Jeffrey Jeturian: Brock a heir apparent

Although he has only seven entries in his filmography as a director, Jeffrey Jeturian is already considered one of the most important Filipino filmmakers of his time, with his works like Pila Balde (Fetch A Pale of Water), Tuhog (Larger Than Life) and Kubrador (Bet Collector) often compared to the masterpieces of the great Lino Brocka when screened at various international film festivals.

“Given my seven films, there’s not one film I regretted doing and that’s one thing I’m proud to say,” Jeffrey said in an interview at the Filipino Reporter editorial office a day after Bet Collector opened the week-long Global Lens 2008 Film Festival at the Museum of Modern Art (MoMA) in Manhattan on Jan. 10.

”But there is only one Lino Brocka and I hope I’ll be recognized for my own style and for my own body of work,” he added. “I don’t want people to accuse me of riding on anyone’s reputation or fame.”

Working his way up in films as a production assistant, script continuity writer, art director, production designer and assistant director over a 15-year span, Jeffrey began his full directorial career in 1998 via the so called pito-pito film Sana Pag Ibig Na (Enter Love), his first critically-acclaimed movie that gave Nida Blanca a Best Actress win and several nominations to its cast and crew. (Jeffrey said pito-pito, or movies made in seven days for a low budget, paved the way for Filipino independent filmmakers.)

In a tete-a-tete, the Manila-born, UP-educated director talks about his rise from the ranks in the film industry, his insights why Oscar will remain elusive to Philippine cinema, and why he’s dying to direct Vilma Santos.

What’s next after Kubrador?

I’m concentrating now mostly on TV. I’m doing a soap titled The Wedding (with Anne Curtis, Zanjoe Marudo and Derek Ramsay). For my next film, Bing (screenwriter Armando Lao) is finishing a script (ready by February) about a family at a wake. Bing wants to experiment and this time he wants to do something poetic, unlike Kubrador which is real time.

When you do a movie, do you think of the awards or the box-office return?

I don’t really think about awards or profit. Kung dumating, dumating. My focus is how to do justice to the script so as not to fail the potential of the material.

But you also have to make a living?

That’s why I have TV. TV is regular work. That’s my bread and butter. With films, I’m being careful because I want my body of work that I can be proud of and happy ako sa ginagawa ko.

Do you have a ritual when you start a project?

I pray for guidance. My assistant and I would drop by a church, usually in Claret (Church in Quezon City) to pray.

You’re among the very few people who can claim to be happy with what they’re doing.

That’s why I consider myself blessed because not many people do what they really want to do and they don’t do it out of necessity.

I heard you almost didn’t go into filmmaking.

(Laughs) I was taking architecture at UP but on my fifth year, I shifted in a panic to broadcast communications because I can’t imagine myself on the drafting board. I was thinking I’d end up as a mediocre architect all my life. True enough after I shifted, I flourished and I got the respect of my classmates and teachers. One of my teachers (Lou Tuazon) even predicted I will become a director because she said I was a sensitive soul.

Were your parents supportive of your decision?

Dun ako very thankful because my parents always supported what I wanted and they always trusted me. Even when I shifted course, they never scolded me with, ‘Naku sayang naman ang nagastos namin sa architecture mo.’ My only regret was when I became a director, my father was already gone. (Jeffrey’s late father was a banker and his mom was an accountant.)

Who are the Filipino actors you want to direct?

Vilma (Santos).

Why her?

Kasi Vilmanian ako (laughs). But don’t print it, baka magalit sa akin ang Noranians (laughs).   

So why Vilma?

Eh kasi nga Vilmanian ako! (laughs).

Seriously, as an actress, she’s sincere and I want to see her in a different role. I also want to direct Maricel (Soriano), Sharon (Cuneta) and Judy Ann (Santos).

Among male actors?

Piolo (Pascual). Among the young breed of actors, I think he’s one of the best. And like what Gina Pareño thinks, John Lloyd (Cruz) is also very good. Gina said he’s a Christopher de Leon in the making.

Of Filipino filmmakers, who do you look up to?

Siyempre si Lino Brocka. (Brocka died in a car accident in May 1991).

Why Brocka?

Kasi for me, the greatest Filipino film that I’ve seen is Maynila: Sa Mga Kuko ng Liwanag. (The 1975 film stars Bembol Roco and Hilda Koronel). I was in high school when I saw the movie and that’s when I realized how powerful a film is as a medium. That’s also when I began to dream of becoming a director someday.

Have you met Brocka?

Yeah, a few times. I was able to visit his set (Maging Akin Ka Lamang). But he didn’t know me. I just tagged along with friends from UP who were involved in some of his films. I just went to observe.

Among Hollywood filmmakers?

I prefer Iranian and Asian directors like Zhang Yimou and Ang Lee. I also like Alfonso Cuaron (Mexico).

I heard you were already a movie aficionado since you were a kid?

Yes, since I was five. I watched Tagalog movies on TV like Bahaghari, Sinag-Tala, the black and white movies of Sampaguita Pictures. Later, I watched movies at Life Theater, Globe. Kaya kilala ko na sila Gina Pareño. Pero Susan Roces fan ako talaga.

How much budget do you think a Filipino filmmaker will need to produce an Oscar-caliber film.

It’s not in the budget, it’s in the material — if the material is good, innovative and novel.

Can you name a Filipino movie that is worthy of an Oscar?

Maynila: Sa Mga Kuko Ng Liwanag. If it was submitted during its time, it could have been noticed by the Academy jurors.

I’m sure you also dream of getting an Oscar someday?   

Parang mahirap masyado ang Oscar. I’ll go for Palme d’Or (Golden Palm, the highest prize given to a competing film at the Cannes Film Festival).

Do you believe you’ll get to see in your lifetime a Filipino film receiving an Oscar Best Foreign Film nomination? Or a Filipino Best Actress or Best Actor?

If we’re talking about talents, I think noon pa tayo dapat nakalusot for nomination whether for Best Acting or Best Film. But you have to remember that Oscar is also politics. You need to have a lot of money to campaign, a lot of back up. It’s not just about excellence. Many of the big films are backed by big-time movie studios and many people are involved in one movie. So what’s the chance of a small film to beat all these big films? I think just to be able to compete is already an achievement. But who knows, someday?