SUPREME: ASK THE EXPERTS: Pepe Diokno answers your filmmaking questions

MANILA, Philippines - Summer has come, boys and girls! And with school over, we’re sure many of you have plans to enroll in some cool summer classes — perhaps work on personal projects — or if you’ve just graduated, are mulling what you’re going to do for the rest of your life.

So, we at Supreme are opening up a boot camp of sorts by getting you in touch with our country’s top professionals. No fees involved. All you have to do is tweet us your questions at http://www.twitter.com/philstarsupreme and every week, an expert will answer you right on this page!

Today, we begin our program with award-winning filmmaker Pepe Diokno. Pepe is the director of Engkwentro, which won top prizes at the Venice Film Festival in September 2009. After receiving the award at just 22 years old, Pepe was named one of the most exceptional emerging filmmakers in the world in a book published by Phaidon Press in New York.

Here, Pepe Diokno takes your questions about filmmaking.

* * *

Don’t you wish sometimes you didn’t win awards on your debut film, so there’s not much pressure to level or exceed expectations on your second film?

PEPE DIOKNO: No, not entirely. Recognition has opened doors for me that have made my second film possible. So I’m eternally grateful for what has come my way.

As for pressure, I did feel it for a while. But then I realized that I shouldn’t make films for the sake of making films. I should make films only because I have a story in my heart that I want to tell.

When you realize that, you stop thinking about how you’re going to top your previous films. You only think about how you’re going to be able to execute the story you have. And that’s a good kind of pressure.

For me, success has never been about awards. I find success when I’m able to make and finish a film according to my vision. In the end, that’s all that matters.

* * *

Would you recommend the University of the Philippines Film course to aspiring filmmakers? No biases, please. (Pepe went to UP Film - Ed.)

A good film education is not about knowing how to operate a camera, or what elements constitute a film. Instead, it involves a well-rounded curriculum, from languages to sciences to sociology. And that’s what UP has. I think the general subjects and the electives are the best part of the curriculum. And UP has the best, most passionate teachers. It’s amazing.

So if you’re in high school, definitely: apply at UP Film. If you get in, great. There is no better way you can spend four years and get an A-grade degree. Getting a degree is important.

But you know, if you don’t get in — or if you’re past college — don’t sweat it. The best films don’t start in the brain, but in the heart. Just go out and just make your movie. And through that process, you’ll pick up the life lessons you would’ve taken four years to learn in a classroom.

* * *

Hi Pepe, last year, I did a story concept for a script that I want to write. I’m not showing it to anyone, but I’ve been declaring my intention to make a movie after I graduate college. Is it okay if you can check if the concept is okay? I mean it’s not original, but it’s something I’ve been wanting to do.

That’s great to hear! Unfortunately, I can’t accept concepts because there are intellectual property issues involved. But if you’ve found that one story that you want to tell — a story that you think about day and night; that keeps you up until you’re able to shoot it, then you’ve already found something that eludes many filmmakers.

My advice is to have as many friends of yours read your concept. Try your teachers, too. Give it to people you trust — especially those who can be objective with you — and be open to all comments, both negative and positive. Be ready to be wrong. Also, keep an eye out because there are so many things out there in the real world that can help you tell your story.

* * *

As part of your research, do you watch other films or read other scripts? I was told to watch a lot of films and read loads of scripts to polish my script. How is the experience like?

Don’t. Please don’t. I think the worst thing one can do is watch films as if they were going on a fishing expedition, looking for things they can use in their own scripts. You risk your film becoming derivative — a collection of elements you’ve seen in other movies. And I don’t think that will do anything for your soul.

The best way to build a script is to go out and do real-world research. Talk to people, immerse yourself. See things with your own eyes. There is no substitute for that.

When it comes to polishing a script, the only thing you need to think about is your message. What is your material saying? What is that one statement you’re trying to impart with your movie?

When you determine this, read your script again and you’ll see there are parts where you digressed, parts where you rambled, parts that do not help you build your message. Take these parts out, because everything in your script must be in the service of your one message.

But going back to your question, it is true that you may learn a few things when you watch other movies. Especially when you’re stuck; when you have a structural problem, and you need inspiration for a device you can use to solve it.

However, before you do this, make sure you know your message in and out. That way, you’re able to transform whatever elements you pick up into something that serves you, rather than you being enslaved by them. You minimize the risk of losing your originality.

The point is, you have a unique voice. You really do. Everyone does. All you have to do is listen to what’s inside of you already, and let it out.