On television, he has done some memorable soap operas for GMA 7 and is currently handling the Maricel Soriano drama, Vietnam Rose, for ABS-CBN.
Like Lino Brocka, Joel Lamangan is a multi-media director. Before he joined the movies and television, Brocka first did theater – for PETA in particular. Even at the height of his film career, Brocka still found time to do stage plays – like Larawan, the Pilipino adaptation of A Streetcar Named Desire and Cat on a Hot Tin Roof. A child of theater, Joel – even if he is up to his neck with film and TV projects – still finds time to do stage work. Last year, he mounted the first edition of Penis Talks (the answer to Vagina Monologues).
With the success of Penis Talks 1, producers Manny Valera and Arnold Vegafria are mounting Penis Talks 2 at the Music Museum on Oct. 7, 8, 14, 15, 21, 22 and 28. (For tickets, call (Music Museum) 721-0635/721-6726, (Ticketworld) 891-5610/891-9999, (DMV Entertainment) 374-1361/415-0373.
Below is a one-on-one interview with the director being touted by many as the next Lino Brocka.
Q. You’ve always had great success directing Nora Aunor, Maricel Soriano, and last year, even Vilma Santos. Is it easier for you to direct women than men? (Eddie Garcia of course, won his first Urian in a Joel Lamangan movie – Deathrow.)
A. Yes, most of my films have women as central characters. They are the ones around whom the conflicts of the script revolves. So it’s a great challenge for me directing women because the actresses I have worked with are really good.
But you must remember that most of the men I’ve directed also did a good job as far as acting is concerned. Most of them also won awards or were nominated, like Christopher de Leon, Eddie Garcia, Gary Estrada, and recently, Jay Manalo (for Huling Birhen Sa Lupa, Aishite Imasu, Mano Po 3), Dennis Trillo (Aishite Imasu), and Wendell Ramos (Sabel).
Usually, in my movies, babae ang bida. It just so happened that in my past films, the women are the principal characters. But it does not follow that I don’t treat my male artists the same way I treat or handle my female artists.
Hindi ako nagpapabaya when it comes to my actors. As a director, my work is to treat my actors and actresses equally.
Is it really more difficult to get through the innermost feelings of actors? How do you motivate them?
No, it’s the same. For me, it’s not difficult to get through the feelings of actors. Pareho lang. I motivate my male and female performers the same way.
The important thing is they should really understand my concept and that of the characters they are tackling. They should also understand that the objectives of their characters must be met.
I don’t tell my actors how they should attack their roles. I just let them do what they have to do. Humuhugot lang ako from their past experiences.
Their acting is based on their past experiences. I usually have discussions with my actors regarding their lives. I just guide and instruct them on how I want things done.
You work with actors mostly in Penis Talks 2. Does each of them require a different kind of motivation? Who opened up the fastest? Who took the longest time to open up to you?
The actors I’ve worked with in Penis Talks 1 were the ones who opened up the fastest. Mas madali na silang mag-open up since they already know what I want and my style as a director.
As for the new ones (Polo Ravales, Reggie Curley, RJ Rosales, Rich Vergara), I think they need more time with me and I also need more time with them. Medyo mas mahirap silang mag-open up probably because it’s their first time to work with me. Naggagamayan pa lang kami, especially during the first days of rehearsals. But after several days of rehearsals, things become smooth-sailing with the new actors since we already understand each other. I already know their rhythms, they already know what I want them to do. I work on their weaknesses and I enhance their strengths as actors.
I was told that you get moody and temperamental on the set. At least that’s your reputation. What annoys you most at work?
Tardiness. I hate people who come in late, because I value everybody’s time. I also get annoyed by those who are noisy on my set and people who are insensitive.
What are the problems you’ve encountered in mounting this new edition of Penis Talks?
We have less time to rehearse. This is because the artists have other work on film, TV shows and other stuff they have commitments with. Sometimes, we have a problem with the schedule because we have a big cast.
The Chorus Ricky Lee wrote is new. So we needed more time for it to be rehearsed thoroughly. (To be concluded)