The making of "Boy/Dong"

CEBU, Philippines – SineBuano, Cebu’s in dependent filmmaking scene, could not wait for the second half of this year to work on its first film collaboration with Ryan Christopher Zarra of Tampa, Florida. Recently held was the rehearsal, shoot, and documentation of the making of “Dong” (with English working title “Boy” for release in Europe and America) under the direction of Zarra, a film student at the International Academy of Film and Television in Lapu-Lapu City.

Zarra met the cast of “Boy/Dong” at IAFT (Bigfoot Entertainment) for the reading of the script he furnished, revised by SineBuano creative director Denis Judilla and another aspiring screenwriter Anna Lyn Pepito.

Picked to play the role of Boy/Dong was 14-year-old Jan Rey Ramos of Argao who with his small frame passed for the 10-year-old lead character. His real-life brother, Earl Alistaire Ramos, acted as Boy/Dong’s bosom buddy, Ricky.

This writer played Boy/Dong’s mother Inday Marie; while SYS Printing Press art director Allan Layaguen acted as “meth-dependent” Uncle Chubbs, the brother of Marie; Cebu Blogging Society member Clarence Mongado and Jorich Ponio served as the “tambays” of Labogon, Mandaue City which was the primary shoot location; and Cierlito Tabay was the “halo-halo” vendor. The cast members may have experienced a “silver screen” acting debut, but weren’t exactly strangers to acting with theater as the breeding ground. Other SineBuano members like Jose Mari Robert Gonzalez, Frank Calmita, Jurly “Jomark” Maloloy-on, Jr., Francili Joy Manjares, Cheryline Sia, Jose Luis Gatchalian, Anna Clarice Ragay, Marlon Bayucot, and Sheena Esa Calansingin got involved in the documentation of the “making” of the said short film and the rest of the “dirty work” behind the camera (that included, literally, the general cleanup of the major location). Pepito worked too on script supervision.

Zarra, during the reading, emphasized that this digital film project is seen to last from 10-20 minutes only, with actually no developments on the characters. “If you’ve noticed, the characters here are static because I just would like to present them the way they are. It doesn’t have to follow the formula wherein there should be a definite beginning, middle and end part; or that viewers would have a good feel of the feature and go home living parts of the movie in their own lives as how most Pinoy movie viewers would react to film features.”

The reading was followed by a breakdown of each character, with instructions on delivery, performance and even appropriate wardrobe.

Boy/Dong is presented here as the normal, happy child despite living in Mandaue’s “ghetto,” immersed in third-world realities. “I think Boy or Dong is culturally relevant because aside from being shot here, I tried to encapsulate Filipino living,” Zarra said.

“The thing with most Western students when they come and do a student piece about the Philippines is that they focus too much on the despair and the environment of life here. They only show one side of humanity and their own outlook on life here when inhabitants themselves are far from melancholic about their personal lives,” he added. “That’s what I really find fascinating about the Philippines. Although it has its fair share of problems, the people are happy and content with where they are in life and take everything with a smile.”

The film is also seen to demonstrate the programs of IAFT, Asia’s premier film school, which provides students solid foundation in filmmaking. Its well-rounded curriculum helps translate filmmaking theories into short features; offers hands-on experience, mentorship from world-renowned industry professionals, and opportunities to use state-of-the-art facilities; and assures a range of filmmaking proficiencies—from production design, music video production, guerilla filmmaking, documentary production, directing, to animation.

The project would also showcase the “passion for the seventh art” of the SineBuano cast and crew who see moviemaking as a means of touching base with our Bisdak spirit. We may be at a loss when it comes to our identity as a people, but we make sure the young and the not-so-young mix well just like the potpourri of our influences—Hispanic, Chinese, American, and Malay; that we are attuned to simple man’s logic when dealing with the trying times; that we are buoyed up by humor and the ability to sing our hearts out amid crises.

“‘Dong,’ I believe should be watched without any intentions. I rather have people perceive it to be, whatever they may perceive it to be at that time. That way it’s more real, more alive. I think cinema should tie in to your personal collective human experience, so I don’t really think it should be watched in a certain way more than another,” Zarra pointed out.

“I don’t want to tell anyone how they should watch ‘Boy/Dong’ because it’s a different experience for every person. That’s one thing I’ve always hated about cinema—when movies try to ‘teach you a lesson’ rather than letting yourself come up with your own perception of the film. I’m all for free thinking.”

The making of “Boy/Dong” will soon be uploaded on www.sinebuano.com. We are open to constructive criticisms for further improvements.