00:00So what do you miss the most in the scene or in the whole taping, in the set?
00:11I'll follow Eppy in what he's saying, that in one scene, this is what I miss the most.
00:20Aside from the food.
00:22Because I'm always with Sanye.
00:27And I'm always with Sanye.
00:30The scene where all the actors look so good.
00:37Because there's no artist in the red light district that's not ready.
00:44Even for the talents, especially for the comfort women.
00:50Because...
00:52Why?
00:56Ready to do what?
00:58No, ready to do the scene.
01:00I mean, the lines are already set.
01:02It's already set.
01:04They know what they're going to do.
01:06Especially for us, the comfort women scenes.
01:10There's one day where the vibe is happy.
01:15So maybe we were joking around, we were laughing at Ate Isay.
01:20So our group felt that we were laughing after the cut.
01:25So we felt that Direk Leslie was always telling us that this is how it's supposed to be.
01:31This is how it's supposed to be.
01:33Now you're going to die if you don't do this and that.
01:36So I said, okay, we're losing weight.
01:40So we need to lower all of our energy that we're losing.
01:45Because sometimes you want to feel that in this location, especially in the table,
01:52where I was laughing at Adobong Baboy.
01:54That part, that location is really heavy.
02:00Because that's where we're always hoping.
02:02So for us, it's like we're trying, we're trying.
02:06But it's really not possible.
02:08So we need to lower it until we're able to sustain it.
02:12That when we see it, we're the group that's not always happy.
02:16There's really no happiness for us.
02:20When we get to the tent, the only thing that makes us happy is the food and the good morning hug.
02:28Then we'll talk about the scene right away.
02:31We'll just eat a little bit and we'll talk about it.
02:35We'll work on it.
02:37We'll analyze everything.
02:39Because we can't let it go just like that.
02:43Because it's a waste.
02:45The set is beautiful.
02:47Our director is really good.
02:49All the people who work on Pulang Araw are really good.
02:51Then you're going to praise them.
02:53Of course not.
02:55Then the people who give time to watch Netflix.
03:03And then watch our free TV, GMA.
03:07Of course that's time.
03:09So you need to give 100%, 200% if you can do it.
03:13You need to give everything.
03:15It's hard.
03:17Just like what Kuya Epi said.
03:19But afterwards,
03:21you don't have any regrets.
03:23You go home and you're like,
03:25I did it.
03:27It's good.
03:29But before Amalia was removed,
03:31it took me two days.
03:33Two to three days.
03:35Amalia's character is a bit heavy.
03:41So sometimes,
03:43I talk to the production of Pulang Araw.
03:45Take this.
03:47Take this.
03:49Because I want to let go of this part.
03:51Especially with Epi,
03:53with Micheline,
03:55she knows that.
03:57I talk to her.
03:59Please take this.
04:01It's really hard.
04:03If I'm going to do a few scenes,
04:05let me do it.
04:07If there's a scene that's heavier,
04:09let me finish it.
04:11Because I'll leave it at home for a long time.
04:13I have a child there.
04:15You know, your aura is really low.
04:17How do you transition if it's two days?
04:21For example, you did a whole scene
04:23that's heavy,
04:25then you go home.
04:27I don't rush as a mother.
04:29As a mother of Shiloh.
04:31Not as a mother of Louisa in Pulang.
04:33Because Rochelle is connected to Amalia
04:35when it comes to real life.
04:37I think it's just me.
04:39I think it's just Amalia.
04:41Oh my God, I already did the interview.
04:45I already did the interview with Amalia.
04:53You have a chessboard there.
04:57Hey, you might have something there.
05:01It's almost done.
05:03Okay, it's done.
05:05I'm embarrassed.
05:07But those who are really good at it,
05:09they have a chessboard like that.
05:11Then you transition, right?
05:13Yes, because Amalia is the only one.
05:15Sania, Teresita,
05:17Single, rich.
05:19Manuela,
05:21Sister, single.
05:23Lorena, child.
05:25So the others are like that too.
05:27I think I'm the only comfort woman
05:29who's alone there.
05:31My mother is also there, she has a husband.
05:33It's hard for me to separate
05:35because she's connected
05:37to my real life.
05:39You should have poured everything to Art.
05:41I can't do it.
05:45Art should be the one boxing.
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