00:00You can actually do that, you can actually cry just by going into the lines, no?
00:10Or that was Luna?
00:11No, because when you say something or a phrase, it has to come from your experience.
00:20You have to put something from a slice of your life.
00:24So that will make the line more realistic.
00:27But that's talent.
00:28Because for others, it takes a while.
00:31It takes a process.
00:34But you're just brilliant.
00:37Isn't that right, Martin?
00:38You're with Lolong.
00:39Yes.
00:40Okay?
00:41Julio and Ivan?
00:42Yes.
00:43Is that right?
00:44Yes.
00:45Julio and Ivan.
00:46I have a question for you, Martin.
00:47I know you're one of the most talented actors of your generation.
00:53I said one generation, two generations, and you've won a lot of awards.
00:57But in Lolong, your characters are interconnected.
01:04Is it not scary for you to work here in Australia?
01:07I already worked with Tito John in The Panty Sister.
01:10So he's my father there, so I'm very comfortable with Tito John.
01:16But at the same time, even if it's my second time working here in Lolong, there's still
01:20a bit of anxiety.
01:21Because Tito John, when you're excited, you have to keep up.
01:24I mean, you really have to keep up, or else you'll be left behind.
01:28You can't let yourself go.
01:29Yes, you can't let yourself go.
01:32You have to find a fine-tune that will balance you in the scene.
01:37Like Julio here, he's the cold villain.
01:40So for me, to create a contrast, what Ivan does here, he's the hot-headed, he explodes,
01:46he has a mental breakdown.
01:49Meanwhile?
01:50Tito John is very cold, intimidating, scary.
01:54While I'm more of an outgoing person.
01:57So when we're in a scene, the contrast is good.
02:00John, is it natural for you to mentor young actors who are willing to learn?
02:11I guess yes, but…
02:14You have to be asked.
02:15Yes, it's necessary.
02:17I don't invade a person if they need help.
02:22No, I need to feel that they're open or that they want to get an idea from me.
02:30But if not, I won't try or I won't invade a person's space.
02:41The thing with you, because I don't know, Martin, if you would agree.
02:46Both when you do external acting and when you become very quiet, you're both scary.
02:53In a good way.
02:56Because there are some actors who are effective when they do external acting.
03:00He's gone! Where did he go?
03:03You deliver that.
03:05But when you have your cold, quiet moments, the intensity is the same.
03:11How do you achieve that?
03:13What I'm thinking now, Tito Boy, is that maybe it's the same with our family.
03:20We have that kind of intensity in the house that even if you don't speak,
03:26sometimes when you know that your parents are angry,
03:29your mother, your father, even if you don't speak,
03:32you're listening to what he's going to say when I get home.
03:35Or even if he doesn't speak, you know what he's going to say later.
03:38Maybe it's the way I raise my family, how I express my emotions
03:43to the elders and to my older parents.
03:51Because that's how they experience it.
03:53You go back to your family, you go back to your story.
04:08You go back to your family, you go back to your story.
04:38You go back to your story.
05:08You go back to your story.
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