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“When I make a film, it's like a mosaic glass window. It's not planned, it's not distilled like those Hollywood scripts are.”
In Part 2 of his conversation with Howie Severino, National Artist for Film Kidlat Tahimik reflects on his extraordinary transformation from Wharton-educated economist to pioneer of independent Philippine cinema.
Following a decision to leave his office life in Paris, Kidlat’s unconventional path led him to work as a jeepney-driving vendor at the 1972 Munich Olympics, live in an artist commune, and get discovered by famed German director Werner Herzog. This chance encounter sparked the creation of his masterpiece, Mababangong Bangungot (Perfumed Nightmare).
Throughout his iconoclastic career, Kidlat has proudly worn the traditional bahag (loincloth), even at formal ceremonies. In this episode, he shares the philosophy behind this act, presenting an oral retrospective of an artist who continues to rewrite the rules of filmmaking. #GMANews #SerbisyongTotoo #BreakingNews
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In Part 2 of his conversation with Howie Severino, National Artist for Film Kidlat Tahimik reflects on his extraordinary transformation from Wharton-educated economist to pioneer of independent Philippine cinema.
Following a decision to leave his office life in Paris, Kidlat’s unconventional path led him to work as a jeepney-driving vendor at the 1972 Munich Olympics, live in an artist commune, and get discovered by famed German director Werner Herzog. This chance encounter sparked the creation of his masterpiece, Mababangong Bangungot (Perfumed Nightmare).
Throughout his iconoclastic career, Kidlat has proudly worn the traditional bahag (loincloth), even at formal ceremonies. In this episode, he shares the philosophy behind this act, presenting an oral retrospective of an artist who continues to rewrite the rules of filmmaking. #GMANews #SerbisyongTotoo #BreakingNews
Watch the latest news stories from GMA Network's trusted news programs on the GMA Play app. Download now on Google Play and App Store. Also available on GMANetwork.com/GMAPlay and Android TVs!
GMA Network promotes healthy debate and conversation online. Any abusive language that does not facilitate productive discourse will be blocked from this post.
For more updates, visit this link: https://www.youtube.com/playlist?list=PLCpdvYcv59AgI_UbY4C1GhwFZ5CQL3N5c
For live updates and highlights, click here: https://www.youtube.com/playlist?list=PLCpdvYcv59AiKdYH_GDSU7sBgfc7Cd1de
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GMA News Portal: http://www.gmanews.tv
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NewsTranscript
00:02Hello Podmates, narito na ang ikalawang bahagi ng ating talakayan kasama ni Kidlat Tahimik,
00:10ang national artist para sa pelikula. Enjoy watching and listening.
00:15So you were trained in Wharton, the University of Pennsylvania Business School,
00:21to become successful in Western capitalism.
00:25Basically, you were trained to be successful in that system.
00:32Puntak ng Europe where you got a job because of that degree,
00:36you were part of this large organization that was involved in economic development.
00:41Sabi mo nga, you became an expert in this niche of fertilizer distribution.
00:47But on the side, meron ka pampangarap, you were trying to write a play, etc.
00:53And then you got exposed to, I guess, this is during the hippie era, right?
00:58The late 60s, counterculture, the heyday of the Beatles, etc.
01:03Even in the Philippines, diba?
01:05Dito nag-long hair yung kabataan.
01:08So walk us through that because that's a different kind of education, diba?
01:13So we're talking about education now.
01:15So you went from UP to Wharton.
01:16That's when I saw the light.
01:18Yeah, and then that could have been your trajectory na.
01:23Naging CEO ka na ng malaking soap company or whatever, diba?
01:26Dito sa Pilipinas or multinational, no?
01:28Pero you chose a different path.
01:30That eventually led to Mababangbangungot.
01:34Okay.
01:34Perfume Nightmare, which is supposedly kind of the OG independent film, no?
01:39You're being called the father of Philippine indie film.
01:43On the strength of that film, no?
01:46Mababangbangungot or Perfume Nightmare.
01:47Indie films, yeah.
01:48Which was a critique in a way of Western capitalism, diba?
01:54And the colonial mentality and all.
01:57So how did you go from being kind of indoctrinated in this capitalist system, no?
02:06In the West, in the kind of one of the bastions of Western capitalism
02:13to this film, this work that you kind of, I suppose, germinated in Europe, diba?
02:21Yeah, okay.
02:22Which is still being shown.
02:25In fact, it's still being shown today to theater audiences and you still talk about it, no?
02:29Yeah.
02:31Mababangbangungot became on the list of New Yorker magazine as one of the 66 best indie films of the century.
02:43Wow.
02:44Okay.
02:44It is martial law, diba?
02:46Yeah.
02:46When the Philippine economy was considered doing quite well, growing very fast.
02:52Yeah.
02:53Well, at that time, I was, yeah, okay.
02:55I was already stuck in Europe.
02:57Stuck in a certain sense, kasi I was trying to find a new trajectory, siguro.
03:02With hindsight, I can think of it that way.
03:04I didn't want to go, although I knew I always wanted to go home.
03:07I never applied for a green card.
03:10And in Germany, because of my long relationship with my German wife, well, we were not, we were
03:18not even married at that time.
03:21I was even given red notes.
03:23You will fill up this form and we will give you offenslaubnis.
03:29It's like a green card and you will be able to vote in the next elections.
03:33I was that close to, but maybe like in the perfume nightmare, I never had that dream
03:40to live there.
03:44To let my roots continue there or even my offsprings.
03:48So you went back to your job as an economist?
03:50I was still, yeah.
03:51It was just a summer break.
03:52Office work?
03:53Uh-uh.
03:54It was just a summer break and then ito, pagbalik ko, I began to realize that I need to
03:59do a sabbatical.
04:00I need a full year or two to finish my play.
04:04But then I didn't have enough savings.
04:06So how can I keep myself alive for a year and just be a full-time playwright?
04:11Ayan.
04:12Nangyari.
04:13I saw an opportunity.
04:16I have to make a windfall.
04:18I saw the Munich Olympics as a chance.
04:211972?
04:221972.
04:23I wrote my play in 1971, the summer of that.
04:27So at this time, I was looking now for a clearer path.
04:31To?
04:32To becoming an artist.
04:34To being a full-time artist.
04:35So what triggered that?
04:36I already said I'm not happy as an economist.
04:40But at least you tried it for five years.
04:42Yeah, I tried it and I was comfortable with what I was earning.
04:46I could have probably stayed on.
04:48Or maybe the next step, I could have gone to the World Bank or what.
04:51Hindi, pero ang feeling ko palagi is you can contribute, whether globally or even nationally,
04:59better if you're happy in what you're doing.
05:02Kailangan kang at home.
05:05Kailangan talagang ginhawa ka sa ginagawa mo para mas malaki yung contribution mo.
05:11Whether I knew that consciously or unconsciously.
05:15I know that's why I never applied even to live abroad permanently.
05:20Anyway, nakita ko itong opportunity.
05:22The Munich Olympics were coming up.
05:24Okay, every Olympics, they raise money for the Olympic Committee by licensing their logo,
05:30and their mascot.
05:32Nung year na yon, sa Munich, it was the Dash Hund.
05:36The dog?
05:37Yung dog.
05:37Yung aso na mahaba.
05:39Sausage dog.
05:40Okay, okay.
05:41So they had a specific design.
05:44Pwede mong gawing t-shirts.
05:46Pwede mong gawing keychains.
05:49Pwede mong gawing fridge magnets.
05:54Any kind of kitsch you can think of.
05:57So, pinupos ko sa Olympic Committee.
06:01I want to make, it's called Olympia Valdi.
06:04Valdi was the name of the mascot.
06:06I want to make Valdi in Capice Shell.
06:09Capice Shell?
06:09So, I would make the dog form, the prescribed design.
06:13A long dog in Capice.
06:15Welded together like Capice lamps.
06:18Okay.
06:19So, it's two-dimensional.
06:21And then, nakahang 25 discs.
06:25Para wind chimes.
06:27Pagka may hangin.
06:28Pagka may hangin.
06:28Pero hugis aso?
06:30Hugis Dachshund?
06:31The Dachshund is the one holding the strings.
06:33Okay.
06:34So, it's a flat Dachshund with strings.
06:37And then, you hang it outside.
06:38So, pinagawa mo to?
06:39So, when they approved my proposal, you have to get an approval.
06:44Okay.
06:45But the condition is you give 20% to the Olympic Committee.
06:49Yeah.
06:50So, this is 1972.
06:52So, I went home about April.
06:54And I started.
06:55And it was easy.
06:57Kasi, this is not your, you have to change the factory machinery.
07:01Yeah, yeah.
07:02It's the cottage industry.
07:04Turuan mo isang pamilya.
07:05Pagka nakuha nila.
07:07Ayan, mamaya.
07:07So, kinantrat, may nakanam kang contratista?
07:10I found 20 families.
07:1120 families?
07:12Yeah.
07:13Where?
07:13Everywhere.
07:14But these are families who, between harvest and planting, they have nothing to do.
07:19Pero marunong na silang gumawa ng capis.
07:22Yeah.
07:22They were doing capis lamps or whatever.
07:24So, sabi ko, ito yung design.
07:25Gawin mo.
07:26Anong provincia ito?
07:28Everywhere here.
07:29Around Manila.
07:30Okay.
07:30Paano mo sila nahanap?
07:31Kung saan-saan.
07:32I just...
07:33Itanong-tanong ka lang?
07:34Yeah.
07:35But you see, you know the Ilosorios of Baguio Country Club?
07:41Sylvia Ilosorio was doing capis lamps.
07:45So, pati sila?
07:45Yeah.
07:45But this was more chic for export.
07:50But you see, I also ordered a number of them.
07:53After a month and a half, I had 25,000 dogs.
07:57Made out of capis?
07:58Made of capis.
08:00I flew to Munich and then the other half, the second 25,000 was going to come by ship.
08:07Ah, this was the time of that big long typhoon, 40 days of rain.
08:12Just before Marshall, remember?
08:14Yeah, 1972.
08:15Oh, oh, oh.
08:16Typhoon Gloria.
08:17Ah, ah, ah.
08:1840 days of rain.
08:20Pati yung Peña Francia fluvial, nagkaroon ng problema.
08:24Yeah, yeah.
08:25And I remember Central Luzon was always flooded.
08:27I had difficulty coming back and forth.
08:30But somehow, I was able to leave with 25,000 and the second 25,000 was going.
08:36And it arrived on time?
08:38By ship?
08:39No, it arrived one week.
08:40One week before the Olympics?
08:41No, one week in the middle of the Olympics.
08:43Two weeks ang Olympics.
08:45Oh, so what, so hindi umabot sa start?
08:48Well.
08:49So in other words, this is a major capitalist venture on your part?
08:52It was my first and only business venture, but it was going to be my bridge to my artistic freedom.
08:59So you're trying to, you're just trying to break away from-
09:02To break away from-
09:02Create some income.
09:04So that I would become, I could be a full-time artist.
09:07My Olympic dogs were selling, talaga ang mabilit in the first week.
09:11I gave them to mga different shops who had shops around the Olympics.
09:18And even in downtown.
09:20And then, ako mismo, nag-retail ako.
09:24I couldn't rent the place.
09:26So nag-sidewalk bender ako.
09:27I was on the Olympic grounds.
09:29Lalagay ko yung blanket ko on the lawn.
09:32Yan na, bargain, bargain.
09:34Mili na.
09:34So, Munich.
09:35Ikaw lang mag-isa.
09:36Yeah.
09:37Okay.
09:38Don't forget that the first week of the Olympics was really, wow.
09:41That was all those, those games when Mark Spitz got seven medals.
09:47That swimmer.
09:48And then that cute-
09:50Nadia Comaneci.
09:51Yeah.
09:51No.
09:51The other one.
09:54Olga Korba.
09:55She was really the sensation.
09:57Olga Korba.
09:57Yeah.
09:57I even bumped into her.
09:58But the thing was this.
10:01In the middle of the Olympics, there was a hostage crisis.
10:05That's right.
10:06Oh.
10:06Okay.
10:08Israeli, Israeli athletes.
10:10The Israeli athletes were taken hostage by Arab Black September Movement.
10:15So, this was September 5, 1972.
10:20Yeah.
10:21Nakalata ko.
10:22I was selling Capista wind chimes.
10:26Okay.
10:27You were in the middle of all of that.
10:28And I recall as a young child that that was…
10:32Trauma.
10:32That was traumatic for the Olympics.
10:35It was supposed to be a celebration of…
10:37Human unit.
10:38Community.
10:38It was even a special Olympics.
10:40Kasi 1972 Olympics in Munich was the first German Olympics after 1936.
10:48The Berlin.
10:48The Hitler Olympics.
10:50Oh.
10:50So, they wanted it to be gay and happy.
10:52They wanted to call it the Rainbow Olympics.
10:54Uh-uh.
10:55Pero this happened.
10:57Okay.
10:57So, they stopped the games for one day.
11:00The crisis meeting yung Olympic Committee.
11:04They had to decide.
11:05Tutulay ba ang games or are we gonna stop the games?
11:07Kasi…
11:08Massacre.
11:09Uh-uh.
11:09And…
11:10It was all over the world.
11:12They…
11:12Well, it was not televised but…
11:15The…
11:15Before they…
11:16Kasi…
11:17That night they flew…
11:20The athletes…
11:21You know…
11:21I was…
11:23The Olympic Stadium was in front of me.
11:25I'm on the lawn.
11:26Behind me was the Olympic quarters of the athletes.
11:29And I could hear these helicopters…
11:32Coming back and forth.
11:34Nobody knew what was happening.
11:35Only the next day…
11:37Nung nabasa namin yung headlines…
11:40Nagkaroon ng massacre.
11:42So, they were trying to decide whether to continue the games.
11:45And…
11:45After one day they announced,
11:47Okay, the games will go on.
11:48We cannot let…
11:49A bunch of terrorists…
11:52Intimidate us.
11:54Everybody use your ticket one day later.
11:56So…
11:57The same schedule but it will reach you one day later.
12:00And…
12:00You can use your tickets one day later.
12:03So…
12:03The games went on.
12:04Pero…
12:05The mood…
12:06Collapsed.
12:07Yeah, I can imagine.
12:08So…
12:08Wala nang bibili ng mga souvenirs.
12:10So you got stuck with all of the…
12:11The capis…
12:12Dachons.
12:13I sold…
12:14Very good.
12:15I was able to cover all my expenses and a little bit more.
12:19But…
12:19What would have been my…
12:21My sabbatical profit…
12:22The last 7,000 dogs…
12:25Hindi ko mabenta.
12:26And…
12:27I can…
12:28After the games you cannot even sell that in Munich.
12:31Anyway, I was so bankrupt…
12:33Wala na akong…
12:34I could not even afford my apartment in…
12:37In Munich.
12:38So forced to good ako…
12:40I went to join…
12:42A commune…
12:43Of artists…
12:45Outside Munich.
12:46In those days…
12:47Maybe 25 artists will find an old farmhouse.
12:52And they would rent a farmhouse.
12:54And they could…
12:54For the price of one apartment…
12:57In the center city.
13:00So at least…
13:00So wala kang pera.
13:01Kaya…
13:02Doon ka na…
13:02Doon ka na…
13:03Doon ka na…
13:04May mga artists doon.
13:06And they were all…
13:07Yeah.
13:07The hippie…
13:09Countercultures.
13:09Puro Germans.
13:10Puro Germans.
13:12So that…
13:13Accelerated my…
13:14Becoming an artist.
13:16I met Katrin.
13:18There.
13:19I met…
13:20Kid Lat a year later.
13:21I met this film student…
13:24Who was doing…
13:25Crazy film projects.
13:27So that became my…
13:30Re-enculturation.
13:32But even into more…
13:33Yung…
13:34It was a deeper artistic meaning.
13:36It's not just…
13:37Yeah, people who are still living…
13:38Burgi's life.
13:38They were really counterculture.
13:40And…
13:41They were also practicing artists.
13:43So because of that…
13:44Wala…
13:45I stayed there another…
13:46Three years and then we had…
13:49Three years…
13:49Commune na yon.
13:50Yeah.
13:51So…
13:51And then…
13:52That's when you hatched the idea for…
13:55Mababangong Bangungot.
13:57Okay.
13:57The first Philippine indie film.
13:59I…
14:00Not yet the idea…
14:01But…
14:02I kept helping that film student with his projects.
14:05Young student…
14:07Had a video exercise.
14:0910 minutes.
14:10So…
14:10He asked me and a Brazilian girl…
14:12To practice a scene that he was going to shoot.
14:16So we practiced for one week.
14:17That was…
14:19We had to go to the school where the equipment was.
14:22So when we went to the school…
14:24On a Saturday…
14:26The original teacher for that subject…
14:29Was either sick or he was unavailable.
14:31And the substitute teacher that day was…
14:35Werner Herzog.
14:36Oh wow.
14:38Sikat na siya nun.
14:39He was one of the new Germans…
14:41Rising.
14:42Not like today.
14:43So he's…
14:44Uwata pa siya nun.
14:45He was known in Munich and Germany.
14:47Yeah.
14:47We were in our thirties.
14:48Okay.
14:50Anyway…
14:50After the exercise…
14:51He supervised the student…
14:53When they were packing everything…
14:55The equipment…
14:55He came to me and he said…
14:57Are you a professional actor?
15:02Hmm?
15:03No, no.
15:04I was just playing that role…
15:06Because it was fun.
15:08Good.
15:08I don't like professional actors.
15:12And he took them…
15:13My name and my address.
15:15And then three months later…
15:17He came to our commune…
15:17And said…
15:18Kid Lut.
15:19I want you to play…
15:20You were already Kid Lut then?
15:21No, not yet.
15:22Oh.
15:22Yes.
15:23I want you to play a role in…
15:25My next film.
15:28I don't know…
15:29Have you seen…
15:29Caspar Hauser?
15:31No.
15:31The Enigma of Caspar Hauser?
15:33No.
15:34It was one of his best films, 1974.
15:36Okay.
15:37Anyway…
15:38I play a small role there.
15:40It's a circus scene…
15:42With many characters…
15:44That you see in a circus…
15:45Freaks.
15:46Okay.
15:47I was one of the freaks.
15:48What kind of freak?
15:49Okay.
15:50All these characters…
15:51In that circus scene…
15:52Were revivals of characters…
15:53In his previous films.
15:55Hmm.
15:56So…
15:56His most famous film…
15:58At that time…
15:58There was Aguirre…
15:59Wrath of the Gods.
16:01And there was a…
16:02South American…
16:04Indian…
16:04Playing up…
16:06Uh…
16:06Uh…
16:06Pan flute, no?
16:08Mm-hmm.
16:08Bamboo pan flute.
16:10When I came to the set…
16:11I said…
16:11I don't have a pan flute…
16:12But…
16:12I have my Philippine nose flute.
16:15Come on…
16:16Play it for me.
16:17I played it.
16:18Okay.
16:18That's good.
16:19We'll use that.
16:21So in that…
16:22In that…
16:23In that scene…
16:24I'm playing the nose flute.
16:25Hmm.
16:26Okay.
16:27And…
16:28After that…
16:28I think…
16:29That was considered freakish already?
16:31Well, yeah.
16:32Freakish.
16:33Exotic.
16:33But also…
16:34I was…
16:34I was…
16:36In that role…
16:37I was the…
16:39Nakabahag ka na ba?
16:40Hindi pa.
16:40I was an American Indian…
16:41With many layers of western coats…
16:44Jackets…
16:45But I have to play the nose flute…
16:46So my…
16:47My tribe will survive…
16:48In South America.
16:50That was the…
16:52Background that…
16:52The circus meister talks about me.
16:55What gave you the idea for Mabababangungot then?
16:58Okay.
16:58From there…
16:59So that was the time when I decided…
17:01Hey…
17:02I think I like this medium.
17:03I want to make films.
17:05I had been helping the student…
17:07And then I was on the set of…
17:08So Werner Herzog pa yung mentor mo?
17:11In a way, he was a mentor, yes.
17:13And so…
17:15I decided to buy him…
17:16I had a Super 8 camera.
17:18I traded it for a 16mm Bolex.
17:21Mm-mm.
17:22And then I started shooting…
17:23And then…
17:24What gave you the idea for this concept?
17:26You know…
17:26Critiquing colonial mentality…
17:28And the capitalist system…
17:30You know…
17:31The…
17:32The…
17:32The critiques that came out…
17:34After Mabababangungot came out…
17:36They…
17:37A lot of…
17:38They called it an autobiographical film…
17:41And I would say to them…
17:42No…
17:42I was not really a jeepney driver…
17:45You know…
17:45All that kind of thing…
17:46But I thought…
17:47Maybe I was talking literally…
17:48They said…
17:48No, no…
17:49It's autobiographical…
17:51In your…
17:51Your awakening…
17:53And I guess…
17:54Yeah…
17:54My colonial…
17:55My awakening to the colonial realities…
17:58That…
17:58At home…
18:00This…
18:01Jeepney driver…
18:02Who is…
18:02Nasindak siya sa…
18:04Western technology…
18:06And the Werner Von Braun…
18:08Rocket Club…
18:09Isn't it?
18:09It was the same jeepney?
18:12Yeah…
18:12Yeah…
18:13That's what…
18:13You only had one jeep…
18:14Of course…
18:15The one you used in the Olympics…
18:16Yeah…
18:18Yeah…
18:19Yeah…
18:20Yeah…
18:20And so I revived certain stories…
18:22Like that egg lady…
18:23Selling double-yoked eggs…
18:25Was really…
18:26Living in front of my apartment…
18:28When I was an economist…
18:30I didn't know…
18:30I was going to be a filmmaker…
18:32But you know…
18:32Strange things…
18:33When I asked her to play the role…
18:35She was just selling eggs…
18:37And cheese…
18:37When I said…
18:38Madame Baudry…
18:40Can you…
18:41Play the role…
18:42Let's do our love story…
18:43Cause she…
18:44I adopted her as my Lola…
18:45Araw-Araw…
18:46She was on…
18:47Outside my door…
18:48And then she said…
18:50Oh…
18:50Tres étrange…
18:53Je te déjeun film…
18:59In 1924…
19:00I was already in many films…
19:03She was not a star…
19:05But she was playing the double…
19:07Of…
19:08In…
19:09Of the…
19:09Of the main actress…
19:11And you know…
19:12She described to me…
19:13One scene…
19:14Where…
19:15She played the double…
19:16The…
19:16The princess is running away…
19:18From the…
19:19Castle…
19:20She's being pursued…
19:21By hunters…
19:22In the snow…
19:23And then she…
19:24Falls down in the snow…
19:25And then…
19:26The hunters can't approach…
19:27Because she's surrounded…
19:28By…
19:28Twelve wolves…
19:30Who protect her…
19:33She told me that scene…
19:34And I just…
19:35It was there…
19:36Katrin was also in that film…
19:37Katrin was also in that film…
19:39Yeah…
19:40Were you already…
19:40You were already a couple then…
19:41Of course…
19:42We were already a couple…
19:42That was already…
19:44Yeah…
19:44That was already…
19:45Four years after the Olympics…
19:47Well…
19:47Okay…
19:48Just…
19:49Just…
19:50I just…
19:51Want to ask you something related to that…
19:53So you must be like…
19:54The only Wharton graduate…
19:56Who wears a Bahag in public events…
19:59Yeah…
20:00I'm sure…
20:00So what are you trying to say there…
20:03Obviously…
20:03That's kind of a statement…
20:04Okay…
20:05I know a lot of people…
20:07Find it…
20:08Okay…
20:08Or…
20:11Or…
20:11Yeah…
20:12Trying to be dramatic…
20:14Look…
20:14I come from that…
20:16Part of the world…
20:18And it is…
20:19It is a world that I also…
20:20Was even trained to look down…
20:23At…
20:24I didn't subscribe to that thought…
20:26But…
20:26My friends were…
20:28Igorots also…
20:30But…
20:31Uh…
20:32But…
20:32Only when I came back…
20:34After…
20:34Yeah…
20:35I tore up my diploma…
20:36I started writing a play…
20:38I was re…
20:39Energizing…
20:41Artistic…
20:42Outlook…
20:43So…
20:44Yeah…
20:44And then…
20:46I decided to…
20:48Live in the…
20:49Hapao Ifugao…
20:50With Lopez Nauia…
20:51Wearing a Bahag…
20:53Every day…
20:53That's where I was wearing Bahag…
20:54Every day…
20:55So…
20:55So…
20:56It was actually…
20:57I'm at home with it…
20:58You were…
20:59Immersed in that culture…
21:00It's not like…
21:01You're walking around like a…
21:03You know…
21:04Kind of a…
21:05Walking…
21:06Museum piece…
21:07No…
21:07I mean…
21:08It was really part of your lifestyle…
21:10It's not a performance anymore…
21:11I use it in performances…
21:13When I…
21:14After some of my shows…
21:15But…
21:16Well…
21:16You wore it in Frankfurt also…
21:18Look…
21:19I wear it…
21:21I wore it when…
21:23The Prince Claus…
21:24The…
21:25The Prince Claus Award…
21:27The…
21:28Of Netherlands…
21:29The King of…
21:30The…
21:30Gave me the award…
21:31I was in my Bahag…
21:32When I got the Fukuoka Prize…
21:35In Japan…
21:36The Emperor now…
21:38At that time…
21:38They were the Prince…
21:40I was in my Bahag…
21:41And they didn't make a big deal…
21:42Yeah…
21:42Well…
21:42They're used to you…
21:43But what…
21:44What do you want people to take away…
21:46From seeing you…
21:47In a Bahag…
21:48Of course…
21:49People are seeing you…
21:50They're used to seeing you…
21:51What do you want them to be thinking?
21:53Well…
21:53First of all…
21:54It's just…
21:56Whether…
21:57Whether…
21:58Whether they…
21:58Associate…
21:59At least a prestige…
22:00Of being a national artist…
22:02Or what…
22:02No…
22:02It's more…
22:04I'm saying…
22:05This was our wear before…
22:07There must have been…
22:08Some…
22:08Time-tested reasons…
22:10Why people wore Bahag…
22:12No…
22:13And that's where I always make a comparison…
22:15Ito si…
22:17Jose Rizal…
22:17Naka winter coat…
22:19Standing at luneta…
22:21Sorry…
22:22I don't have a statue…
22:23Rizal in Bahag…
22:23Yeah…
22:23You gave me one…
22:24Okay…
22:25That Rizal in Bahag…
22:26It's just saying…
22:27Ang lakas ng kultura natin…
22:29In spite of…
22:31Over-westernization…
22:33Ni Jose Rizal…
22:34Connectado pa siya sa kultura niya…
22:36So…
22:36When you…
22:37To answer Ambet Ocampo's question…
22:39What's underneath the overcoat…
22:42May Bahag siya…
22:45Metaphorical…
22:45Nakonektada pa siya…
22:47Sa mga lakas ng kanyang kultura…
22:50And that's what I…
22:51I think people…
22:53Get shocked immediately…
22:54And that's the colonial side…
22:55You get shocked because…
22:56Ah…
22:57That's primitive…
22:57That's backward…
22:58You know…
22:59All these negative things that we have associated…
23:01Because…
23:02Our colonial masters…
23:04Told us that…
23:05And they would take pictures…
23:07See…
23:08Dean Worcester took pictures…
23:10With a…
23:11Anthropologist eye…
23:13But more to be studied…
23:14But…
23:15Their main message was…
23:16Be like us in New York man…
23:18So in other words…
23:19It's a…
23:20Kind of a…
23:22Visual…
23:22Daily…
23:23Elevation…
23:24Of…
23:25The natives…
23:25It's to…
23:26Bring back respect…
23:28To the culture…
23:29That we have been taught…
23:30To look down on…
23:32Okay…
23:32And you think…
23:33That has happened…
23:35I don't know…
23:36I'm sure…
23:37Many people snicker…
23:38Hey…
23:39Put…
23:40You know…
23:42I…
23:43I…
23:43Will get mixed reactions…
23:44But I think…
23:46If people…
23:47Will just accept it…
23:48As…
23:48If they respect me…
23:49And they say…
23:50Okay…
23:50That's…
23:51His…
23:53Statement…
23:54Okay…
23:55I…
23:55At least…
23:56A few people more…
23:57Will at least…
23:58Say…
23:58Why do we have to listen to those…
24:02Colonial…
24:03Mantras…
24:03That…
24:04You have to have a…
24:05Coat and tie…
24:07Ako…
24:08Coat…
24:09And…
24:10Tie…
24:11I wear my coat and tie…
24:14To…
24:14Cocktail parties…
24:15Of the US Embassy…
24:16Of the German Embassy…
24:17Or in Frankfurt…
24:18And nobody stops you…
24:19Hey…
24:19You're not wearing the…
24:21Dress coat…
24:21No…
24:22Oh…
24:23But…
24:23Sometimes they want you to wear Filipinana…
24:25Diba…
24:25Oh…
24:27Filipinana yun…
24:28And usually you wear shoes…
24:30Yeah…
24:31I wear shoes…
24:31Kasi yung mga nakabahag…
24:32Nakapaay yun…
24:32Usually…
24:33Yeah…
24:33I wear my…
24:34I wear…
24:35I wear these clogs…
24:36It's a hybrid thing also…
24:38I have a t-shirt…
24:41But the Manila Polo Club…
24:42Ah…
24:43It's a dress code…
24:45But they allowed me…
24:46So…
24:46Tell us…
24:48Maybe…
24:48You don't have to tell us the whole story…
24:49But basically…
24:50How did you become Kid Lat Tahimik naman?
24:52When I started the film…
24:53Okay…
24:54None of my films have scripts…
24:56I have never written a script for a film…
24:58Except for one film…
24:59I made a pro forma script…
25:01For Turumba…
25:03Just so I could get the grant…
25:04That's just my style…
25:05Okay…
25:06Maybe…
25:06I cannot recommend that to everybody…
25:08Okay…
25:09The script is usually…
25:11And…
25:11For the director…
25:13It's an aesthetic tool…
25:14You know…
25:15How you can…
25:16Keep your story…
25:19Always focused…
25:19But…
25:20It's become mainly…
25:23A tool…
25:26For the…
25:27For the…
25:27For the producer…
25:28For the MBAs…
25:29They can calculate the cost…
25:31Of every movement…
25:32How many teams will go there…
25:34What location…
25:35And then they can costify it…
25:36And say…
25:37Okay…
25:37The cost benefit…
25:39We can make a profit…
25:40That's…
25:40But as an aesthetic tool…
25:43I…
25:43I didn't really need it…
25:44Because…
25:47I…
25:47Maybe…
25:48I had the confidence…
25:49In…
25:52Cosmic…
25:55Storytelling…
25:55Bathalana…
25:58It's not…
25:59Bahalana…
26:00The old…
26:01Colonial…
26:03Influence words…
26:04Bahalana…
26:05Leave everything to…
26:06One tamad…
26:07One tamad…
26:08I wait for the banana to fall…
26:11Bathalana…
26:12I think…
26:12Bahalana…
26:13Came from…
26:14Bathalana…
26:15Which was…
26:16In the end…
26:16You do everything…
26:18You…
26:18You do exercise…
26:19Your brawn…
26:20Your brain…
26:21Your…
26:22Kaluluwa…
26:23Everything…
26:23But the final outcome…
26:26Is…
26:26Bathalana…
26:27It's a…
26:27It's a humility…
26:29But in…
26:30Kapwa now…
26:30We're talking about…
26:31It's a proactive…
26:34Uh…
26:35In spite of…
26:37An uncertain situation…
26:39Bathalana…
26:40I will do everything…
26:41To get through that…
26:43Finish line…
26:43But…
26:44The final outcome…
26:45I leave it to God…
26:47Or…
26:47Bathalana…
26:48So it's…
26:49It's…
26:49It's a very…
26:50The colonialist framed it as a…
26:54Fatalist…
26:55Anyway…
26:55That was that Bathalana attitude…
26:57So…
26:57I had no script…
26:58But I had the treatment…
27:00I even showed it to Werner Herzog…
27:02He helped me…
27:03Just think about it…
27:04He gave me the questions…
27:05I should know…
27:06When I showed him the script…
27:07He asked me some questions…
27:08How will you do this…
27:09Or…
27:09Can…
27:09Can you…
27:10So there was a script?
27:12No…
27:13It was…
27:13The treatment…
27:14The treatment is two pages of…
27:17What…
27:17It's a general story…
27:18A beginning…
27:19A middle…
27:19And…
27:22And…
27:23But the last…
27:24Usually…
27:25Most…
27:25Almost all the time…
27:26Basta…
27:27Alam ko yung…
27:28Beginning…
27:28A middle…
27:29And…
27:29Alam ko kung…
27:31Asan…
27:32Pagtutumuan…
27:32Pero everyday…
27:34Kung ano yung…
27:36Cosmic suggestion…
27:37Yan ang magsushoot…
27:38So…
27:39Many things…
27:40Will enter…
27:41That are not…
27:42That you could have not…
27:43Thought of…
27:44If you had a written script…
27:45Mm-hmm…
27:47That's why the…
27:48My critics said about…
27:50Perfume Nightmare…
27:51It is not a film that a genius could have made…
27:53It had to be…
27:56Organic…
27:56It's also like my architecture in…
27:58Baguio…
27:59Yung…
28:00Ililika at Oh My Gulay…
28:02Walang…
28:03Walang blueprint yan…
28:05Walang…
28:06Sketches…
28:07Walang studies…
28:07Basta…
28:08Nangyayari na lang yan…
28:10So…
28:12Okay…
28:12The main character in…
28:14Perfume Nightmare…
28:15Was called Kidlat Tahimik…
28:18So…
28:18I was doing that for two and a half years…
28:21Inaedit ko yan…
28:22So…
28:22Matagal mo na naisip yung pangalan na yun?
28:24No…
28:24It was there as a character…
28:26Okay…
28:27So…
28:27I just kept doing it…
28:29And then…
28:29When I finally finished it…
28:32I…
28:32I went…
28:34Around Europe…
28:35Looking for a festival…
28:36I…
28:36I went to Benkab…
28:39In London…
28:41And then…
28:43Finally…
28:44I ended up…
28:45Somebody in London said…
28:47You know…
28:48Don't…
28:48I was rejected by the London Film Festival…
28:50Because they want polished film…
28:52But they told me…
28:53Try Berlin…
28:54There's a section called…
28:55The Forum…
28:56For Young Cinema…
28:58That's where I had my debut…
29:00Berlin…
29:01And…
29:01Okay…
29:02When…
29:02When I sent them the copy…
29:04It was…
29:05The last…
29:06Two weeks before the opening of the festival…
29:09They were trying to decide…
29:10On the last…
29:11Two films…
29:13You know…
29:13When they're…
29:14In their…
29:15Selection Committee…
29:17In the beginning…
29:18Yeah…
29:18Everybody gets their choice…
29:20And…
29:20But…
29:20They were waiting for…
29:26Two more…
29:28Films from South America…
29:31To clear customs…
29:32In those days…
29:33The 60mm…
29:34Was that big…
29:36And…
29:36Two reels of that…
29:38No…
29:38So…
29:39While they were waiting…
29:41When I called up…
29:42The…
29:42Wife…
29:43The other…
29:44Selectressy…
29:45Erica Gregor…
29:47They had just arrived from Cannes…
29:49And they were so tired…
29:51But…
29:51She said…
29:52I couldn't refuse your voice…
29:53On the phone…
29:54She said…
29:54Send it to me…
29:56So…
29:56I sent it from Munich…
29:57By train…
29:59To…
30:00Berlin…
30:01They viewed it…
30:03Unanimous…
30:04They were so surprised…
30:06The whole…
30:07Selection Committee…
30:08Was unanimous…
30:10And it came out…
30:12I don't know…
30:13I was so…
30:13I just wanted…
30:15I joined the festival…
30:16Not to win any prize…
30:17I just said…
30:18I need…
30:18A cold audience…
30:21Cold?
30:22I see…
30:23You can always…
30:24Maybe fill up once…
30:25A cinema…
30:25With all your friends…
30:26But everyone was like…
30:27Oh…
30:28But a cold audience…
30:30People who…
30:32You don't know…
30:33Don't know…
30:33And who are really…
30:34Film critics…
30:35Looking for something…
30:38To shoot down…
30:39So…
30:39What was the initial reaction…
30:40To it?
30:41It exploded in Cannes…
30:43To Berlin…
30:44Why?
30:47I think…
30:48The things…
30:49Yeah…
30:49Because I had no…
30:50I had no education…
30:51As a…
30:52Filmmaker…
30:53I had never done a previous film…
30:55I had no script…
30:57But it…
30:58Came out as a…
31:00A rough…
31:01You know…
31:03So…
31:03Goddard would have said though…
31:05What did Goddard say…
31:06A film found in a bamboo hut…
31:09A film found in a bamboo hut…
31:11Yeah…
31:11Meaning…
31:11So it had a raw…
31:13Kind of authentic quality…
31:14It was totally primitive look…
31:15Because all my cutting…
31:16All my shots…
31:18Are…
31:18It's a…
31:19It's an own film language…
31:20I didn't realize that…
31:21I thought I was…
31:22Doing a normal Hollywood film…
31:24When I made it…
31:25Yeah…
31:25But because you…
31:26You weren't educated…
31:27In the classic…
31:29Film…
31:29Film language…
31:31That's right…
31:31That was also an advantage…
31:32Of not going to a film school…
31:34Like also…
31:35For fine art students…
31:36Self-taught…
31:37Painter…
31:38Are sometimes more exciting…
31:39Than…
31:40Somebody who has been taught…
31:41All the finesse…
31:42Of how to…
31:43Get that shading…
31:44And that…
31:45I think…
31:47That's…
31:48My favorite…
31:49Filmmakers…
31:50Are…
31:50Very often…
31:52Self-taught…
31:53Like who?
31:55Well…
31:55Love Diaz…
31:56He didn't study film…
31:57He's…
31:58He's one of your favorites…
32:00Yeah…
32:01Anyway…
32:01That's…
32:02So that's my evolution…
32:03And that…
32:04When…
32:04When the critics liked it…
32:06I didn't even understand…
32:07Why they liked it…
32:08You know…
32:09I went to the Berlin Festival…
32:10It was my first festival…
32:12I'm watching all these…
32:15Experimental films…
32:17Slow…
32:1820-minute shots…
32:21Very thought-out…
32:22Because…
32:23When you…
32:24When you study film…
32:25Or you're a cinephile…
32:26You…
32:27You see…
32:28What you don't want to be…
32:29You want to make it…
32:30Certain film language…
32:32Okay…
32:32That was all I need to do…
32:33I have this shot…
32:34Okay…
32:34Pwede ko yung lagay dito…
32:36Okay…
32:36And then later nalang…
32:37I…
32:38Add a little rhythm…
32:39Pero…
32:40It's…
32:42I made that one…
32:43Distinction once…
32:44I think I told you…
32:45But…
32:47When I make a film…
32:48It's like a mosaic glass…
32:52Window…
32:52You remember…
32:53Katrin was a…
32:54Stain glass…
32:55Window maker…
32:56She gets different pieces of glass…
32:58And assembles them…
32:59And welds them together…
33:02But for me…
33:03I have no pre-plan for that…
33:06Or maybe I have a broad storyline…
33:09But…
33:09I collect…
33:11Broken…
33:12Seven Up bottles…
33:14I put them in a box…
33:16I collect…
33:17Vicks Vaporub…
33:19Which are blue bottles…
33:20I collect another green…
33:22Brown bottles…
33:23And they…
33:23Beer bottles…
33:24I collect them in…
33:26And then…
33:26One day…
33:27I decide to try to…
33:29See what it'll come out with…
33:32Oh…
33:32Is that a face…
33:33Or is that a landscape…
33:35And once I have that…
33:36Okay…
33:37I need three more green pieces…
33:39So…
33:40I will shoot those scenes…
33:41To fill up the last holes…
33:43But the whole thing…
33:46What's happening…
33:48It's not planned…
33:51It's not…
33:52Distilled…
33:53Like…
33:54Hollywood scripts are distilled…
33:56So many times…
33:57And they're even rewriting…
33:58During…
33:59Filmmaking…
34:01So…
34:01It's…
34:03Trust the force…
34:05Trust the cosmos…
34:06So…
34:06Kid Lat…
34:07You…
34:08You've mentioned Katrin several times…
34:10I mean…
34:11You lost her last year…
34:13I mean…
34:14The world lost her last year…
34:15And we know that your family…
34:17And…
34:18And…
34:18Your art…
34:19Are inseparable…
34:20Right?
34:20Your family has come out in your films…
34:22They've been part of your filmmaking…
34:27It's so…
34:28It's so…
34:30There's a certain unity…
34:31Right?
34:32Between your personal life…
34:33Your family life…
34:34And then your art…
34:36So…
34:36So…
34:38You lost her…
34:39Last October…
34:41Well…
34:42We were in Frankfurt…
34:42I know…
34:43I didn't even know…
34:44I didn't tell you…
34:45I didn't tell you…
34:46I know…
34:46I was really…
34:48Yeah…
34:48My deep condolences…
34:50For that…
34:51We said our goodbyes before…
34:53Yeah…
34:54I knew she was ill…
34:55But…
34:57And I've known…
34:58I also knew her for a long time…
34:59But I'm just wondering…
35:02How has that changed your…
35:06Artistic outlook…
35:08Knowing that…
35:08She…
35:10Was…
35:11An organic part of…
35:13That vision…
35:14You know…
35:14She came out in…
35:15Your first film…
35:16You met her in your…
35:18Jeepney…
35:19In…
35:19In…
35:19In the commune…
35:21In Germany…
35:22She was part of your…
35:24Artistic education…
35:25So going back to that…
35:25I met her first…
35:26In my…
35:26In my jeepney…
35:28She hit…
35:28She was…
35:29Hiking with her boyfriend…
35:30I gave him a ride…
35:31We were going to a…
35:32Film exhibition…
35:33An art exhibition…
35:35Ah…
35:35Okay…
35:35So she…
35:36You did not meet her in the commune…
35:37No…
35:37It was later that she…
35:40Said that they were…
35:41Having a commune…
35:42And they needed…
35:42They had one space…
35:43So she invited you…
35:44To the commune…
35:45Yeah…
35:45What kind of invite…
35:46Or she let me know…
35:47She was your passenger…
35:48In the jeepney…
35:49Yeah…
35:50She and her boyfriend then…
35:51Yeah…
35:52Okay…
35:53So…
35:53Anyway…
35:54Yeah…
35:55I think…
35:56If I studied art…
35:58Or filmmaking…
35:59In the proper school…
36:02I wouldn't be…
36:04The…
36:05I wouldn't have this…
36:06Fruits from my filmmaking…
36:08For the last 50 years…
36:10I think…
36:13Even if I wanted to become a playwright…
36:16Sige…
36:16Ayaw ko na sa economics…
36:18Basta…
36:18Magiging artist ako…
36:21I think I might have been a lot…
36:23A lot of…
36:24Yeah…
36:24The usual artists…
36:25Who are still living in…
36:27Very…
36:29Bourgeois homes…
36:30That's not a judgment…
36:31Just…
36:32In those…
36:33But…
36:34It was more…
36:36The cosmos brought me to that…
36:38Hippie commune…
36:40Where…
36:41Oh…
36:41I'm…
36:42I'm a conservative…
36:43Compared to everybody…
36:45And Katrina also was conservative…
36:46She was not…
36:47One of those…
36:49Over…
36:50Drug…
36:51People…
36:52But…
36:52She had a creativity…
36:54And an eye…
36:55That…
36:56Eventually became part of…
36:58The way I could see…
37:00Shadings…
37:01And…
37:02Contrast…
37:02And textures…
37:04And then…
37:05My own…
37:06But then I also had my own creativity…
37:09Because…
37:09I came to Baguio…
37:11I came to an Americanized town…
37:14And I even realized…
37:15Before I was abroad…
37:16I was already so Americanized…
37:18Before I went to America…
37:20But…
37:21When I was in America…
37:21I began to…
37:22I began to…
37:29Back home…
37:32There's something that…
37:33I cannot quantify…
37:34I cannot…
37:35I cannot…
37:36I cannot…
37:36explicitize…
37:37But…
37:38There's…
37:39May…
37:40There's a richness…
37:41That…
37:42That..
37:42That…
37:42I cannot…
37:43We should not take for granted…
37:45That...
37:47That…
37:53Well…
37:54That…
37:55It's such a…
37:56Welcoming culture…
37:58The first day…
38:00and you'll see that in the for the new forward to the tube book when we arrived in martial law
38:07that
38:07was uh so we arrived 1970 this is 1973 you arrived in the philippines yeah with her i was in
38:20the
38:21muni just a few days after the munich olympics that i woke up one morning i heard on the radio
38:28president margos has declared martial law in the philippines so she was a part of your art and
38:34part of you and everything that you stood for and was communicating now she's gone no so
38:41how are you navigating that i mean how is it changing your
38:46what you're trying to communicate to the world yeah well you know i i think because i've become buddhist
38:52uh i'm not letting it you know like it's the end uh ephemerality is part of our buddhist
39:01one but of course i miss her and i every there are a lot of things that i suddenly hear
39:06her voice
39:08tell me that oh that that's a nice cloud formation or that's a strange shadow uh she
39:17when she when she was teaching me that not only directly but when you you know malaki mga bata you
39:23hear her framing the world with her artistic eyes no she was also provinciana she was she was raised in
39:32uh beside a lake outside of munich so when i first met her she would walk on stones
39:43and those are things that i and she had this thing for nature so that has all stayed with me
39:53and especially now
39:58that the importance of that kapwa culture now so previously culture advocate
40:05but now i have a specific thing that that i can frame immediately now if we're talking about
40:14no wala nam pre no ang
40:16ang kultura natin then i when like when cardinal david talked about walang paki i said
40:23yan ang pre no is to bring back the kapwa culture not in the sense that i'm just saying that
40:29it's an
40:29orientation which makes you respect everybody else and therefore you would not abuse
40:45therefore they had always a pre no not to exploit until the americans came and said oh man
40:54that's 38 board feet times eight dollars per board feet and that's become the mentality we've had
41:02tungkol sa surrounding natin see superior tile we can cut down and make profit on all of them
41:10but the point is that she she was a nature child in in many ways and that's a cliche but
41:18i think i think i'm glad that my sons have picked it up also
41:26we have this and it makes me even understand better sila lopez na uyak and the ipo gaus
41:35living with nature is a mutual respect
41:39kaka po kyan maybe for germans it's a nostalgia or a romantic feeling because they've lost it a long
41:49time ago therefore people who are living and we we still live with it around i'm happy to say
41:55dito lang we're the only house that has left a lot of these trees
42:00there are a few on the other side but so so my final question is uh what is your ideal
42:07of the
42:10educated filipino
42:13okay i think that word educated is already implies formal but okay let's let let's look
42:19talk about education as in a wider in a wider sense a general
42:25you don't have to have gone to school to be educated you must self-educated that's why that
42:30that was part of the pejorative uneducated no that is based on that kind of education that was imposed
42:39or imported i'm educated is to be at home in the world no the katrin quoted the nvm gonzalez
42:50to be at home in the world and maybe that's my you know definition when i'm ginawa
42:56you're educated because
43:00your ma entitlements mo or your expectations or your ambitions are in general
43:10at a realistic level that doesn't require
43:17competing to get more and more and more and more that's i think what colonialism brought to us so
43:23we have again how it's
43:30you have enough to eat you have enough
43:34comforts
43:36and not this accumulation for accumulation sake so education that is already
43:45the optimal
43:48at home
43:49at home
43:50because it's okay now
43:52all right that's it
43:54okay
43:54okay yeah
43:56and i think most filipinos still have that pero
44:00we drive
44:01our media is constantly bombarding us with
44:05we have to be like them in new york
44:08and and we have we need to keep buying things that's right that that whole thing is accumulation
44:15and it yeah whether it's 40 cars or 40 handbags or
44:1940 cameras it's just the
44:23accumulation for and i i'm guilty of i have a lot of accumulations also pero
44:27i think like like on this trip to japan i hardly bought anything
44:33i just i was just absorbing this wow super modern country and then
44:41feeling uh so being at home in the world
44:45that's your definition of being
44:48in how educated filipino or you know maybe the right kind of filipino is
44:54is just being satisfied with whatever you have
44:59well yeah you can also have ambition to have a little bit more but i think
45:03whether our our our taipans are trying to be the elon musks of the philippines
45:09or whether you try to be that that super millionaire you saw in a hollywood film
45:17i think it's that creates uh false illusions like maybe i wanted i thought i might become
45:23president of the philippines uh whatever mga suggestions that come to you that you might
45:30uh be this or you might have this or might accumulate this that's constantly being
45:36well i don't bring a brainwash in that direction and that's why i still think
45:44a cultural
45:47that homeless ginawa in support now i have enough and i should try to enjoy life instead of trying to
45:54beat the clock so i can accumulate more i think that's becoming the especially for city people you
46:03know nagigi modus operandi for people too and that's why they're never satisfied i think we
46:12i could have with my word on education go into that acquisition of assets acquisition of companies you
46:24know that that's that's the kind of thinking that was very much spelled out in an mba
46:31pero i'm lucky i think that uh whether it's because i went through that hippie counterculture
46:38that's 50 years ago or because i lived in hapao for 20 years with just seeing that well
46:53they did this culture did not have to build rockets to the moon they did not have to build
46:58highways they didn't have to build supercars kasi sapat na sila they had
47:04they had the food security with the rice terraces they had all their needs they didn't have to import
47:11whether it's gadgets or even food whether it's gadgets or even food sapat and that makes a happy people
47:22and that's a really wise note to end on so thank you uh for all of these uh reflections on
47:31well on the long
47:32journey that has led to this moment an interview is only as good as the interviewer so i think you
47:39have a lot yeah well we go way back so we've actually talked about a lot of these things but
47:53uh
47:54before but not recorded so yeah finally so maraming maraming salamat and i see you have your signature
48:02bamboo camera yes this is for promoting our local point of view whether it's in films or whether it's
48:11battling for a market space or battling for less cars in a garage our point of view and and and
48:23for
48:23better education of our youth better education by incorporating our old knowledge the tribe the
48:32wisdom of our elders that's still relevant today okay that's a great note to end on maraming maraming
48:38salamat kidla tahimik for all these reflections smile on bamboo camera thank you podmates for listening
48:46and watching until the very end of this podcast
48:48this podcast alamin na nakakatalino ang mahabang attention tab don't forget to like and subscribe
48:54and binge watch for more videos until the next pod mabuhay kayo at ingat lagi
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