yah. Oo, incase na may category don na pwepwede naming ipromote
don ung pelikula namin do, we join. In fact, ano.. Pista ng Pelikulang Pilipino
kasali kami don, films namin sinali, so di kami nagcocompete eh, we support
each other e, magkakasama sa industriya eh, yun yung natutunan namin kay
direk Mario eh, so actually we're very happy na ganon din and we hope na
sana kami rin maging successful. Sila diverse, pero samin mahirap kasi specific
pero atleast madali because specific, mahirap because yung market. Yun, pero
we dont have any anomosity with other ano.. festivals, we actually support
them and hope that susuportahan din nila kami.. Pero they do naman kasi pag
sinasali namin yung pelikula namin, halimbawa official entry sa Pista ng Pelikulng
Pilipino yung Paglipay and yung PaUwi Na which is nanalo ng international
awards.. sumukat yung pelikula namin sa iba tapos sinali na nila yun sa PPP pero
yun nga lang nakakalungkot ahh di masyado kumikita dito, naappreciate sa
ibang bansa.. something we want to change this year, so yun.. I hope it answers
your questions.
Matthew: (laughing)
Matthew: Since Cinemalaya is a powerhouse yan eh diba parang almost sila

yung nanguna talaga ng independent film festival here. So How does it affect
yung mga planning decisions niyo yung creative decision yung mga nirerelease
nilang films ganon na ....
Sonny: They provide a good data para samin para galingan namin yung festival
namin. High-end sila eh ang laki ng mga nirerelease nilang pelikula.They have
a very big support group and headed by Laurice Guillen tama? So right now
masaya kami consultant namin siya since she will share actually some tips para
mapagaling pa namin dito.
Matthew: What are your future plans for your festival?

Sonny: Tuloy tuloy pa din hanggang dumating kami sa level na ginagawa nila
Laurice Guillen na I hope wala ring conflict because again specific ang gusto
naming mangyari dito as long as nachinachampion namin ang kahirapan at
successes ng mga farmers, we're going to push through every year na gagawin
namin to. From last year kasi previous year 6 films lang kami a year. Now ang
ginagawa namin 7 films na so we're adding another one para mabigyan pa
kami ng mas maraming pelikula. Ang grant nito by the way nasa 1.5 lang eh.
Hopefully sa mga susunod na taon malaki para mas maganda maproduce nila.
For the mean time ang thrust namin would be gawin pa rin to annually.Hindi
kami hihinto hanggat malakas ang aming chief advocate na si Dr. Milla How.
Para meron ksayong backround, bakit ginagawa ni Dr. Mila How to? Siya yung
chief advocate. This building aids under Universal Harvester Incorporated, this is
fertilizer company. So may kaya siyang tao symepre yung revenue niya coming
from the farmers. Now, na-established niya ang sarili niya sinusukli niya ngayon
to sa mga tao kaya, halimbawa magsasaka kayo and hindi kayo narerecognize
we have a GCI Phillippines Partner na pupuntahan kayo titignan yung record
niyo sa agricultural office ng probinsya niyo.
Pag nakita na maganda ang ginagawa niyo don. Irereport kayo samin then
inonominate kayo. Once na nanominate kayo halimbawa na kayo ang
magsasaka. Papadala namin kayo dito for free, wala kayong gastos. Papadala
nmamin kayo sa Hotel for free, gastos namin. Mananalo pa kayo ng award,
mananalo pa kayo ng cash prize, iuuwi namin kayo sagot namin may pocket
money pa kayo. So that's a very big incentives sa ano, maapprecitae nila Aba
nahihirapan ako naappreciate nila ako nito, governemnt di ako appreciate, so
the reason bakit niya ginagawa is because naging masagana ang kanynag
buhay sa negosyong to sinusukli nya lang sa tao. Kaya sinanga sanga na niya,
hindi lang niya gagawin dito sa award, gusto niya ichampion ang buhay ng
mga farmers through song,through movies, multimedia and actually we have
another big project it's Banaue rice terraces. Dalawang subproject to para
awardan kayo, Dr. Mila How is restoring Banaue rice terraces on her own. That's
a very big prject ah ganon sya katatag and para ipromote yung restoration n
ayon, gumawa siya ng frist ever International Music Composition Competition.
It's an orchestral composition so halimbawa tagaUP ka, orchestral group kayo,
you will submit to us piyesa ng grupo niyo na nakatheme sa Banaue. Tapos pag
finalists kayo which is meron na kaming entries ah from all over the world,
dadalin namin kayo sa Banaue for free, hotel accomodation for free, iimmerse
kayo don. Maybe maperfect niyo pa yung piyesa niyo kase naimmerse kayo
don. Then the finals would be on the PICC. Mananalo kayo ng 12,000 US Dollars.
That's how serious we are promoting farming, the advocacy, everything, sanga
sanga na lahat. And yun yung objective namin to give back to the people
specifically farmers that's why we're very specific and wala kaming kaaway,
wala kaming balak mangbangga ng ibang festival. We actually seeking help sa
kanila na suportahan din kami. It's not for us eh, we don't (grable). puro money
out eh . It's all for advocacy.
Matthew: May advocacy po kayo about farming, parang may sort of limitations
po ba ang ginagawa niyong content sa festival na....
Sonny: Yes, as much as possible family oriented eh. May mga nakakalusot
siyempre dahil yung previous director namin is supporter ng LGBT,so he tried to
make na may konting sexual content which is hindi kami agree. HIndi rin namin
macontrol no. So gusto niya kasi balanse yon. Gusto rin namin inaadvocate din
namin ay balanse. However gusto namin makatop yung mas malaking masa
ba yung including children din. Ayaw namin ng sort of violence kase medyo
lumalayo na kmai don.
Meron kaming mga few very few films like yung Baklad. Maganda sana yung
Baklad, about sa mga mangingisda, pero the set up maganda naman, pero
yung mga ibang scenery don hindi namin gusto. So may mga nakakalusot don,
we plan to be careful next time. Although okay naman hindi naman siya bawal
eh, pero syempre gusto namin mapanood ng mga bata eh, we cannot
reccommend tuloy. Almost R-18 na siya pero yung iba safe naman siya, nanalo
naman ng awards. So may mga list din kami ng mga awards right now hindi ko
lang dala nandon. Pero pwede ko iemail sayo yon, madami dami na rin siya. So
yun, you have a general scope of what we do right now.
Matthew: In sort of uhmmm hinging on a more family-oriented content?
Sonny: As much as possible, yes. Kasi we have action, we have drama, gusto
namin pag-aralan na magkaroon na mag-submit samin ng script na, sort of a
challenge dun sa sumusulat. Sabi nga kanina, mga romance comedy
something na mayroong in-line dito sa farming. So, that would be the problem
of the scriptwriters, in challenging them. Kasi kapag nag-submit sila, nagustuhan
namin, they win half a million, bukod dun sa bibigay naming one and a half
million sa paggawa ng pelikula. That's not bad. It's just a matter of how creative
they are. Doesn't matter kung professional kang director na dati na may
pangalan, or kayo mismong estudyante but you know how to write. Kasi pwede
naman kayong magsulat na hindi naman kayo magdidirect. Tingin niyo
papatok to, we will grant you 1.5 million.
Matthew: Yung relationship niyo po with your audiences sa festival, paano po

ang reception niyo?
Sonny: Maganda naman. Wala kaming kaaway. We try our best na

participative kami sa iba kasi katulad ng sa Cinema Rehiyon, this is under NCCA.
If you're aware of the NCCA, it's a big deal din na nasali kami dun. Ang
participation namin dun is that we provide our films na walang bayad. Parang
promotion na rin samin, kasi it's already an honor na imbitahan kami na i-screen
yung pelikula dun without payment, without cash incentive. So, yun ang
participation namin sa kanya. In case dun sa PPP and Cinemalaya, if your film is
good enough para isali. Yan ang general participation namin. However,
participation din ng mga festival samin is that we sometimes consultation sa
kanila. So we are actually friends. Walang magka-away. Sila siguro, nag-aaway-
away. Us, hindi. Kasi wala silang mapapala sa amin eh. Literally, wala. Kasi gusto
lang namin, sumikat lang yung mga farmers para ma-appreciate lang ng mga
kabataan. Bakit mo kami aawayin. We were actually helping them eh. So
napaka-neutral at napaka-specific ng aming ginagawa.
Matthew: Where do you see ToFarm Film Festival in the future?
Sonny: As big as Cinemalaya in the next few years. Hopefully with the support of
the young people kasi isa sa mga adhikain namin dito is mag-raise ng
awareness sa mga millennials na farming is not such a bad thing. Or yung mga
matatanda na rin right now na iba ang interes so binabalik namin ang interes ng
mga kabataan, ng lipunan, na ma-appreciate nila yung itong mga klaseng
stories. Hopefully, a few years from now, ma-reach namin ang aming goal na
hopefully, yung objective, ma-reach na rin namin na kasing laki na rin kami ng
ibang film festivals like Cinemalaya. Actually, kapag binabanggit ang
Cinemalaya, they're no joke. Laurice Guillen is no joke. And we're happy she's
onboard pero not as a member ng committee, but as a consultant. She will
guide us. So meron na agad kaming tulong from them na every meeting na
gagawin namin from here on end, kasama siya just to tell us na gaganda ang
film festival niyo kung ganito yung gagawin niyo. So we have an option to
adapt, dun sa sasabihin ni Direk Laurice.
Matthew: How will you balance yung artistic input ng isang filmmaker sa
advocacy niyo? How can you balance that?
Sonny: That would be under the work of the chief advocate and the film festival
director, si Dr. Mila How, she will be focusing on the advocacy while si Bibeth
Orteza as festival director would be focusing on the quality of the submission.
Silang dalawa yung mag-cocolaborate na once dumating dito yung stories,
pag-gagawa ng mga traches, they will make sure na in line lahat. So basically,
wala kaming lie or write-up or guidelines na pwedeng ipakita sa kanila,
automatic lang yan pag nandito. Pag-usapan yan, they would watch, they
would read, and they would decide. So basically ganun lang yung ginagawa. I
think ganun din naman sa ibang mga festivals, pero I cannot give you the
proper guideline because kakasimula lang ni Direk Bibeth. Siya ang masusunod
kasi eh. She will provide us the workthrough para dito and right now, nag-pe-
prepare lang sila. She's also currently forming the underteam niya na mag-
cocoordinate sa cinemas eh.
Matthew: That's basically our interview since it's thirty minutes na.
Sonny: Pero kung meron ka pang pahabol, go.
Matthew: Yung relationship niyo po with Cinemalaya, it's getting closer na

ngayon di ba. Ano yung nakikita niyong aspects ng Cinemalaya na gusto
niyong i-adapt sa festival niyo?
Sonny: Aspect? Yung kanilang popularity among the people. We're popular
naman on our own, pero not as good as Cinemalaya eh.
Matthew: And how could you possibly execute that?
Sonny: Through good films. Bagong mga judges. Bagong criteria. Bagong rules.
I-involve na namin yung kabataan sa bagong criteria namin, and dadagdagan
namin yung pelikula other than 6, gagawin naming 7. We have more creative
people right now kasi dati, isa lang ang director, now, dalawa na. Ayun. Meron
na kaming consultant from Cinemalaya. So definitely, yun ang springboard
namin para marating yun. Kasi guided na kami ng mas maganda ngayon
compared last time. Ano pang di na nasagot?
Matthew: Ayun lamang po. Thank you.
Sonny: Ayun. Thank you rin.

Shandii Bacolod (Promotions, Cinema One Originals Film Festival)
Shandii: Taguig, I was working with the Taguig government nung time na yun
and then ahh two thousand fifteen (2015) ba, I think with Cinema One. I, I was, I
helped with the publicity.
Matthew: Can you speak on Cinema One's behalf or...
Shandii: Ahh, Yeah, pwede yung alam ko lang
Matthew: Yeah sige yung alam mo lang
Shandii: Alright...
Matthew: Bale kasi ang anggulo ng ano namin ng, ng mismong study namin is
how Cinemalaya affects a local film festival organizers in terms of future plans
ng festival
Shandii: Okay...
Matthew: So bale, magbibigay kami ng parang findings namin about sa

Cinemalaya
Shandii: This findings based to sa mga ni-research niyo? But you know what I've
been with the Cinemalaya since the very they were started so hanggang last
year I was part of it, so every year I have, I used to have merun isang year na like
I have five films in Cinemalaya so... ahh...I also merun na rin akong year na I did
a closing film ahm merun, films na nag compete (1:14-1:15) every year talaga
parang...
Matthew: Halu-halo
Shandii: Never akong wala lagi akong nasa Cinemalaya
Matthew: So for the record, nakarecord na pala. ahh, my name is Matthew

Escosia, this is Pauline Alberto, and Angeloux Ricaforte
Shandii: Hello!
Matthew: And we are conduct, conducting a research on the institutional

process of Cinemalaya
Shandii: Okay.
Matthew: And its affects to local film festival organizers'
Shandii: Alright.
Matthew: Festival plans, so we need to, can you speak your name and
Shandii: Ahh...
Matthew: Position for CinemaOne Originals
Shandii: Ahh okay. ahh.. I'm Shandi Bacolod ahmm I'm an executive producer
for Black Maria Pictures and I do PR. So, ahm basically I've, I've worked with
almost all the festivals in the Philippines. From Cinemalaya to Cinema One to
ahh CineFilipino to last years To Farm ahm since I lobby meaning I ahmm for
Cinemalaya I bring films sakanilang rosters and may mga producers na which I
had directors na which I handle, and represent so I produced also. ahh in two
2015 ahm I sort of help Cinema One with in terms of promo that was the time
also I had a film with ahh Cold Red for Jay with Jay Abello and then To Farm last
year ahm I produced for What Home Feels Like and I actually sort of nag bid
ako to handle promo and publicity but ahm dahil nag produce ako so hindi
yata pwede conflict of interest. So basically I've been around the festival, that's
what I do talaga.
Matthew: Yung pag paggawa mo ng promo for the festival for Cinema One
pano yung start nun
Shandii: Ahm... I used to, I used to be the editor a chief of an Independent

Magazine called ISDA, ISDA Magazine parang ahh In... Indie Support
Development Advocacy parang ganun yung ibig sabihin ng ISDA. I was EIC
and ahh we basically feature anything that is independently produced or
independently made from music to fashion to film pero mainly films kami ahm
(clears throat) Ronald is a good friend (clears throat) and since I was doing Red
he approached me na parang ahm maybe we can tie up with Cinema One or
what you can do for us so ahm... I submitted a plan so what we did is ahm we
featured all the films in the promo in the magazine kasi para siyang pamphlet
para kasi siyang kasing liit ng readers digest but it's a... it's a magazine ahh I
featured all the films we actually made a pictorial to cover ISDA ahh to cover
Cinema One for the month of November nung time na yun. The cover had Alex
Medina and Junjun Quintana and then when you... it's free... it's free circulations
so nag ahh ang para siyang two in one yung magazine also became the
program phamplet of Cinema One so once you get it there's a write up there's
everything there and then in the middle you can actually spread it parang diba
sa magazine merun yung gitna talaga nagiging cover spread nagiging spread
siya so it's the entire schedule for the entire Cinema One and we help with ahm
I help my team plan to put it stra... strategically where students or enthusiast film
ethusiast can actually read or get a copy. so medyo madugo lang siya sa part
namin kasi although we are... first year palang ng magazine namin nung time
na yun eh when Me and Ronald parang partner to do promo for CinemaOne.
Matthew: So yung ano, yung... yung promo niyo ahh is Ronald, does Ronald
have the final say dun ba
Shandii: Yes, kasi merun ako plans before na ang ano ko ang gusto kong cover
talagang parang sexy or para alam mong maloka yung mga tao. Ayaw nila,
ayaw ni Ronald kasi nga TV daw sila Cinema One sila so we ended up with this...
I'll show you the cover (gets the Ipad searching for the sample cover) na di
naman masyadong happy pero ganun talaga medyo ano na siya e parang
okay alam mo yun eto oh (shows the cover) so this became the final approved
cover for ahh yan si Alex kumabaga parang the just Cinema One it's the issue
but ang totoong cover na gusto ko wto talaga (shows the sample cover) kaya
lang naloloka daw siya kasi parang ay naku ganyan cover baka mabaliw yung
mga tao
(all laughing ) for Alex and Junjun (laughing)
Matthew: Ganyan na ganyan
Shandii: Ganito na ganito (laughing) ayaw ng lolo mo di niya kaya so napunta

kami dun sa playtime bwiset diba (laughing) so yun yung plan but I shot this for
, I shot this for a book a coffee table book yung mga actors na kinuha ko.
Matthew: So yung ano... yung ano ba target audience ng Cinema One talaga
is it parang...
Shandii: I think stu... nung time na yun ang target audience actually when the
festival started ang one of the target audience nila are the students kasi you
have to remember na lahat ng festivals na merun sa Pilipinas there's only one
festival that ... that talagang has a big chunked sa market nila are students ay
Cinemalaya. Kasi sila rin naman yung pinaka parang pinakamatagal and
merun tayong kasabihan na sila na yung prestigious diba parang ganun kasi sila
na yung nag umpisa so ahh naging ano na siya eh parang season na siya sa
calendar na alam mo talaga na yung week na yun Cinemalaya as in sobrang
daming students so syempre ah in a way Cinema One or sino pa ibang festivals
yun ginawa nila yan like last year To Farm ang target nila last year was students
eh pero they failed big time walang di sila nakakuha ng ganung klaseng target
feeling ko dahil mali yung month nila. ayy July ata last year
Matthew: July
Shandii: Ngayon there/they're gonna do September. So, ahh yun pero ako ahh
sa lahat ng na kasi lahat ng festival pati world premiere naka ano na ko diyan
eh so ib8g sabihin sa lahat ng festival ang napansin ko pang talaga na ano na
successful in terms of ano targeting the students actually Cinemalaya lang sila
lang talaga.
Matthew: Hmm...so pano niyo... pano niyo istinastructure yung agenda niyo
para ma-satisfy yung audience niyo in terms dun sa ginawa niyong promo
Shandii: Ahm...bale kasi ang... ang pinaka-biggest promo na ginagawa talaga

ng kasi well we have to admit na sa lahat ng festival Cinema One has the
biggest advantage in terms of promo and marketing because they have a TV
they have a big channel pinapalabas sila sa mga news kung saan-saan sa TV
Patrol kung saan-saan unless sa Cinemalaya nanalo ng best actors,best actress
eh Kapamilya eere yan kaagad automatic sa ABS kung ang nanalo ay ahh
Kapuso eere yan sa GMA that's the only time eh so if you get... so ngayon
nagiging strategy ng mga producers is you get an actor na merun TV Network,
TV station kasi that's the only way to get publicity from their network eh. So kami
what a ang structure talaga namin ahh nilalagay naming yung magazine
placing where we see where kunyare coffee shop where students are actually
studying. So we did that, placed it in Cobo, in Morato, we tried putting it in
Starbucks ahh and Morato ahmm bookstores yung mga independent
bookstores. Yung mga coffee shops, yung mga Café, yung mga internet shops
dun namin siya nilalagay kung saan may target na students.
Matthew: Kelan nagii-start yun?
Shandii: Ahm...kung November siya, lumabas kami October, lumabas yung

magazine eksaktong November one(1) pero ning time na yun ang festival is
around yata September twelve(12) or something, so ahh... first week of
November nasa mga coffee shops na siya ahh actually we even have ano
kahit mga travel agencies ahh we have David's salon lahat ng David's salon
merun magazines. Kung anung-anong mga mall... sa mga coffee shops sa mall
merun kami so and you can actually bring it home we can... you just don't read
it you can just take it off...take it out. So may ganun kaming placing dun and
then ang biggest chunked nung and that year November it was the in terms of
our duplication yung physical copies it was the biggest in terms of copies so
sobrang laki.
Matthew: Ang dami.
Shandii: kasi ang daming requirement tapos premiere night namigay tapos sa
mga sinehan sa ticket booth andun din siya tapos sa mga Cinema One tables
andun din siya, so it was just really around.
Matthew: So may mga dumating naman na... feeling niyo ba dumami

audience niyo because of that?
Shandii: I think successful siya, kasi alam mo kung bakit? Kasi nakita namin na
may dumarating dala yung magazine pamphlet. Ronald actually ask me to do
it the next year. Kaya lang, nawala yung magazine. Parang more than a year
lang siya. Nagkaroon ng demandahan ng rights, nagkademandahan. Nag-
agawan sila sa rights. Hanggang sa hindi na natapos yung kaso hanggang
ngayon. So naging extinct siya after that Cinema One. But in terms of output, it
was really successful. Kasi naubos namin yung copies eh. I think we produced
three thousand copies ah.
Matthew: Metro Manila?
Shandii: Metro Manila. But this is an independent magazine. You imagine how
much is the printing, tapos colored to ah back to back. From cover to end.
Tapos pag pumasok kami, ad spots kami. May mga paid pages siya for ads. So,
dun kami kumikita pero yun talaga yung pinakamalaki namin in terms, tapos
siyempre yung pagdedeliver, hindi ganun kadali. Kung san san namin nilalagay.
Umabot kami ng Laguna, Antipolo, we tap friends who own cafes and
restaurants, dun namin nilalagay. So naubos namin around three thousand
copies out of five thousand.
Matthew: Yung audience ba ng Cinema One, very strong ba yung following?
Shandii: I've always told Ronald and the rest of the people that year was
actually the strongest in terms of Cinema One audience. I don't know why,
maybe because of the publicity nung time nila na yun. Kasi parang after that,
lumaylay. Anong year ba ito? November... Sorry, it's 2013. So after nun, diba,
ikaw rin napansin mo na iba na yung line-up, pati strategies nila. Dati may pera
sila for promo. Grabe ang mga standees nila. Every around the mall. As in OA.
OA talaga sila. Ngayon, parang wala na.
Matthew: Ano ba ang difference ng Cinema One to other festivals?

Shandii: Since i'm producing now for Cinema One, I have an entry. Number one:
They're the only festival who gives the biggest grant. Three million. So, that's like
hello. And the tax is only like 10, 000 pesos. So you get like, 2,900,090 compared
to the 750 of Cinemalaya minus tax, and the 1 million of QCinema minus tax,
and ToFarm has 1.5 minus tax. CineFilipino is 2-M minus tax. So, biggest talaga is
Cinema One. Number one. Pinakabiggest difference. Number two: they're the
only festival that the filmmaker doesn't get a pinch of a right from the movie. So,
100 percent of the film goes to Cinema One worldwide and perpetuity. So, yung
iba, 50-50 pa eh. ToFarm has 50-50 rights. I've been to ToFarm. So Cinema One
nga, zero ka. So, third: in terms of promo and publicity, they have the biggest
advantage because they have ABS-CBN, they have Cinema One, they have
Sky. So yun yung meron sila. Studio twenty three, ANC, so ayun, they can just go
around. So, yun yung hindi magagawa ng iba.
Matthew: Bale, discuss ko na yung findings namin. We want to know how you
react to those findings. So bale, yung study kasi namin is about how Cinemalaya
structures their agenda through messages, how they maintain and handle
patron relationship.
Shandii: Alright.
Matthew: Number one, very diverse yung programming nila. Ayun nga. May
parang full support sila sa audience nila, like, post-festival run. May mga letters
sila na binibigay. This is for the institution mismo, yung Cinemalaya Foundation.
May mga school tours sila na inooncorporate sa promo strategies nila. And
they're relationship with their audience has been good. Actually, nag-iincrease
sila overtime. And they go beyond Metro Manila in terms of the films they show.
Shandii: Alright.
Matthew: Ayun nga. They practice artistic excellence, which they have
maintained sa messages nila, to their content, to their work practices. How do
you react to that?
Shandii: Is this findings na nahanap mo from Cinemalaya?
Matthew: *nods*
Shandii: I feel so. Kasi it's only QCinema that gives 100 percent rights to the
filmmakers. Cinemalaya, there's a timeline bago mapunta sa'yo. Ang problem
kasi with Cinemalaya, in-e-exhaust nila eh. Yung first three, five years, sa kanila.
By the time mapunta sa'yo. Sino manonood? So, but ako, I agree. Tama yung
sinabi nila na maayos sila mag-alaga ng filmmakers. Gusto ko yung sinabi mo.
That's a valid finding, but we also have to, not sure if this would sound shady
pero, I think we also have to address the elephant in the room. Since wala na si
Cojuangco, si Tony Boy sa kanila, hindi na siya head ng Cinemalaya. And their
grants they get are government funds. It's part of PDAF eh. So, meaning, di na
ganun ka--I think mas mahirap ang process ngayon. Kasi, I hear so many stories.
I have so many friends, filmmakers na one year na ang nakakalipas, di pa nila
nakukuha yung grant nila. Yung final tranch or whatever. It's so hard to liquidate
and to put up approval sa meeting. And are the filmmakers getting richer? I
think that's one question, no. That's why there's festivals, nagtaas ang Cinema
One. I think Cinema One is the only one that actually understands that it's very
expensive now to make a film. Hindi katulad dati. Well ako, I love Cinemalaya.
I'm a Cinemalaya baby. There was a time where they call me Reyna ng
Cinemalaya, I had five films in one year. So, ngayon, dati di naman ganun
kamahal gumawa ng pelikula. 1.5, makakagawa na tayo. 1 million lang eh. So,
ngayon hindi na. Imposible na. Kulang pa. Hirap pa ko. So, valid yung sinabi mo
about it. But, I will not agree one hundred percent kasi it's not just taking care sa
sinasabi mo na meron silang updates or whatever, it's taking care of a filmmaker
by giving them a grant na kaya nila, na totoong gumawa ng pelikula. And I
wanna comment na parang pansin mo rin minsan yung quality ng Cinemalaya,
compared sa iba, kasi wala masyadong budget. You are forced to use mga
low-end na cameras, di pa rin tayo naka-update nghigh end. Makisali ka dun.
Mahal eh.
Matthew: So, ano yung comment mo dun sa artistic excellence nga na in-a-
adapt nila throughout their processes.
Shandii: I have to agree on that. I think so. Mas mahirap kasi yung deliberation
sa Cinemalaya eh. And pansin ko to ah sa Cinema One. I think for the past
three years, Cinema One has been doing the same line-up. Walang bago. But
Cinemalaya, despite of them na natatabunan na sila. Every year, they would
still not really find a way, biglang may pasabog. Na "oh shit, may ganito silang
entry." "Oh shit." I think hindi na natatanggal sa Cinemalaya. I think that the
artistic excellence, from time to time, may isa talaga or dalawa na nababaliw
ang Pilipinas. Meron talaga silang nadidiscover. Hindi katulad sa ibang festival
na, it's the same. ToFarm, my God of mercy. The same.
Matthew: Sa pakikitungo nila sa audiences...

Shandii: Cinemalaya is very friendly with their audiences. Why? Because,
pansinin niyo yung isang study, mas malaki yung sales nila lagi sa CCP. Despite
na may Greenbelt sila. Because I think, the essence of having a community is
important. Cinemalaya does that. When you go to CCP, you just see different
faces, different schools, different ages, everywhere, everyone there just wanna
watch a good, quality film. And masaya yung feeling na, kapag CCP,
kailangan Cinemalaya ka. There's some sort of prestige na yung mga ignorante,
nakapunta ka o hindi. "Oo, nakapunta ako sa Cinemalaya. Di ko alam yung
pelikula." Alam nilang CCP. There's a certain pagyayabang na "ay oo, naka-
attend ako ng Cinemalaya." They don't remember the film they've watched. But
ang importante, nakapag-Cinemalaya sila. Nakapag-CCP sila. So, there's a
certain entitlement na I think what Cinemalaya a brand. Kasi they were able to
make their festival a brand. That's very important. Dun sila successful talaga.
Matthew: How does Cinemalaya affect your institution's decisions, sa Cinema

One? Paano nakaapekto yung Cinemalaya sa Cinema One?
Shandii: I wanna answer first. Ako muna, personal. Ako, lahat ng ginagawa kong
pelikula, lagi kong sinasabi na "shet, ano bang ginagawa kong Cinemalaya
three years ago." "Shet, kaya ko ba ng ganitong budget." "Kaya ko ba sa
ganito?" "Kaya po ba gawin yung ganyang budget?" I always go back to how I
produce my Cinemalaya film. So, it's very important. Ako, with regards to
Cinema One. Feeling ko, it doesn't really affect me anymore. Not just Cinema
One. Kasi, Cinema One is already a brand. There's no such thing as wala na eh. I
think dati, nung nagsisimula yung lahat. May competition eh. Mararamdaman
mo, nagpapabonggahan. Kasi, you have to remember, Cinema One shows
films from Cinemalaya. Actually, Cinemalaya pala shows films around the
festival. They have a section, a program sa yearly nila na tinatawag na Festival's
Best. Coming from all festivals. So wala na talagang competition. Hindi siguro
dati, alam mong may konti pa eh. Pero ngayon, wala. Everyone's friendly na
talaga. I feel ko ang nag-aaway na talaga is QCinema and Cinema One. Sila
na lang. Wala nang iba.
Matthew: Ano ba ang advocacy ng Cinema One? Is it the same as the other
festival?
Shandii: Hindi. Well hindi nila aaminin pero alam naman natin na ang advocacy
ng Cinema One is to make a content. Gagastos sila ng content nila kesa bumili
sila. Bibili sila diba I mean iba pa rin yun kapag content mo. So perpetuity
magagamit mo yun. Nakatipid ka na for 50 years. Syempre hindi nila aaminin
yon syempre ang ipapalabas nila is to help the Phlippine Cinema. So ayun ang
advocacy naman ng Cinema One ganyan ganyan. Alam naman natin na
hindi.
Matthew: How can an institution balance the artistic input of fllmmaker over the
advocacy? Pano nababalance ng festival yung artistic input ng filmmaker sa
parang intentional .....
Shandii: Before laging may debates eh. There's always a fight between festival
organizers and the filmmakers on you know who gets the last call for being
artistic. But ngayon nabalance na siya kase ganito ah. Laging sinasabi na uy sa
Cinemalaya you have every right sayo ang 100 percent you have 100 percent
artistic right. Hindi naman nangyayari yon. Kung gusto mong may frontal nudity
ka erection,artistic rights mo sige gawin mo. Eh ang tanong papayag ba artista
mo? There's no such thing as the dead end na parang decision. Wala eh,
marami siyang liko. There's always a bullet point of the things you have consider
and reconsider. So ganito, automatic kase kapag sumali ka sa Cinema One,
diba wag ka ng magpakatanga-tangahan. Alam mong ipapalabas yan sa TV,
alam mo yung rules, bawal ang frontal nudity, bawal ang pumping scenes.
Pwede mo siyang gawin yon kapag pinalabas siya sa sinehan ung R-16 ka R-18.
Kase you have to remember Cinema One doesn't have SM Cinemas. So they
can actually show R-18 films pero once na pumunta yan sa TV, cable, di ka
pwede mag-inarte na bakit niyo ni-cut. Alam niyo namn sa TVkinacut halos
lahat. So I think there's a balance and it's a healthy balance because the
filmmakers have already accepted na parang ayan kabisado na natin eh pag
sumali tayo ng Qcinema, alam na naatin yung mga rules eh.Wag na tayong
mag-inarte so kapag pumunta ka sa Cinema One alam mo na din,
Cinemalaya. I mean ang goal na lang ganito, yung makukuha mo ba would
that be enough to create a film? Or do you have extra enough savings to put
,to add don sa grant mo to make a quality films. So yun na lang yung problema.
The artistic balance is ano na na-balance na siya matagal na. The question now
is who gets the last call? Kasi ngayon malinaw na, by the moment you sent a
contact malinaw na Kumbaga alam mo nayung rules.
Matthew: Where do you see Cinema One in the future?
Shandii: I think Cinema One will go alongway, feeling ko nga dating time mas
malaki ang bigay nilang grant eh. I mean I'm friends with Ronald Argueles, kahit
hindi ako gumawa ng promo after nagkaroon kami ng time na gumawa ng
promo, you know I'm always there to support Ronald. I watch the film, I promote
the films and right now you know I'm showing actually today is the last day of
changing partners. So the reason why sinabi ko na to sa mga interviews sa
Business Mirror, you know why there is a not really an insane but a sudden rise of
micro cinemas. Uncontiously, this is actually a way to help the deprivation of the
filmmakers. Laging sinasabi, is Philippine Cinema dead? Ako is it more alive? No ,
hindi, the Philippine Cinema is deprived. We are deprived of resources, venues,
funds, government help, there's a deprivation sa Philiippine Cinema. So feeling
ko kaya dumadami micro Cinemas, this is our way of helping kasi parang sino
pa bang tutulong sa industry diba tayo tayo lang naman. Gusto natin tong
industriyang ito nag-eenjoy tayo. Tulungan na rin natin.
Matthew: Anong meron sa Cinemalaya na feeling mo kayang i-adopt ng

Cinema One?
Shandii: To be honest, feeling ko the way they choose their lineup. Mas iba pa
rin ang Cinemalaya. Mas exciting pa din. Hindi ko naman maintindihan,
actually ang tanong ko lagi sa sarili ko, two questions. Number one, yung mga
nagsasubmit ba sa Cinemalaya, nagsasubmit ba sa Cinema One, eh mas
maraming pera sa Cinema One. Bakit mas magaganda yung nandun sa
Cinemalaya? Or talaga lang ba yung mga jury ng Cinema One ayaw nila
yon.Di ko naintindihan palagi. Lagi kong tanong. Parang ang gaganda naman
doon. Eh may 3million dito doon 750,000. Or sinasubit ba nila hindi lang
pinapansin ng mga jury dito sa CinemOne, dahil nasa utak na nila na ganto
ang Cinema One, mainstream ba pano ba sila mag-isip. Yun lagi ang tanong
ko tinatanong ko kay Ronald, nagtatawanan na lang kami minsan. Bakit hindi
niyo nakuha yan? Hindi ba nagsubmit? Pag napapanood ko sa Cinemalya, ay
shet dapat sa Cinema One na lang yan mas malki pera, mas maganda pa
sana gawa nila.
Matthew: Yung selection process ba ng Cinema One, mabilis din ba o matagal

tagal?
Shandii: Cinema One ang pinakamabilis eh, sa lahat pinakamatagal

Cinemalaya. Ang tagal ng selection process.Cinema One parang ang bilis lang,
parang nagsubmit lang kami nung kelan tas natanggao na kami after a
month.Pero syempre ang aarte ng Cinema One kase ang announcement nila
nasa TV. Hindi katulad ng Cinemalaya nasa facebook lang. Diba Cinema One
ayaw magpatalo, TV kami. Eh wala naman yatang nanunuod ng Cinema One
na channel yung news yung hinahawak ni Bianca Gonzales, wala.
Matthew: Yung planning ba ng Cinema One immediately after the festival.....

Shandii: Planning nila? alam mo laging sinasabi ni Ronald, to make the Cinema
One better than the Cinema One last year. May tanong ako nakailang Cinema
One... every year ba nagtatry ka.. for the the past three years gumanda ba?
diba hindi? Hello hindi naman, sana gumanda kami this year, may film entry.
Pero hindi ko nga alam bakit nung 2013-2014, grabi yung gastos nila sa promo.
Pagdating ng 2015 onwards, ano ba yun? Bakit wala ng standee s? Ilang piraso
na lang hindi ko maintindihan. Dati OA kami nung 2013, so hindi ko alam baka
nabawasan siguro ng partners? Kaya wala masyadong pera, yan yung
tinatanong ko palagi.
Matthew: What are the future plan of the festival? Ano yung parang iintroduce
nilang bago?
Shandii: Well, the channel itself, the company creative Incorporated diba now
they produce shows eh they produce Lav Diaz, Charo diba ang Babaeng
humayo. So ngayon they're already producing their own content. Tapos every
year, the Cinema One festival give 3million what 9 filmmakers ba kami or 8. Also
foor content so you know we're very lucky we have a man name Ronald
Argueles. You know he loves the Philippine Cinema, kahit nastress siya sa
Philippine Cinema, he love the Philippine Cinema. He loves the filmmakers,
malaki ang nnatutulong niya industriyang ito. So sabihin natin na maraming
mang nagagalit sa rules ng Cinema One, but it's the rules. Wala namang
poforesay sumali. Pero once na sumali ka, you have to abide with the rules. I
mean ang generous genrous ng Cinema One, yung plano nila every year mas
malaki eh. Alam mo ba nag plano nila this year is to have more Cinemas sa
festival. I mean naman na ito bago pero have you heard there's a merging this
year? Qcinema and Cinema One. They will run simultaneously. HIndi na
November ang Cinema One, it's the same month with QCinema.
Matthew: Parang magcross iver silang dalawa?
Shandii: Sabay, two weeks. Qcinema and Cinema One lahat ng sinehan
nationwide na. yun yung plan. Men like Ed Lejano and Ronald Argueles they
don't stop the living, they don't stop planning, they don't stop dreaming for the
Philippine Cinema to be on its golden years kung ano man yon kung kaya pa.
They don't stop naman eh.
Matthew: Wala na talagang competition?
Shandii: Wala na. Kase I mean, ikaw you're part of the media. Alam mo naman
na there's a competition last year between Cinema One dahil dun sa title. Yung
ipapalabas yung sa Qcinema diba pak binili ng Cinema One yung rights. Kami
lang ang magpalabas sa pilipinas. May mga ganon silang labanan. Eh
pinublicize na ng Qcinema.After ng ilang days tinatanggal na nila lahat dahil sa
Cinema One. May ganon silang awayan. So ngayon wala na. There's a
merging, pumunta ka sa mga facebook ni Ed Lejano tsaka ni Ronald may mga
hashtag sila Big Merge, Merging mapapansin mo. Pero inannounce na nila
samin. Iaannounce din nila very soon.
Matthew: How about Cinemalaya?
Shandii: I don't know if you've heard the news, there's a really big
announcement this July. Sa awards night, they're announcing the new
Cinemalaya. Hindi ko alam anong ibig sabihin ng new pero ang sabi saking sa
Cinamalaya. There's a new amount, the grant , di ko alam kung magkano and
there's a new rules legally. So baka magbigay na sila ng totoong rights ng
filmmakers. Ngayong July daw yan iaannounce ay August ba sila so August.
Matthew: Threaten pa rin ba ang Cinema One or ....
Shandii: Hindi pa rin, hindi pa rin sila matethreaten and alam mo ba tuwing
Cinemalaya, lahat ng festival directors nandoon. You have to remember halos
lahat, some of the festival directors nagsimula sa Cinemalaya. Madonna Tarayo,
bago siya nagCineFilipino diba.
Jerome Dulin (Festival Director, North Luzon Film Festival)
START OF CALL 1
Matthew: Hello good afternoon! Hello?
Jerome: Hello, good afternoon.
Matthew: Sir, this is Matthew Escosia from Trinity University of Asia. May I ask if the
audio is clear?
Jerome: Yes, it's okay na.
Matthew: Basically we are conducting a research on Cinemalaya entitled "The

Institutional Processes of Cinemalaya and its Affects to Local Film Festival
Organizers' Future Festival Plans." Now, we invited you as one of our participants
under the label local festival organizers. Basically, our study aims to find out how
Cinemalaya structures their agenda through the messages and their content
and how they manage their patron relationship. So, for the record, actually this
is recording, may I ask you to name yourself and position at your institution?
Jerome: Good afternoon Matthew, i'm Jerome Dulin. I'm from the North Luzon
Film Festival. North Luzon Film Festival Director on the North Luzon Cinema Guild.
Actually we're working under the National Commission for the Culture and the
Arts and at the same time for the Film Development Council of the Philippines.
Matthew: This festival. It ran from since when.
Jerome: Actually, it's a new festival with the NCCA. It started in 2017. It was
conceptualized in 2015. And it pushed through with the NCCA in 2017. It's
running for second year now.
Matthew: Yung planning stages ng festival niyo, how does it start?
Jerome: First of all, when we started the North Luzon Film Festival, it's hard to
identify what really is the cinema for North Luzon people. And if you know what
North Luzon is. Actually, the area is Ilocos Region, Cordillera Administrative
Region, and Cagayan Valley, so mahirap i-identify talaga kung anong kultura or
anong kwento ang mananaig. Kasi from mountains to the shorelines, andaming
istorya. So inisip namin nung first na i-launch yung film festival, tignan natin,
identify natin kung paano ipapakita ng isang Luzon base dun sa paano nila
ipapakilala yung sarili, cinema nila sa mga regions na to. Ang regions na 'to,
meron silang limang probinsya noh, 15 provinces ang involved. And then, more
than 100 municipalities and cities. Nung una, ayaw namin ikulong siya so
ngayon, sobrang laya na nung cinema. Ewan ko kung magtatanong ka with
regards dun sa aesthetics. Makikita mo kasi talaga na sobrang diverse ng North
Luzon. Una, meron tayong diversity ng language. Tapos pangalawa, diversity
talaga ng background. Diversity in a sense na geographical and at the same
time, cultural. And ang nakita namin na pinakamalaking problema is yung
capacity or technical skills paano gumawa ng pelikula. Kadalasan, ang
aesthetics ng cinema ay nanggagaling sa mga video sa YouTube or sa mga
teleserye or theaters, sa mga cinema nila. Yun yung hindi nakokopya. Kaya
sana nabigyan kita ng impormasyon.
Matthew: Yung target audience niyo, sino sino sila?
Jerome: Yes? Target audience po.
Matthew: Ano yung composition nila? Sino sino sila?
Jerome: With regards to target audience, meron kaming target. Unang una
mga estudyante. Pero nung film festival mismo, nagkaroon siya ng iba't-ibang
composition. Nagkaroon ng region region cinema, nagkaroon ng government
officials and personnel, pangalawa , mga teachers and tourism officers. Ano
yung objective nila? Iba-iba kasi yung objective ng mga 'to. Yung objective
namin for them, para sa mga estudyante, ay para ma-expose sila sa cinema
and kung anong merong cinema meron sa North Luzon. This and the diversity
nung language. Pangalawa, yung objective naman ng iba, yung government
agencies, nagka-idea sa kanila ito para magkaroon ng sariling festivals. For
example, mga campaigns nila. Anong film festivals yung mga may campaigns?
So, pinupush namin. Tapos yung pangalawa, yung sa tourism---
END OF CALL 1
START OF CALL 2
Jerome: Hello Matthew.
Matthew: Hello po ulit.
Jerome: Mas clear ba?
Matthew: Oo. Mas clear.
Jerome: Baka walang nakuha kanina.
Matthew: Yun nga po. Target audience.
Jerome: Sa target audience, meron kaming target audience pero at the same
time, nagiging iba yung results nila. Yung sa accomplish report na sinend namin
sa NCCA, ang target audience talaga namin is mga students and teachers.
Ang gusto lang naming objective sa kanila ay ma-identify nila sarili nila sa
cinema. I mean, sa mga films. Dahil dun sa pag-expose namin sa kanila sa
ganung klase ng cinema, na-appreciate nila. Pero at the same, dahil maliban
sa mga target audience namin ang dumalo, dumating ang mga agencies, at
the same time, tourism officers. Alin sa mga dalawang yan. Mga regional
agencies, meron rin silang mga target and objectives. Actually, nakausap
namin sila after the film festival, and nagkaroon sila ng idea na yung mga
campaigns nila for their agency, pwede pala nila gawin for film festival. So
kapag pumunta ka dito sa parteng Norte or sa North Luzon, makikita mo na ay,
meron palang Before Film Festival, Bureau of Fisheries and Aquatic Resources
Film Festival, may mga Department of Justice Film Festival, so parang lumalawak
na yung network, and lumalawak yung pag-advocate ng film pero sa objective
ng kanilang agency. Tapos yung isa naman, nag-attend pero di nakuha yung
tourism officers from Cordillera Region, up to the Cagayan Valley region. Nakita
nila na potential siya na magdala ng bisita or mga turista sa lugar kasi hindi niya
kailangan ng (gargle). Kaya nila pina-costing yan.
Matthew: Yung mga content niyo po na nilalabas niyo for the festival. Is it
diverse po ba or specialized yung nilalabas niyo?
Jerome: Actually, sobrang diverse niya in terms of technical aspect ng film, at

the same time, diverse siya for content. So pag sinabi nating technical, dun sa
gawa nila, iba't-ibang genre ang lumabas. Nakita din namin na siyempre, mas
maloob na areas in the North Luzon. For example, mga dulong parte, mga IP
communities, gumawa sila ng film. As in, iba yung klase ng pelikula yung
ginagawa nila for them na sa tingin nila, narerepresent sa kanila yung film.
Diverse din sa content kasi sobrang daming sub-cultures sa Northern Luzon. For
example, may mga Ilonggo, mga Gaddang. May mga buhay pa kasi eh,
buhay pa yung kultura. Merong mga Yogat, may mga Ibanag, mga Kalingga.
It's Kalinggga per municipality, iba iba yung .. mas maliliit pa na culture. So sa
kanila kase normal lang tawagin na tribe parang kunwari sa lugar ni Wang Od.
Gumawa ng pelikula don tapos sa isang city.. magkaiba talaga yung kanilang
content. Sa Aesthetics naman ng mga pelikula malalaman mo din kase alam
mo yung hindi nagtrain sa film school versus sa nakapagtrain sa film school or
kahit man lang nakapagtraining sa mga film workshops ganyan.
Matthew: Yung relationship with your audience, kamusta po yun?
Jerome: Yung relationship with the audience actually kamin ay nagmo-move.

Ang amng festival ay nagmo-move ng venue every year kase ang gusto namin
as much as possiblle hindi siya mapulitika. Hindi siya sabay, nakakaramdam din
kasi kami minsan yung event nagiging bentahe ng isang tatakbo Mayor or
isang Councilor. Parang (garble) ganyan. So ang ginawa namin, lumipat kami
pero in terms of our audiences. Naeencourage silang gumawa ng pelikula lalo
na yung mga target audience namin na ay next year sasali po kmai o kaya
tinatawag din kami sa kanilang schools para magpalabas ulit ng sets of films. At
the same time. as in mayroong connection na tinatawag, magtalk man lang
about ano ba ang cinema ng North Luzon. So sobrang hirap talagang iUnite
kasi sobrang diverse niya. So yun yung nabuo namin sa aming audiences na
kapag sinabing Cinema parang iniinvite niya rin yung mga pelikulang
kinucurate namin for their schools at the same time for talks ganyan.
Matthew: May following na rin po bang naganap with your audience?
Jerome: Yes poo, actually yung mga for example, yung mga last year na
naging audience lang, this year mga kasali na sila at the same time kahit
malayo sa lugar nila yung venue ng film festival this year, pupunta sila dito.
Matthew: What sets your festival different from other festival?
Jerome: Sobrang laya niya in a sense na ayaw naming ikulong siya sa isang
tema, malaya yung isang filmmaker na ire-interpret kung ano yung binibigay
naming tema kada taon. For example, last year kasi Identity, so malaya siya
magre-interpret ano yung gusto niyang pagkakaintindi ng Identity. This year
kasi Honest, ibig sabihin Life, kaniya kaniyang interpretation yung pano yung
gusto niyang interpretation tungkol sa hininga, literal definition hininga. So yun
sobrang laya niya at the same time, hindi namin maikukulong sa isang super
super nipis na ideology kasi sobrang diverse nga. Di namin siya maibabox.Ang
gusto namin mas lalo pang iencourage yung pagiging malaya nila sa
paggamit ng pelikula bilang medium of artistic expression. Actually gusto
magbigay ng incidence mga ganyan,kase sa siang lugar sa Ilocos Norte,
parang alam niyo naman siguro yung mga Marcoses no.Yung Marcoses kasi
pinipigilan nilang gumawa yung mga filmmakers dun na gumawa ng mga
political films. Laging lagi yon (garble) or parang Horror film festival na parang
talagang Horror lang bawal pagusapan ang politics. Pero dahil sa
ineecnourage namin yun, gumawa na din sila. At the same time, parang
sawang sawa na sila dun sa mga nabuong film festival dati na nilalayo sa
realidad ng kanilang film festival parang ganon.
Matthew: So proceed na po tayo sa next portion ng intervieew natin. bali we

will discuss our findings dun sa Cinemalaya and we want to get a feedback
from you and to know pano kayo magrereact dito sa findings namin based on
your exprerience as festival organizer. Nakuha namin sa Cinemalaya is that as
an institution they manage negative receptions from external forces by giving
out something positive to turn the whole thing offer. This is for their issues mga
negative receptions. Bali yung lineup yung programming nila is very diverse
since Cinemalaya, very diverse yung program. Iniintroduce nila to thorugh
subscriptions given to their consumers, mga customers and they introduce
festival passes para magkaron ng interest yung mga customers nila sa other
forms of program nila. Bali nagtotour din sila sa school ahead of their festival run
including post festival run para aachieve rin yung goal nila which is to enhance
or to cultivate artistic excellence. Nagpopromote sila though different mediums
and their relationship with their audince has been really good and since this is
Cinemalaya, dubbed as one of the festivals na pasimuno for independent
content, nagkakaroon din ng sort of increase in terms of auidence count
especially sa venue nila sa CCP. They actually brunch out, expanded their
venue reach to other parts of Metro Manila including now at none Metro Manila
locations. Bali yung institution, sa Cinemalaya nag-iinvite sila ng mga filmmakers
and other talents na pwedeng kumausap sa audience mismo in behalf of them
in terms of audiences misunderstanding ganon and questions. So bali
Cinemalaya as an instituion adheres to artistic excellence talaga and their
mission, vision that they adopt it to their work practices ganon and including all
of their content and messages sa social media, promotion materials and so on.
Since they promote malayang ciinema, there's no restriction or limitations in
terms of their content. So sir Jerome how do you react to this as a festival
organizer?
Jerome: Parang sa tingin ko sa kanilang pagpoprogram, parang nakikita ko

yung pagkakapareho ng film festival pero parang nakikita ko din kasi yung
challenge. Siguro bilang nasa Maynila, parang nahihirapan, parang may
challenge na ah pano nga naman kasi itatali itong mga filmmakers sa isang
ano kundi talaga mas pausbong yan or palayain yung isang cinema na meron
ang Cinemalaya. At the same time, parang na-ano ko na ah talaga kasi
parang ang naabutan ko lang nung nag-aaral pa ko sa UPLB sa Laguna, noon
pumupunta pa kami ng ano para abutin yang mga ano pero sana talaga
abutin pa yan ng mas malayo pa. Isa kasi sa pinakanahihirapan abutin ng
cinema talaga kahit NCCA eh kahit FDCP, nahihirapan pa rin sila sa North Luzon
para lapitan pa siya alam mo yon excited yung mga tao kasi nakikita na nga
nila sa television ang mga materials ng Cinemalaya. Pero yung actual na films
na nandito parang nakikita ko na ay parang dun napupush ang mga I mean
mga audience para magresort sa pagdadownload o kaya pamimirata.
Kailangan wala kasing specific na cinema na nagcate sa mga independent
films sa north area mga ano lang kunwair nakapasa sa MMFF, mga
independent cinema doon, inaabot dito pero yung Cinemalaya talaga as ano
wala. so yun.
Matthew: Pero in terms of their audience relationship, patron relationship and

their message creation ahhm...how do you receive that?
Jerome: ahm...ayun so ano eh sakanilang mga wait lang bigla kong napaisip
eh (laughing) hindi, lahat ba to recorded (laughing)
Matthew: ahm...bale (24:32-24:33) yun yung problem mismo
Jerome: Di... di... di...di kasi naisip ko kung merun pre-screening di ba parang sa
producing kasi itetest mo kung mabebend ba siya o hindi para maaccept mo
na kung lugi ka na sa pelikula (laughing) sorry ahh... sorry ahh diba yung pre-
screening parang dun ako nagtataka kasi diba parang talaga for marketing
purpose nun eh pano pag hindi talaga diba pano pag hindi okay isa pa yun
(laughing) pero sana sa tours ganyan ahh kadalasan kasi kinukuha ano...
kadalasan ginagawa talaga yung yung tours na yun pag open ang review sa
mass media I mean o kaya yung pinapalabas na ganito reviews ganyan pero
kung pero kung matalinong panonood lang talaga yung ano as much as
possible tawag dito merun talaga from the regions na mag iidentify ng films na
makakatulong sa pagpapakilala ng cinema ng ibang lugar dun sa ng (garble)
for example yun nga for cinema films, cinemalaya films kunwari films ng mga
taga Davao or taga Mindanao merun sana mag cater o ilalapit namin tong
pelikula na to sa North Luzon para makilala yung klaseng yung merun sila. More
of ano sana e more of ahh educational
Matthew: Okay...
Jerome: Or pang inform sana yung ano yung objective kesa yung ika-count mo
na yung icount na agad yung ano para tawag dito sabay-sabay tayong
umangat as anong tawag dito as viewer na din siguro, as viewers...
Matthew: Opo,pero yung artistic excellence ahh angle nila ahm
Jerome: Oo...
Matthew: Naniniwala naman ba kayo dun or the...
Jerome: Sa.. (laughing) sa (laughing) sa arti...(laughing) gaano ba ka ano ka

why parang kay ano ba kay direk kit (garble)
Matthew: In terms of their ahh content ahh yun nga diverse na yung wala
namang themed na ano na nangyari
Jerome: Actually okay na yung pagtetema eh yung pagpoprogram in terms of

kasi from Cinema Rehiyon nag aaccept naman sila ng ano mga entries or mga
stories from dulong Mindanao hanggang feeling ko kay Antonette Jadaone ng
La Union (laughing) di kasi di kasi ano eh di pa kasi naeexport talaga yung
ibang stories from from North West Luzon, North West part kasi di talaga yun
(garble) yung mga nag-aaral sa Manila di na bumabalik sa North para iexport
so in terms of so balik ako sa topic (laughing) ahm in terms sa sinasabi nilang
ano static ng kanilang pelikula siguro sa aspeto ng mga kuwento ahh as of now
parang ano eh napupush sila ng mga audience and (27:57) na talagang di na
siya mauulit na kunwari parang nagsawa na rin kasi sa poverty porn ahh tema
ng Maynila so yung nangyari lumilipat sa mga regional films original na tema or
mas na eexplore mas na... na... tawag dito naishashare yung mga identity at
kultura na nasa South ang pinakamalala kasi na ginagawa kunyare ng ano ng
isang filmmaker ano ginagawang background lang ang mga regional areas
parang tourist ano lang pero ang story pa rin e about Manila parmag ganun so
yun yung ano namin yun yung parang napag... oo nga naman bakit gagawin
background ang what if this location itself can be part of the story parang
ganun kasi yun.
Matthew: Opo
Jerome: Ayun ganun (laughing)
Matthew: Ahm the yung nadiscuss kong findings kanina how does it affect you
in any way in terms of your organization of your festival
Jerome: Ahm actually halos ahh halos pareho e pero nakikita ko lang na
nakikita ko lang na tawag dito na well actually… sa tingin ko ahm merun ako
mga nakuha sayo na pwedeng gamitin lalo na yung ano pre-screen na yan
(laughing) so yun siguro yun yung titignan natin in terms para sa marketing
kung ico...kung ano tawag dito ia-apply siya saamin.
Matthew: Ahm what aspect of cinemalaya do you think can you adapt for your
festival ? Na tingin mo ...
Jerome: Ahm
Matthew: This could be beneficial to my festival
Jerome: Ibig sabihin akin to noh , siguro ang makakatulong sa amin talaga
diyan yung ano ba mas agaran ay hindi mas maiging pagmamarket pa ng kga
pelikula in terms sa marketing ng films kasi saamin ano lang e kung sino lang
mga kakilala namin yun lang yung kino-connect yung mga films for examples
oy may festival sa FDCP I mean may free screening sa FDCP ganito yung tema
so kung ano yung mga rate namin yun yung ibibigay namin sakanila tapos
magugulat kami ay nakapasok na pala yung ay ibang film festival kasi
tinulungan ng FDCP so parang ahh ano to ahm tawag dito malaking ano
malaking... malaking bagay sa mga taga dito na... na... na lumalayo yung
kanilang pelikula so ganun kasi siguro yung feeling ng film (garble) ng
Cinemalaya ganyan kaya di pa namin kaya (laughing) joke
so yun... so yun...
Matthew: Ahm... where do you see your festival in the future now that since ano
baguhan pa yung festival mo ?
Jerome: Ayun nakikita namin na dalawa yung pupuntahan niya eh magiging

umbrella festival siya ng bawat region or mas big deal kung maghihiwalay-
hiwalay na rin yung mga regions pero kung ako lang yung papipiliin sana
maging ano lang siya maging umbrella para bawat region or para bawat tama
region ano siya papunta sa taas parang yung pinaka North Luzon Film Festival
yung kanang ahhh best of the best exhibition na talaga ayun kasi tawag dito
yung pinakauna naming dilemma na nubg ginawa namin to paano namin
itatali paano paano ka gagawa ng isang tema na lahat swak hindi talaga kaya
so dun namin nakikita yung aming film festival.
Matthew: Yung... ahm... yung ano ... yung future plans mo for your festival can
you discuss. Z
Jerome: Ayun, so for future plans ng film festival ng North Luzon ano as much as
possible ahh in terms of foundations niya mas lalapit pa kami sa mga
filmmakers na from na nagsasucceed na sa Manila na bumalik at matulungan
kami although ngayon kaso nag iistart na kami mag reconnect for example sila
Zig Dulay sila sila direk ahhh Jadawan makikipag usap na rin kami para maging
tawag dito para maging solid yung tawag dito yung aesthetic ng film.
Technical capabilities ng taga North Luzon umangat talaga ahm pangalawa
siguro ano in the future eto nakalagay talaga to sa ano sa vision namin is
eventually kayanin din namin mag provide ng grants at magpatuloy sa mga sa
mga artist na tawag dito na gumawa ng pelikula .
Matthew: Okay, ahm... may limitations ba kayo in terms of content that you
release?
Jerome: Ahm In terms of ano...
Matthew: With the exception dun sa geographinal na ano atake
Jerome: Actually ano ang... nalaman na kasi namin yung mga limitations pero
yung isa dati na limitation ng isang filmmaker ahh... ahh okay alam ko na . as a
sa festival ang limitations niya lagi logistics and sa financial sa totoo lang kasi
as much as possible we move one place to another not to be attach to the kung
sinuman yung dun sa isang tawag dun sa isang lugar na napakakakaiba ng
dynamics ng ano ng isang activity dito sa North Luzon in terms of natatag siya
as political activity sobrang (garble) iba kasi pag may event ka dito na kapag
kapag ginawa ito sa isang lugar ano na yan highly politicize na yan unliked sa
Metro Manila magpa-Film Festival sila dun hiwahiwalay mas indep mas ano may
choice ka kung mamimili ka ng silent film kung black and white merun kang
choice pero dito kasi ang napaka(garble) sa politika ayun. ang... ang
pangalawang... pangalawang aspect yung unang aspect yung politics and
financial. yung pangalawag aspect siguro ano napaka ano dahilnnga
maraming buhay dito na ano na indigenous people gamit ang kanilang kultura
sa mga filmmakers namomroblema sila lalo na kung di sila part ng isang tribe or
ng isang IP group marami sila pagdadaanan na proseso bago sila
makapagshoot or kahit manlang makapag interview merun two weeks na
allotment under sa NCI Film memo na tinuturo namin sa filmmakers para lalo na
pag di sila taga dun sa tribo na yun or sa grupo na yun kasi ahh strikto sila sa
tawag dito sa mga aspeto na yun lalo na yung (garble) ng Bagani diba sabi ko
may mga tao pa rin na ano as much as possible kahit kahit kahit artistically mo
na yan ginawa pero nasabi mo tungkol ito kunwari sa isang IP ang strikto nila
kahit sabihin medyo malayo na po siya medyo experimental... hindi pwede kasi
sinabi mong yo God yan parang ganun so yun yung nakikita namin.
Matthew: Bale that's our interview po
Jerome: Sorry talaga kasi ngayon lang tayo nagkausap
Matthew: Okay lang okay lang naman po. Di rin kami naging free kanina kasi
galing po kami from another interview din so…
Jerome: Ahh okay
Matthew: So, thank you so much Sir
END OF CALL 2
Teddy Co (Chairman, NCCA (National Commission For the Culture and the Arts)
Cinema Committee/Cinema Rehiyon Film Festival)
Matthew: For the record, my name is Matthew Escosia.
Pauline: Pauline po
Teddy: Pauline Po?
Pauline: Pauline Alberto po.
Teddy: Ahh akala ko Pauline Po ang apelyido mo
Interviewees: Laugh
Angeloux: Angeloux Ricaforte po
Dennis: Dennis Limpiada po
Teddy: My name is Teddy Co I’m the chairman of the cinema committee of the
NCCA and the commissioner for the arts.
Matthew: Okay. Our study is about Cinemalaya po
Teddy: Alright
Matthew: And its institutional process basically we limit our study to Cinemalaya
or CCP’s message system and their patron relationship. So, we interviewed you
because we want to find out how their message system and patron relationship
affects local film festival.
Teddy: Yea, you should explain to me what this message system and patron
relationship is because you are using some theory by some personal I have
never heard of so I’m not familiar with it. So you should explain that to me first.
Matthew: Message system is very ano, self-explanatory. Message system it is how

the institution communicates through messages and how
Teddy: Messages meaning, email, text?
Matthew: Text, text messages, content
Teddy: Content?
Matthew: Yes, the message system also helps instructioning the institutions
agenda
Teddy: Press coverage ganon?
Matthew: Through press coverage in other means and for patron relationship
the institution in the patron.
Teddy: Who is the patron here?
Matthew: Audiences and other people who might be affected by their

institutional message system.
Teddy; Alright, alright okay
Matthew: So, Let’s start with the brief introduction about your institution or
festival Cinema Rehiyon. Can you tell us about that?
Teddy: Okay, teka so are you also interviewing the other festivals?
Matthew: Yes po
Teddy: Like from Cinema One sino iinterviewhin nyo?
Matthew: We interviewed the PR Department from Cinema One, Shandii

Bacolod
Teddy: Cinema One? She’s involved with Cinema One?
Interviewee: Yes po.
Matthew: For a year po
Teddy: Ohhh hmmm. Ngayon ko lang nalaman ah. Alam ko hindi sya e. Sino
pa?
Pauline; ToFarm po, Sonny Guingab
Teddy: Okay tama, you had the right person.
Pauline: North Luzon
Matthew: And the last one is North Luzon Film Festival. We interviewed Jerome
Dulin
Teddy: Ohh I’m going there on Saturday.
Matthew; So, Cinema Rehiyon po. Tell us about that.

Teddy: yea okay Cinema Rehiyon. This is the recent catalog. So, we collect films
for all over the Philippines. Kaya tawag rehiyon diba? In fact, we just celebrated
are 10th Anniversary ten years na kami kasi ahmm. Kamukha ko ba?
Interviewees: Laughs
Teddy: Mukhang haggard e no? yan ganon katagal na ang ano ang hirap
gawin pero ten years na kaming. Alright narerecord ba ako?
Interviewees: Yes po.
Teddy: Okay so, we started it in 2009 we only had 28 delegates from different
part of the Philippines. This year we had over 100 in fact 160 yata e so ganon
kalaki na, ganon karami. Ganon kalaki ang well I wanna say Regional Cinema
pero actually Philippines na kasi hindi lang naming sinasama ang mga
filmmakers na tubong Maynila. Pwede naming galling don pero dito nakatira
pero gumagawa ng films (GARBLE). Kasi yan ang that is I think the right direction
where cinema should know. Dapat you are presenting the rest of the whole
country hindi yung sa Manila lang. So ano nga ulit yung tanong mo?
Matthewa: How do you start planning the festival?
Teddy; Ahh okay. Kasi ang style ng NCCA ay kailangan may isang GARBLE. Kasi
this is a project of National Arts Month. National Arts Months is celebrated every
February by different government agencies particularly the arts and culture
agency like Cultural Center, NCCA mandated by law yan no kaya they have to
do it. So may naka-a lot na budget sila in this case I think it is 2 million and back.
The Cinema committee cannot implement it alone by itself kasi illegal yon
dapat ang pamamaraan dito ay may isang outside group NGO, LGU or basta
non-stock non-profit organization. Mag-aaply sila so sila ang magiging conduits
hindi ibig sabihin sa kanila dadaan yung pera at sila yung magaayos at sila
yung mag-iimplement ng project para kung like in this case parang sa NCCA
handled by the Cinema committee of the NCCA. Parang inappoint sila parang
kinuha sila para maging managers’ nito at pati yung, hindi lang yun ang project
pati especially paghawak ng pera, financial ano rin managers din. So we ask
them to apply nag-apply sila madaming paper works na ginawa tapos ahh
inapprove ng NCCA then the money is release to them and of course before
that syempre nagplano na sila no how do we organize this? How many films to
invite? How many filmmakers? Magkano budget natin sa hotel? Magkano sa
airfare? Pagkain lahat ano ba mga activities? Yon,
Matthew: Pero yung pinaka may final say po sino?

Teddy: Actually it is a collaboration between the cinema committee of the
NCCA no. Kasi we represent ang NCCA but we are the cinema committee kasi
there are 19 committees within NCCA pati sa bawat arts may committee yan
samin cinema committee. Mainly it is our idea we gave it to them gawin nila ito
pero eto yung mga gusto naming pero we also accept their ideas, kung meron
silang suggestions and patakbuhin natin ng ganon or ganoon… tumulong din
sila sa programming kasi hindi naming kaya nang kami lang e tapos they
communicating directly with the filmmakers so trabaho na nila yon total binigay
naman sakanila yung budget.
Matthew: Sino po yung target audience nyo for Cinema Rehiyon?
Teddy: Okay Cinema Rehiyon first kasi iniimbita naming yung mga filmmakers no
GARBLE iba ibang films. Some of them are halos lahat naman galling probinsya
sila but some of them are living in Manila kasi dito sila nagttrabaho. Pero yung
mga films kailangan ahh may flavor sya na ano ginawa sa regions noo… Hindi
dito pero yung pwede naman gawang Maynila pero halimbawa kwento ng
isang Warai na nakatira sa isang squatters area dito kasi ganon pwede… Reset
in manila pero the story is Regional kasi maraming ano ang Maynila puro mga
dayo yan e wala naming. I mean usually hindi naman totoong original taga
Maynila. Ang karamihan ng taga Maynila are coming from outside Matro
Manila to live and work here. So, ano ulit yung tanong mo?
Matthew: Yung target audience po.
Teddy: ohh yung target audience okay. So far is yung target audience naming
yung mga filmmakers no… Dahil sila yung gumawa ng films gusto din naming
mapanood nila yung mga pelikula na hindi lang sa kanila kundi don sa galling
sa ibang Regions din kasi hindi sila expose e. Ang alam nila is yung sa kanila lang
tsaka yung mga napapanood sa TV mga sikat na pelikula mga may stars
ahhh… Pangalawa, dito kasi ang ginawa namin oumunta kami sa mga
eskwelahan na may Film and Masscommunication courses so yun yung isang
pinaka-target audience naming atleast for this edition. Actually every year
naman pinupuntahan naming yung mga eskwela so it’s really the student ahh
from the schools in that locality. In this case Metro Manila, ahh… Kaya ang
pinuntahan naming first day is La Salle College of Saint Benilde. Second day, FEU
and UP Manila. Third day, University of Makati. Every year iba’t iba ang City
namin. Like last year, nasa Mindanao kami Nabungturan Comfestella Valley.
Next year nasa Dumaguete kami. Two years ago nasa Dasmarinas Cavite kami.
Three years ago naman nasa Cebu kami
Matthew: So ano po yun, ahh yung main. Ano po yung mga places na yon?
Teddy: Doon naming hino-hold yung mga ahh usually mga most often mga
hosts naming mga eskwelahan. Sila yung hosts pero yung budget dito rin
nanggagaling ahhh… May ilang beses din na isang beses lang yata siguro na
hindi eskwelahan ang nagging host. Ay hindi tatalong beses. 1, 2, 3 usually
eskwela e kasi mas medaling kausap ang eskwela tsaka may audience na.
Tsaka usually ang mga students mga young students like you yan yung mga
target yan ang hindi pa ano… hindi pa kayo busy diba wala pa kayong
trabaho, may oras kayo. Tsaka bukas pa yung isip. Alangan naman ipalabas
naming sa home of the agent e no. hahaha baka mamaya ahhh… mga
subtitles non hindi nila mabasa. So yan that’s primary. The filmmakers themselves
who are part of who are delegates of the festival and then the students where
we… GARBLE which usually other schools that is where we show the films and
number 3, general public kung may mga pumasok. Mga walk-ins mga teachers,
mga… Like dito nagpalabas this year nagpalabas kami sa FDCP
Cinematheque. So yan ang para sa mga non-students. Students or non-students
yung mga hindi sila makapasok sa eskwela hindi din sila makapanood sa
eskwela, doon sila pupunta free at free lahat ng screening.
Matthew: Ano po yung agenda ng Institution niyo? I mean for the cinema
committee..
Teddy: For the Cinema Rehiyon no from the title, because for several years, how
old is the Philippine Cinema alam niyo?
Matthew:100?
Teddy: Pano mo nalaman?
Matthew:may centenial program..
Teddy: Sino nagsabi sayo?
Matthew:nakikita ko rin po eh sa mga ....
Teddy: Ikaw alam moba? Nako di mo alam? Di mo shineshare sa

kanila?Ikwento mo muna sa kanila, interviewhin mo siya. Okay, kase yung
umpisa ng pelikula hanggang let's say mga 10-15 years ago, talagang
nakasentro sa Manila. Kapag sinabi mong pelikula ang mahal gawin. Kaya
lahat ng studios nasa manila lang.Maliban lang ng isa nung 1950's sa Cebu,
meron sa cebu ng mga studios. Ngayon, tapos karamihan ng mga ginagawang
pelikula ay parang mga kwentong manila, kwentong katagalugan, tagalog din
ang salita ganon. Eh nakakapaglakbay na ba kayo sa buong Pilipinas? Sa
ibang parte ng Pilipinas? Dito kayo manila lang? Tubong Manila kayo?
Angeloux: Taga Butuan City po yung papa ko.
Pauline: Sa may Cavite po.
Teddy: Oh cavite diba. I mean malapit lang sa Metro Manila pero ibang lugar
na yun.
Matthew:Nueva Ecija.
Teddy: Oh mas malayo pa yun.
Dennis: Marinduque.
Teddy: Oh tignan mo. mga dayo pala kayo eh. Pero kayo pinanganak kayo
dito? Mga manilenyo na kayo. Kaya hindi nmo yung kultura ng Marinduque,
Butuan, Cavite at Nueva Ecija. Kase taga-maynila na kayo diba. Kase ang
kultira sa bawat lugar ng mga ninuno ninyo ay iba. Unique lahat at hindi mo
masasabi na pare-parehas ang lahat ng PIlipinas at pare-parehas ang lahat ng
PIlipino. May iba-ibang klaseng ugali at kultura. Like kung muslim ka di ka
kumakain ng Lechon, well atleast sa belief no. Kaya naisipan namin, tsaka ang
daming estudyanteng gumagawa sa eskwela, hindi lang estudyante, yung
mga films na gawa sa mga lugar na to na nasa labas ng Metro Manila. Ang
tawag dyan Periphery no, eto yung sentro nasa manila tayo, yung periphery
dito no. Actually mas malaki yung perphery eh. Hindi natin nakikita, yung
kwentong galing sa dulo sa labas, di natin napapnood kasi akala natin wala.
Yung kwento lang dito nakikita natin diba. Kaya we see the same kinds of films,
we see the same kinds of RomCom. Although may isang klaseng film na yung
mga kwento nila actually galing sa labas, nilipat lang dito sa maynila. Yung
mga kwentong aswang, kase usually Visayas yun eh. Kultura ng Bisaya yun he.
So isang ara, 11 years ago, nasiipan namin sa Cinema Committee na marami
tayong kwentong ganon na dapat nasa pelikula. Kase sa Literature meron eh
diba. Kaso sa film, medyo later lang nagagnap o nagkakaroon kase dati wala.
Dati ang mahal mahal ng film. Kailangan lumuwas ka ng Maynila para
magtrabaho sa studio. Eh ngayon,11 years, okay na diba may digital eh. AT ang
importante nagkaroon ng komunidad dyan sa ibat-ibang lugar, sa Cavite,
Marinduque, Butuan, sa Nueva Ecija at gumagawa sila ng films kase like may
isang eskwelahan sa Neuva Ecija, NEUST no, gumagawa sila ng short films. May
kilala kong filmmaker na taga-butuan, sa cebu,sa cavite where Cinema
Rehiyon were there two years ago. Ang daming mga local filmmakers na taga
cavite ah.Kinikwento nila mga kwentong cavite. Marinduque, we show the film
from marinduque infact 3 films ayan oh. Di kita binobola ah.
All: (laugh)
Teddy: Nakakatakot itong film, actually yung filmmaker ang nakakatakot. Pero
he's a good guy.
All: (laugh)
Teddy: Di mo maimagine may filmmaking sa Marinduque,Ayan si Joyce Bernal,

yan din yung mga speakers namin. Liza Dino, Jose Javier Reyes.Anyway kaya
naisipan namin, pagsama-samahin natin ang lahat ng ito. Luzon,
Visayas,Mindanao so we have Cinema Rehiyon. Eto lang yung festival na pag
pinanood mo, parang naka-tour ka na ng buong Pilipinas. Tapos nung mga
inimbitahan naming filmmakers nagsidatingan lahat in the airport, sa hotel, so
nandyan sa eskwelahan, parang nandito sa buong pilipinas. Yan ang kaibahan
neto sa ibang festivals dito. Kase yung ibnag festivals parang tayo tayo lang eh,
parang oh dito lang sa manila eto. Pero eto buong Pilipinas eto.
Matthew: Aside from films po ba, what are some other mediums or other forms
of communication niyo po para maestablish niyo po, madisseminate yung
agenda niyo?
Teddy: Well you mean advertising about the film?You're talking about the films?
Matthew:Including that.
Teddy: Kasi syempre we're talking about films.
Matthew: Aside from films po, how do you communicate with the audience
about your agenda?
Teddy: Ofcourse, you have to make announcement, kelangan may press

release ka sa dyaryo, press coverage, so nagpresscon kami. May dumating na
mga writers, sinulatan nila sa dyaryo, may mga bloggers. But you hvae to give
them information, oh eto yung mga films eto yung mga filmmakers, eto yung
cinema rehiyon. Tapos ilalabas nila so that's how we communicate, the festival
to people.
Matthew: In terms of your relationship with your audience po, How is it?
Teddy: HIndi malinaw ang question mo. Pano ba syempre relation with our
audience syempre we show our films and then they watched it.
Matthew: Has there been a following rin po ba na nagaganap?
Teddy: Ah oo, nagkakaroon din, parang ibang fetsivals din na may mga
sumusubaybay naaudience no. Meron talaga like yung isang teachers no, sa
UPMannila, talagang naghahanap siya ng cebuano films. Ilang taon na siya
nagpapalabas eh hinihiram niya.Kase may ilang festivals dyan sa cebu.
PInakamalaki is ano BInisaya film festival. At ah kilala niya yung organizer. I think
for four years na nagpapalabas sila dyan sa UPManila.Pero this time
syempremas malaki na kasi sabi oh you want to show outside cebu pa. Sa
Mindanao, may Northern Luzon, Iloilo.
Matthew: This is outside in the festival run po?
Teddy: Outside the festival.
Matthew: Pero in terms of the number of audiences po. Marami rin po bang
nanonood from your observations.
Teddy: Well yung festival mismo syempre limited yon. Kung ilan yung delegates
na dumating let's sa y 100 tapos kung ilang mga nanood sa eskwela na kung
saan namin pinapalabas. I'd say it can vary from a few thousand,2,000 maybe
up to 5,000. Pero apat na raw lang ito syempre kapag pinalabas na ito sa TV,
libo libo na yan. Pero hanggang public venues lang kami.
Teddy: One ahh... two thousand maybe upto five thousand pero apat na araw
lang ito. syempre pag pinalabas mo sa tv libu-libo na yan pero hanggang...
hanggang ano lang public reviews lang kami.
Matthew: Ahmm... ididiscuss na rin po namin yung findings namin from

cinemalaya. ahmm...nasabi ko po kanina we want to hear some feedback
from how you react from our findings as a chairperson of your institution.
Teddy: Why? what are your findings?
Matthew: Ahm for patronrelationship of the festival ahh cinemalaya and ccp
manage negative reception by giving something positive out of the negative
issue to turn the whole thing. so nagpapadala sila ng letters to their
stakeholders or to people who might be affected by the issue to apologize.
Teddy: Hala! apologize what? from making films
Matthew: No, apologize for...
Angeloux: When there's negative comments

Matthew: Negative comments po
Teddy: Wala ba positive comments ?
Angeloux : Merun naman po
Teddy: Wala ba positive comments?
Matthew: Ah this is for ano naman po...
Teddy: Anong negative comments ? about what?
Matthew: Ay di na po niya inadress e pero yung iba-iba po
Teddy: Di kasi di ko nakita yung point mo na about whatever this negative

comment is relation dun sa tanong mo na yung sa Cinema Rehiyon. yeah yeah
you have to refrain from your question kasi di malinaw. tsaka yung premise niyo
kaya tinanong ko ano ba yuny rationale niyo o tapos ngayon may negative
comments tapos...
Matthew: Ah.. this is for ano findings namin about ano
Angeloux: Cinemalaya
Matthew: How they communicate
Teddy: Sino ang kausap ninyo sa Cinemalaya ?
Matthew: Ahm iba-iba po eh si Vicky Berlamino po
Pauline : Ms. Gemma Marco
Teddy: Sino?
Pauline: Gemma Marco and Lino Magtalang
Matthew: Lino Magtalang
Teddy: Who's that?
Matthew: Ahh from audience development po division
Teddy: (nods)
Matthew: Bale na mention na rin po kasi nila yung negative comments kasi ahh
it's part of their ano na rin eh part of crisis management na rin
Angeloux: How they handle...
Matthew: How they handle

Angeloux: Negative feedbacks
Teddy: Anyway...anyway ang nabasa ko sa email mo is ang relationship ng

festival namin Cinema Rehiyon to the patronage of the ano noh to the
patronage of whatever kasi pinakamalaki naman yung Cinemalaya yung status
ng Cinemalaya so I don't know what negative comments you're talking about
parang wala ng connection dito sa topic na sinabi mo eto yung topic ninyo
that's why nalilito ko. di niyo tutulungan siya . kailangan call up a friend
Angeloux: Cite ng example
Matthew: This is the listahan po of the interviews. ahm aside from that ahh they
offer different kinds of programming po ahh thru different forms of art sa CCP
po.
Teddy: Do you... yeah from CCP
Matthew: May database po sila na database na crineate for people who

regularly patronize their content so...
Teddy: So di lang Cinemalaya to CCP na?
Matthew: Ahh prinopromote po ng CCP yung programs nila sa during the

festival na rin po
Teddy: Yeah pero may iba kasi may iba kasing arts di lang Cinema
Matthew: So they offer not just Cinema itself
Teddy: Okay okay
Matthew: Soo...
Teddy: Sige ano yung tanong ngayon?
ano yung tanong niyo ngayon?
Matthew: Ahm di pa po tapos
Teddy: (nods)
Matthew: Okay, so the institution's relationship with their audience has been
good. in fact based on our findings based on our interview there's an increase in
terms of audience camp.
teddy: So positive pala yun eh ano yung negative kanina?

Angeloux: Kung paano lang po nila ihandle yung pag may negative
Teddy: Crisis
Angeloux: Opo crisis po
Teddy: Crisis... crisis management
Angeloux: How they send messages po pag mga ganun pong ano may mga
negative comments po sa contents ng films nila
Matthew: For Cinamalaya they invite filmmakers or artists behind the content
they show para maintroduce sa audience during and after the program ano...
so in case may questions yung audience to the content may creator or artist
behind that na sasagot sa tanong nila with the content or other comments ahm
for the message system itself po ahh cinemalaya and ccp's ahh agendas are
based on the artistic excellence ahm naadapt nila yung artistic excellence na
to thru their messages ahh thru their content also and also sa work practice nila
na kapag gagawa sila ng trabaho nila they always keep in mind na the mission
and vision of their ano and the agenda of the institution itself must be followed
and supported. so yun lang po ahm that's basically our findings for Cinemalaya.
ahm how do you react to that?
Teddy: React on what?
Matthew: To how they handle...
Teddy: Well, I agree syempre... syempre ganun yun. I think that's a normal
reaction kung yan ang mga practice nila that's should be naman diba
Matthew: Ahm yung does this does Cinemalaya affect your ano institutional
decisions po?
Teddy: No, ah in fact kasi yung ginagawa naman is compliment pa rin to all the
festivals e kasi wala naman kaming competitions we don't know who'll be the
best picture, best director naman kasi samin exhibition lang lahat and in fact we
are also dependent on the bigger festivals especially Cinemalaya, CinemaOne
because they lend us they also produce regional films which we manage to
borrow and show in our festival. at the same time we also disciver some regional
short films na later on pinapalabas naman nila.
Matthew: Ahm.. do you agree that an institution must or an arts institution must
adhere to artistic excellence?
Teddy: Yes, of course it's art diba. why you want artistic ano ahh mediocrity? or
artisticship pwede rin kung wala pakialam yung institution hayaan nila
Matthew: Pero do you think ahh Cinemalaya has been effective on what they
do ?
Teddy: Yes, yes, in fact Cinemalaya started this whole ano whole festival industry
kung walang Cinemalaya wala yung mga... well I'm sure eventually come by
itself naman ano like iba't ibang grupo. pero Cinemalaya kasi inumpisahan nila
sumunod ang CinemaOne and then later on for some more years pumasok ang
QCinema,CineFilipino, SinagMaynila, Pista ng Pelikulang Pilipino,
CinemaRehiyon so pero di mo alam na bago mag Cinemalaya merun na
tayong mga regional film festivals mas maaga pa yung mga regional festivals
kesa yung sa Cinemalaya di naman matagal na matagal ahh pero mas nauna
sila
Matthew: Mas nag boom lang po ang Cinemalaya
Teddy: Ang Cinemalaya kasi andito sa Manila eh tsaka ano may budget sila so
malaki sila pero before that sa probinsya sa Bacolod merun ng Piyaya Film
Festival sa Ilo-ilo may Bantayan Film Festival sa Cebu sa Davao merun ng
Mindanao Film Festival Gorilla film workshop so all of this started a few years
ahead of Cinemalaya something like three, four years ganun
Matthew: Pero may is there any particular aspect that Cinemalaya you want to
adapt to your festival or...
Teddy: Well, ahhmmm siguro higher profile more of publicity kasi may budget
sila eh kami maliit lang yung budget namin this year tsaka yung budget namin
nung nag umpisa kami noon early 2011 same budget unless gusto niyo kaming
tulungan free ano free services
Matthew: You mentioned po yung ani kumukuha po kayo sa Cinemalaya ng

films also ahh
Teddy: Like ano etong si Bacunaua (laughing) ang title Bacunaua (laughing)
galing sa Cinemalaya to last year (garble) lang ng Cinemalaya
Matthew: Pero in terms po yung pagkuha niyo ng films on them does it may
criteria din po ba kayo or ..
Teddy: Ahh dapat regional siya dapat gawa sa probinsya gawa ng yung
filmmaker dapat may root siya galing sa regions.
Matthew: Regardless of the quality of the film itself
Teddy: Ay no no syempre may certain level may certain standard di naman

yung mataas na mataas basta pwede na okay na wag naman yung sobrang
panget kasi syempre NCCA tayo . ano pa?
Matthew: Ahm is it...
Teddy: (shows the sample) Ilo-Ilo, Cebu, sa Cagayan de Oro, eto Manila pero
yung film niya tungkol sa mga bisayang na ano nakatira sa mga slums dito so
regional na rin siya eto naman taga Cagayan de Oro kwento niya
naghahanap siya ng condo dito nahihirapan siya. so yun(garble) full length
pero yung life blood talaga namin yung mga short films kasi ang dami
gumagawa kapag napanood mo mag iiba yung isip mo parang daming
klaseng Filipino.
Teddy: Mga bisaya na nakatira sa mga slams dito so Regional na din sya. Eto
naman taga Cagayan De Oro kwento nya naghahanap sya ng condo dito
nahihirapan sya. So this are the full-length pero yung life blood talaga naming
yung mga short film. Kasi andami e, andaming gumagawa parang
pagnapanood mo magiiba yung isip mo. Andaming klaseng Pilipino. Andaming
lugar, well ang papasok sa isip mo andaming kulturang Pilipino andaming
kwento.
Matthew: Ahhh if I were to ask po, is there a frequently aspect of Cinemalaya

that you think their institution lack of?
Teddy: Their institution is lacking of?
Matthew: That you have as a festival also.
Teddy: Well ahh mahirap magsabi ngayon e. Pero samin kasi may ahh kasi eto
eto maraming nagsasabi lalo na yung mga filmmakers pagkatapos na festival
pagkauwi nila pagkabalik sa probinsya nila ang saya saya. Talagang ahhh this
is such a fun festival kasi gabi gabi party kami e. Pero syempre ang interesting
dyan mga kasama mo hindi mga hindi taga dito. Taga ibang lugar, you make
friends with filmmakers from all over the country so yan ang ano. Syemnpre may
variety e. yan ang wala sa ibang festival hindi lang Cinemalaya pati na din
Cinema one pati QCinema. Samin kasi, we recognize the diversity of Philippine
Culture and Philippine People and the right of everyone to get drunk and have
fun. Kaya gumawa ka na isang film sa Butuan, next year delegate ka na. Ikaw
rin make a film in ano, make a Caviteno Film padala mo sakin, kung nagustuhan
naming edi imbitado ka sa Dumaguete next year. All expenses paid. Airfare and
hotel sagot na naming yon tsaka yung breakfast.
Matthew: Pero yung content po ba ng films niyo, it has to be regional also?
Teddy: Well yah, as much as possible kasi we don't want stories about metro
manila.Now, if it's in metro manila. We want a story of somebody from the
regions and how he or she copes here in maila. Yung mga experiences nya sa
manila. From a regional point of view. Ayaw namin ang ano kasi masisira yung
concept eh, kasi ang daming films na tungkol sa manila, tungkol sa metro
manila, sa mga kwetong manila. So sabi namin, iba naman, we take care of the
rest. Sabi namin sa Cinemalaya, yo can have manila, we can have the rest of
the country. Mas malaki yan no.
Matthew: So do you agree that Cinemalayas's programming is lacking of

regional content?
Teddy: HIndi naman, kase I'll tell you a little secret kase nakapnetrate na ko sa
Cinemalaya. In fact, sa short films competition so tumutulong din ako sa
Cinemalaya para pumil ng mga short films nila. Oo sa selection team ako.
Sampung taon na.Diyan ako pinapapasok yung mga oh damihan mo galing
mindanao, galing sa baguio.
Angeloux: Bali sir yung selection process po na ginagawa niyo sa Cinemalaya,

does it affect po sa ginagawa niyo po dito sa Cinema Rehiyon?
Teddy: Well, affect is not the right word, but affect is also correct no.Eh
compliments kasi vice versa yan eh di naman ibig sabihin yung isa ang cause
ng nito o vice versa. Kasi meron akong nakikita minsan na nauuna sa
Cinemalaya, nakita ko oy pwede pang cinema rehiyon ito. Pinupull ko. Minsan
meron naman akong nauna naman sa Cinema Rehiyon nakita ko, tapos
nirekomenda ko sa Cinemalaya ganon. So two way straight yun eh see? Wala
naman exclusive eh. Bigayan actually give and take.
Matthew: Where do you see Cinema Rehiyon in the future?
Teddy: Oh Cinema Rehiyon in the future baka hindi na kailangan. Kase pag
naging nationwide ay wala ng ay regional yan eh galing probinsya eh
probinsyano yun eh diba. Wala basta filipino films lahat. It will not matter
anymore kasi it will become normal na we have films, or filmmakers kami from
marinduque, cavite, nueve ecija.In fact, sa nueve ecija ang daming
gumagawa e. May sariling festival din sila eh pero maliit lang.Because it will
become the norm it can like ngayon manood kayo sa Cinelokal.Starting
tomorrow, alam niyo cinelokal?Hbaulin niyo ah first day bukas or kait saturday.
kase they're showing Best Picture of Urian Awards last year. This is a best picture
of 2016, women of the weeping river shot in Zamboanga, kwento ng mga
tausug.
Matthew: Yung nasa Qcinema po yan no?
Teddy: Oo, panoorin niyo kase itonf film tinalo niya si Brillante at Lav Diaz for the
best film of 2016.
Matthew: How about your future plans po for your festival?
Teddy: Oh future plans, we make hold it in your city. Gusto naming lahat ng
major cities talaga mapuntahan namin. Hanggang maubos. Tapos pag wala na
kaming city na wala, fold up na kami. So hanapin mo lang kung may ilang cities
sa plipinas or towns pwede basta hindi sa kabundukan na parang walang tao
na parang buwaya lang. Yuhng festval na natitira sa mundo every year ibang
location oh see.May alam kayong festival na ganon?Pwede rin sa spratlys kaso
puro chinese ang mga audience haha. ACtually,hindi kami nag-umpisa ah ang
nag-umpisa talga yung mga filmmakers, yung napanood nami yung concept
na ganon ay kahit saan pala pwedeng gumawa ng pelikula ah.Kahit anong
lengwahe pala hidn kailangan tagalog lang. Pwedeng cebuano, ilokano,
pwedeng salitang indigenous people diba. Open yan. I think it has open of
philippine cinema kaya from there I don't know. Pag nacover na natin ang
pilipinas baka the rest of the world na. Next, baka ibang planeta na hahaha.

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T HE VIEWS OF YOUT H ON LGBT-T HEMED T ELENOVELAS IN PHILIPPINE T ELEVISION

Behind T he Board: A Case St udy on Why FEU-HS Teachers Became Teachers ST EM 21

In partial fulfilment of the requirements to the degree Bachelor of Arts in

MR. GIL MARIANO M. RAZON

Dr. WALTER H. YUDELMO

MS. EVELYN S. AGATO MR. CALEB DONNE E. CONIATE

Dr. WALTER H. YUDELMO Dr. GLORINA DIVINA P. OROZCO

Rei Matthew E. Escosia, Pauline P. Alberto, Angelica Louise S. Labrador,

To the entire team of Cultural Center of the Philippines and Cinemalaya

To the lateGeorge Gerbner, for creating a concept the researchers used

LIST OF TABLES AND FIGURES ………………………………………………………………..VI

CHAPTER I: THE PROBLEM AND ITS BASKGROUND ………………………………..……...1

Background of the study.......………………………………………………………..2

Statement of the Problem...........................................................................…...6

Significance of the study…………………….…………………………………...….7

Scope and Limitations …………………………..………………………...…………8

Theoretical Framework ………………………………………………...……9

Conceptual Framework ….…………………………………………….....11

CHAPTER II: REVIEW OF RELATED LITERATURE………………………………..……………15

Film festivals and institutional research ……………………………………........15

Film festival as an institution…………………………………...…………………...16

Agenda Setting and message system in film festivals……………...……..….17

Building and maintaining patron relationships in film festivals...…………....20

CHAPTER III: METHODOLOGY …………………………………………………...………….22

Tradition of Inquiry ……………………………………………….………………….22

Participants/ Key Informants and Selection Techniques………….……...….23

Data Generation Report…………………………………………...……………...30

CHAPTER IV: PRESENTATION, ANALYSIS AND INTERPRETATION …………………..…..32

Interpretation and Analysis of the Study Results…………………..……...…...52

Pursuing the first objective……..………………………………………….52

Pursuing the second objective…………..…………...………………….54

Pursuing the third objective…………….…..……………..…………..….55

Supporting the Study Framework …………………………….………....56

Supporting the Review of Related Literature………………………….57

CHAPTER V: FINDINGS, CONCLUSION AND RECOMMENDATIONS…………...……...60

LIST OF TABLES AND FIGURES

CHAPTER 1: INTRODUCTION ……………………………………………………………………

Figure 1.1- Theoretical Framework of the study patterned after George

Figure 1. 1- Conceptual Framework……………………………………………...12

CHAPTER 3: METHODOLOGY …………………………………………………………………..

Table 3.1 Outline for Objective #1 Focus Interviews…………………………..24

Table 3. 2 Outline for Objectives 2 and 3 Focus Interviews………………….29

CHAPTER 4: PRESENTATION, ANALYSIS AND INTERPRETATION…………………………....

Table 3.3. Focus Interview Participants’ Demographic for Objective

Table 3.4. Focus Interview Participants’ Demographic for Objectives 2 and

Table 4.1. How are your contents formed?....................................................34

Table 4.3. What is Cinemalaya/ CCP’s agenda that is being adapted at

Table 4.4. What is Cinemalaya/ CCP’s agenda that is being adapted at

Table 4.7: How is your relationship with your audience?..............................40

Table 4.9: How do you handle misconception with your audience?.........43

Table 4.11: Comments on Cinemalaya’s relationship with their

Table 4.14. How does Cinemalaya affect your Institutional decisions?......48

Table 4.15. What aspect of Cinemalaya do you want to adapt on your

Transcription for Focus Interview dated February 27, 2018

Transcription for Focus Interview dated March 1, 2018

Transcription for Focus Interview dated March 6, 2018

Transcription for Focus Interview dated March 8, 2018

Transcription for Focus Interview dated March 12 2018