00:00Hey, what's up everyone? It's Ian Lim and this is my career so far.
00:10I'm so stupid.
00:13That's why I'm asking you.
00:15Gretchen, will you marry me?
00:18Babe!
00:19I remember that
00:22it just ended
00:24when they asked me, why don't you have a crush on your crush?
00:28We were given a follow-up
00:30film already
00:32and
00:34we didn't expect that
00:36we would be given
00:38a movie right away.
00:40So, it was more like
00:42we must be
00:44doing something right.
00:48And when
00:50Bride for Rent
00:52was shown in theaters, I remember
00:54getting a call the next day
00:56after the premiere night
00:58and they said,
01:00I couldn't believe it,
01:02that it has the potential to do really well in the box office.
01:04So yeah, that's directed by
01:06May Cruz-Alviar. Beautiful film.
01:08I think when it comes to
01:10the characters that I play,
01:12there's always
01:14a part of me in
01:16either a small percentage
01:18or maybe sometimes
01:20big. There's always a part of
01:22Cien in every role.
01:24Even may it be a dark one,
01:26may it be a light one or a funny one.
01:28He's a lawless boy.
01:30So I am a lawless boy.
01:32So yes, a huge percentage
01:34for Bride for Rent
01:36is Cien.
01:38Cien.
01:48When they presented the project
01:50to us, they said we're going to be shooting
01:52in different locations.
01:54Palawan,
01:56New York, and really
01:58and I was like, how?
02:00The scale was
02:02so big and I was like, okay
02:04it's going to be tough because
02:06my character was
02:08a tour guide in Palawan.
02:10My name there is Bakoy.
02:12Just the whole...
02:14different islands,
02:16how to sell this to tourists.
02:18That's what Bakoy wanted
02:20for his life. And when you go to the
02:22States, you're gonna
02:24fight for the love
02:26of your life.
02:28So the arc of the story
02:30as someone from
02:32the island that
02:34you brought to New York and he's going to TNT
02:36for the love of his life.
02:38So I remember,
02:40the actual police chased me
02:42because they thought
02:44that I was stealing.
02:46For one of those projects, I was just asked
02:48because I
02:50wanted to learn so much more
02:52than acting.
02:54I knew it was, I knew
02:56my calling is
02:58of course being an actor but at the same time
03:00being a filmmaker.
03:05I need money.
03:07Do you know you could die there?
03:09Are you really blind?
03:11I can feel movement.
03:13And I can see a little bit of light.
03:16What was really challenging
03:18with that movie is
03:20a lot of things were done, like from the Koreans
03:22to there was even a Turkish version
03:24that was really well made.
03:26There was even I think like an Indian version.
03:28I'm not really sure.
03:30But it was such a challenge
03:32because we were doing it during the pandemic.
03:34He's in an underground fighting
03:36blood.
03:38Literally blood.
03:40And we were
03:42restricted because
03:44it was during the pandemic.
03:46And I remember we just shot the whole fight
03:48sequence in two days
03:50and it was really hard
03:52and all the elements were against us.
03:58There's like a memorable scene there
04:00because this scene with a dog
04:02working with animals, it's very
04:04unpredictable.
04:06Do they like you?
04:08There's this dog that's
04:10supposed to be really close to me
04:12and he's gonna run up to me and lick me
04:14but he doesn't want to lick me.
04:16So they had to put
04:18peanut butter on me.
04:20Yes!
04:22That's nice.
04:24Good.
04:26Let's do more shots, girls.
04:28Hold it. I think Sin Island was
04:30a very, it's memorable
04:32for me because I think that
04:34was from playing the
04:36roles of the lover.
04:40The wholesome kid.
04:42Doing something a little daring.
04:44I wouldn't really say it's
04:46really over
04:48the edge but it was really challenging
04:50for me to even get my mindset
04:52on it but
04:54it was so exciting to film.
04:56We have this thing called
04:58a sensuality
05:00workshop.
05:02You just let go of all
05:04your inhibitions and
05:06you learn how to
05:08just be open, just be in the moment.
05:10Not necessarily sexual
05:12right away. It's a sexy film. Sin Island
05:14is a sexy thriller.
05:16I'm not sure if I shared this
05:18during the time but
05:20my director was Gino Santos.
05:22And there's this crucial
05:24scene that we really had
05:26to take. My character
05:28David, along with
05:30my love interest
05:32Natalie Hart.
05:34We were in a boat
05:36and our
05:38character arc, the inciting
05:40incident when the first kiss
05:42of the character was the
05:44vision of the director.
05:46Gino Santos said, I want you to kiss
05:48your first kiss then you sink down
05:50the bottom. As you sink down the bottom
05:52the drivers will surround you
05:54while the sunset,
05:56while the ray of the sunlight
05:58is slowly beaming down.
06:00That's the vision of the director. So we were so excited.
06:02And we're doing this
06:04without clothes on.
06:06We had our thing
06:08but the illusion was
06:10new. So then we
06:12went to the middle of the sea
06:14which is the actual middle of the sea.
06:16Only to find out that she didn't know how to swim.
06:20She didn't know how to swim.
06:22So Gino said,
06:24okay, we're gonna take it.
06:26I don't know why Natalie said that.
06:28I guess we were so excited to film.
06:30It was really beautiful.
06:32Everything is set. The divers were set.
06:34The cameras were set. There's even lights.
06:36Then all of a sudden, when we jumped
06:38Natalie panicked.
06:40She said, if you guys rewatch it, it's really funny.
06:42She panicked. She said, I don't know how to swim.
06:44I don't know how to swim. Then she panicked.
06:46But it's really deep.
06:48So she was really just pulling me down.
06:50She was pulling me down and we just sunk in the bottom.
06:52The scene was shot.
06:54Good thing we're alive.
06:58Albert.
07:02Your assistant called me here.
07:04She told me there's a job for me.
07:06Okay then.
07:08Prepare the proposal as soon as you can.
07:10I need the specifics as soon as possible.
07:12We're rushing this for some reason.
07:14May I know why?
07:16My favorite.
07:18I love Ate V so much.
07:20I love direct Joyce.
07:22Joyce Bernal. I remember she was really
07:24working with me because I started off in TV.
07:26And if you start off in TV,
07:28the tendencies
07:30of acting because it's TV.
07:32So it's big.
07:34There's always an explosion.
07:36There's always a plot.
07:38But in TV,
07:40she was explaining every single day to me
07:42that it's the small nuances
07:44because you're going to be seen
07:46in a big screen.
07:48In a theater, in a cinema.
07:50I just learned so much
07:52from Ms. Vilma Santos.
07:56One thing that stood out with me the most
07:58is that I was so nervous the first day.
08:00I couldn't even memorize my lines
08:02because I was going to face the Vilma Santos.
08:04And that's the first day
08:06I had to face my mother,
08:08Albert, facing
08:10Vivian Rabaya for the first time.
08:12Nothing was sticking to me.
08:14I didn't know what to say.
08:16And I remember she sat me down.
08:18She told me that
08:20even 50 years,
08:24she's been doing it for more than
08:2650 years,
08:28in the hands of the director.
08:30The actor will not have
08:32any control, actually.
08:34Your only job is to let go.
08:36So that really put me at ease.
08:38And even Angel
08:40looks in.
08:42Our dynamics.
08:44I love that project.
08:46And especially the crying
08:48scene with my mom.
08:50Because she took so many
08:52painkillers.
08:54I told her what I needed to tell her
08:56because she won't get hurt
08:58because she already had a lot of painkillers.
09:02It looks like
09:04she's been living here
09:06for a long time.
09:08Is this our room?
09:10The same?
09:12How much?
09:14Your grandfather built this
09:16for your grandmother.
09:18This house is being demolished.
09:20I'm here with
09:22Julia Barreto and Marco Gumaba.
09:24We shot in Pola.
09:26A small town, very warm
09:28and accommodating.
09:30It's a dream come true to work with
09:32Briliante Mendoza.
09:34My biggest takeaway from that is
09:36Briliante doesn't have
09:38a script.
09:40He's going to shoot a movie
09:42without a script. It's just a sequence treatment.
09:44And yet he's holding secrets
09:46from your character.
09:48He won't tell you
09:50what will happen.
09:52I just need to know
09:54what's going to happen next.
09:56Why would I tell you?
09:58Because in life, we don't know what's going to happen.
10:00Just react.
10:02It's hard.
10:04That's acting.
10:06Actors and actors have fallen into a trap
10:08where they're always giving their 80%.
10:10But all I'm asking for is 2-3%.
10:14He said,
10:16we don't have a script. Just follow my lead.
10:18We'll set it up and just react.
10:20Tell us what you want to say.
10:22We'll do the editing.
10:24It was hard.
10:26It was hard.
10:28I mean, I guess
10:30if this was my
10:3210th film with Briliante,
10:34I would get scared. But this was the first.
10:36So Julia and I were like,
10:38what are we going to say?
10:40Let's just improvise.
10:42So that's pretty much
10:44if you guys watched the movie. No script.
10:46Everything was improv.
10:48Charm's and I planned
10:50our whole life as a couple.
10:52What am I going to do now?
10:54This is a very
10:56memorable film for me
10:58because this is
11:00my first.
11:02First ever project, actually.
11:04I really didn't know how to
11:06how everything worked.
11:08I didn't know how to walk in the industry.
11:10How do you memorize the script?
11:12How do you act in a film?
11:14Are these just words?
11:18Tips on acting.
11:20After making that film,
11:22I said,
11:24it's my dream to make a Cinemalaya film.
11:26And I'm not going to stop
11:28until I make one.
11:30Until I write and direct a Cinemalaya film.
11:32That's what sparked everything.
11:34It's about my fiance
11:36and another
11:38random family.
11:40Then the boat changed.
11:42And it's our journey to
11:44travel from Manila all the way
11:46to Bicol
11:48to retrieve the body.
11:50The body of the other family
11:52that they lost.
11:54Only to find out that they're earning
11:56from the boat.
11:58The actors there,
12:00Benji Filipe, was the one I got
12:02for my Cinemalaya project.
12:04So it went
12:06the whole
12:08circle.
12:10We can't explain.
12:12It's like the time
12:14suddenly stopped.
12:16When I saw him,
12:18I realized how old I was.
12:20The duration was like 3 years.
12:22Because
12:24we had to shoot.
12:26Then Jeneline Mercado
12:28had a baby and we had to stop
12:30for a while. Then we came back.
12:32But the story is
12:34time loop. It's my wife saving my life
12:36every single day.
12:38Because I'm dying over and over again.
12:40The sun is rising again. She wants to save me.
12:42So as a TV format, it's hard.
12:44I think the time loop
12:46I would be really confident
12:50if we're sitting for 90 minutes
12:52watching a movie. But it was really
12:54challenging to shoot it.
12:56I never knew that
12:58me and Jeneline Mercado
13:00would be friends like that.
13:02Because I always tell her
13:04this, that I'm a fan
13:06of Jeneline.
13:08Even when I was younger,
13:10I can still see her
13:12in the notebooks.
13:14So I always say that.
13:16She told me to stop
13:18watching it. But I just think
13:20it's really funny that
13:22I'm such a huge fan
13:24of Jeneline. And now
13:26I got to work with her.
13:32Tabon was really hard
13:34because it's my first film.
13:36I wrote and directed.
13:38It was very personal.
13:40How do you make a film?
13:42It's a magical thing.
13:44But now that you're
13:46the one telling the story,
13:48it's really hard.
13:50You have to coordinate
13:52everything.
13:54It's expensive to make a mistake
13:56in a movie.
13:58That's the price you have to pay.
14:00If you make a mistake,
14:02time is money.
14:04Clock is ticking.
14:06The moment you can't decide,
14:08the moment you made a mistake,
14:10that's gonna cost you money.
14:14I remember seeing
14:16the last...
14:18The whole film was
14:20projected for 6 days.
14:22After 6 days,
14:24I put the film
14:26together. I edited it.
14:28I put the sound.
14:30I put color.
14:32I said, I don't understand.
14:34The film doesn't stand up.
14:36I know this is what's written.
14:38This is what I wrote.
14:40This is the expectation.
14:42I don't understand.
14:44I had to add more days.
14:46I think 4 more days.
14:50I had to spend 4.
14:54You make mistakes like that.
14:58If you make a mistake,
15:00it's gonna cost you.
15:02Filmmaking is a very expensive thing to do.
15:08Filmmaking is a very expensive thing to do.
15:12I'm a huge fan of Giano Gibbs.
15:14When I was a kid,
15:16I really liked
15:18his humor.
15:20I think that's why my humor is like this.
15:22The likes of
15:24Giano Gibbs, Andrew Illana,
15:26even Benji Paras.
15:28I'm a huge fan of
15:30their filmography.
15:32I came to the Philippines
15:34with a dream
15:36of becoming a professional
15:38basketball player
15:40as a film.
15:42I went to the U.E.
15:44thinking that I'm gonna make it.
15:46I'm gonna make it to the PBA.
15:48I'm gonna be an all-star.
15:50Only to find out that
15:52when I was playing college ball,
15:54I wasn't good at it.
15:58I was telling my friends that.
16:00I remember we had a get-together.
16:02They said, we've been telling you
16:04that you're not good at it.
16:06No, but it's our national sport, basketball.
16:08A man who was left behind
16:10by time.
16:12That life didn't really
16:14work out the way it's
16:16supposed to for him.
16:18Ariel's character.
16:20And there's this magical figure
16:22who gives him a second chance
16:24to doing everything.
16:26I'll give you everything you want in life.
16:28Let's see if you'll be happy then.
16:34you
16:36you
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