Film Producer Tony Garcia on pushing boundaries

The avant-garde film director Peque Gallaga was once extolled in a student forum for his daring to make "Pinoy/Blonde" as his comeback film last year after a lengthy hiatus from camera work. But the director was said to have been swift to correct: "It should be Tony Gloria. If not for him, this film would never come into being."

Of course, a director, even one who is armed with the most brilliant of ideas, can only do much. It is the producer-like a conductor guiding how an orchestra ought to sound like-who works as the power source, bringing the production together and making the trip from script to screen possible.

Antonio "Tony" Gloria is the low-key prime mover of Unitel Pictures, which despite being a relatively new movie outfit, is churning out motion pictures that are perhaps more well-thought-of, anti-formulaic and experimental than those we have seen in more recent years.

I had the chance to interview Mr. G, as what he has been called by colleagues and peers, many thanks to Ms. Chit Bigornia, his Cebu-based younger sister who serves as his liaison officer here, if not busy with work for USAID.

Unitel Pictures have produced movies that have been consistently graded "A" by MTRCB, as well as critically-acclaimed and award-winning. From the maker of such films as "Crying Ladies," "Santa Santita," "La Visa Loca," its latest to hit Philippine theaters is "Inang Yaya," which had a red carpet premiere in Cebu last week graced by its lead star, Maricel Soriano.

Gloria talks about his long-standing affair with the movies, the state of the Philippine movie industry, and some thrilling projects coming up.

Question: I was told that you've been a movie fan all your life...

Tony Gloria: That's true. I remember I used to sneak out a lot when I was like five years old. Kasi when I was growing up in the province in Naga City, Bicol, at that time, we are only allowed to watch a movie once a month pagka-sweldo ng papa ko, who was a principal in a high school. What I did before with another five-year-old, we would run errands for a takilyera; and then during mornings, when the moviegoers are scarce, we would be allowed to watch the movie. It went on until somebody, another playmate-you know how kids are-sinumbong ako sa nanay ko. One time, kasama ko friend ko, habang nanonood kami ng sine at nakataas pa yung paa namin, dumating yung nanay ko nag-fa-flash light [laughs], nahuli ako. From then on, binawal na ako.

Q: Tell us how you came into producing movies.

TG: I'm a graduate of speech and drama from UP Diliman. So, in college, there was something about filmmaking and drama and stage, which I liked. But I ended up in an advertising agency, wherein I used to produce and write commercials, and then, became creative director. When I resigned, I put up my own production company but doing commercials. But when Viva started in 1983, because one of my earlier talents was a 15-year-old named Sharon Cuneta for Lem-o-Lime (a soda drink), I was asked to join as somebody who would conceptualize some stories and cut the trailers. That was how I started. But that was just a sideline to me. I was working at the agency by day, then at night, I would work at Viva, until I quit and concentrated on my own business and grew it. And when we had the funds, we started producing films in 2003.

Q: How does it feel to be dubbed a "maverick" for producing movies that are pushing boundaries?

TG: It's okay. I guess it's a compliment. It's basically because our movies are driven by story. Actually people say, but you work with the big stars. But then, we really start with the story. Like for example a writer from Unitel wrote "Inang Yaya" and when we were talking, I told her I see someone in the role, somebody like Maricel Soriano. It turned out to be a dream come true, di niya akalain it would happen. She was ready to have it done indie-style with very low budget and all.

Q: Interestingly, Maricel is not only starring in "Inang Yaya," but also co-producing it. How were you able to convince two of the country's biggest stars-Sharon Cuneta for "La Visa Loca" and now Maricel-to co-produce your movies?

TG: We just developed the story and put it all together first, and since we are an independent company, sometimes we ask the actors if they could join us, iba kasi pag kasama sila. So, I sent them the story, or script, kasi kahit na ma-convince mo sila sa theory, pero hindi naman nila magugustuhan ang script, wala pa rin kayong mapag-uusapan. Also, I think we've gotten a reputation after working with the actors that we're very professional, and we mean what we say since we're not really showbiz people. What I really do is that I don't discuss anything, any business at all, and instead, I send them the story. Once they read it, and liked it, it would be easier to talk. I don't do the usual na mag-uusap muna kayo ng business, we don't do that.

Q: Among Unitel's movies, can you name a personal favorite?

TG: They're all my favorites, but my top choices would have to be "Inang Yaya" and "Crying Ladies" because they are so heartwarming. "Inang Yaya" especially is really for the whole family.

Q: What are your frustrations about the movie industry?

TG: I wish we had some financing. I wish we had something like in abroad where there are funding, or a source of funding, not from the government, but from other individuals who are encouraged to finance. In the states, not one single individual or company would fund the film; there's usually a group of people who would fund a project.

Q: A lot from the entertainment biz are pronouncing that the Philippine movie industry is dying-do you share this observation?

TG: It has suffered, yes, but it's the same all over the world. Like, for example in other countries like the America, the number of feature films have also contracted, but then, there are more films being done that's going straight to television and DVD. Unfortunately in the Philippines, films have contracted a lot, unlike in some Asian countries like Korea and Thailand, na lumalakas, which also because of their strong government support, particularly Korea. Same thing with Malaysia and Singapore.

Q: If a movie doesn't click despite a very good story, who's to blame?

TG: It means the people didn't find the film interesting and entertaining. Film is really an entertainment medium; you cannot break that up or turn it around. You will have to find a film that you think will be entertaining to people because they go out, they pay, spend three to four hours a day to be entertained.

It also has to do with timing. You could have tried your best to make a good film, a good story, tried to make everything right, but then you've not shown it on the right time. There is also need to make a good marketing distribution.

Q: You've also distributed documentaries. Do you think the Pinoy movie-going public is warming up to this medium?

TG: No. But then again, maybe we just haven't come up with a very compelling documentary, like if somebody shot a documentary on boxing or Manny Pacquiao and showed it at the right time. If you make a documentary, it should be interesting. I distributed the documentary "Imelda" and it was very, very successful. So, I guess you just have to pick the right project at the right time.

Q: What projects can we now look forward to from Unitel?

TG: We are developing a couple of supernatural stories. They're very different and very compelling, and very good, I think, if developed into screenplays.

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