Online Film Lab for Regional Stories

Angeli Bayani : Working with Directors

April 18, 2020 | 8:30 PM

Miss Bayani’s Profile

100+ Credits as Actress for Theatre, TV and Film
Angel in America (2019)
Care Divas (2011)
Worked with UP Repertory, PETA & many theatrical productions
Ang Huling Birhen sa Lupa (2003)
Melancholia (2008)
Pink Halo-Halo (2010)
Norte, Hangganan ng Kasaysayan (2013)
The Guerrilla is a Poet (2013)
Ned’s Project (2016)
Maestra (2017)
Bagahe (2017)
Eerie (2018)
Purok 7 (2013)
Worked with different film directors and film production outfits
Nagsimula sa Puso (2009)
Angelito : Batang Ama (2011)
Bayan Ko (2013)
Karelasyon (2015)
Call me Tita (2019)
Worked under TV station for different TV Series
AWARDS
Best Actress
CineFilipino 2016 (Ned’s Project)
Cinemalaya 2017 (Bagahe)
Cinemanila IFF (Melancholia)
Gawad Urian 2014 (Norte- Hangganan ng Kasaysayan)
PDI Award of Distinction Indie Bravo
2008 Venice Horizon Award- Melancholia
2007 Venice Horizons Award- Special Mention-
Kagadanan sa Bawaan ning mga Engkanto
Acting Coach

Question and Answer Portion

1. How did you get involve in acting?
Started as Production Manager and Stage Manager- in UP Repertory; Certificate in
Acting in College of Arts and Letters in University of the Philippines- Diliman. I was
working in Marketing.

Tried to join in Tanghalang Pilipino as Production Manager/ Stage Manager but they
weren’t open for hiring. I was called for auditions- I thought PM/SM’s should know how
to act. I was enrolled in Tanghalang Pilipino and still didn’t know that she got a slot in
Tanghalan’s Actors Company.

She realized that she was hired in a lead role and was given a scholarship from
Tanghalang Pilipino. She accepted the turnout of events and eventually became an
actress. Lav Diaz was one of the ‘friends’ who opened her way to film.

She was hired to teach in Tanghalang Pilipino for a Summer Theatre Acting Workshop.
From 50 pesos allowance to 500 pesos as Chorus (Theatre) to 5,000 pesos as Teacher
in Tanghalan Pilipino. She was fired in TP due to conflict in schedule for her first
Cinemalaya Film.

2nd year of Cinemalaya 2006: she accepted offers for films.

2. What are the Differences in Acting for Theatre, TV, & Film?
I speak for myself- there are no differences in acting for theatre, TV and Film. I have
performed in CCP, other theatrical performances- I think I didn’t have major adjustments
for theatre and film.

For TV- for Direk Andoy’s: I adjusted for the multiple camera setups. I have to learn
about ‘favoring the camera’. There should’ve been workshops for Acting for TV before.
TV wants to see the emotions- kung galit yung character dapat kita talagang galit ang
character mo. I try not to rehearse them on my own- understand the lines and
relationships with other actors. You must consider the instructions with the TV crew and
co-actors because in can refine my delivery.
Don’t be afraid to make mistakes in acting- in theatre and in general. It is where you can
learn. I learned early on that you must create your character internalization through the
lines (dialogue) and your guts to act it out. Hindi naman tayo magaling sa start.

Figure out what your character’s objective- you will know how to perform your character
and you know what to give to your fellow actors.

Insights (Noel Escondo): In theatre- there are rehearsals for months before acting out
infront of an audience.

In film- if you can get the script, try to get them and read them. Read them bilang isang
taga-labas (as an audience). Then I try to enter into the character. I do ‘intense’ script
analysis: learn the objectives of character and the scene. Sometimes- I easily get into
the character because I see myself with the character. If I get the character- I challenge
myself to make the character more interesting.

Six Characters Profile:

a. Physical
b. Biological
c. Psychological
d. Moral
e. Play Qualities
f. Personalities

3. What are your primary considerations in getting into a Film?

Before- I accept all offers. Then I realized it is still me in the film. I cry when I received
messages- because is it worth it to lose my time with my son. The talent fee is
secondary for me.

Sometimes- the character in the story should be truthful and complex. It must be a real
person living in its milieu. Apart from the truth- the film should be honest. But I still
believe that script is still half done- there will still be a director and the director’s vision.

As time goes by- I want to work with friends because I want to be ‘safe’. At the end of
the day- we tell stories and we have chance to lay our truths in creating the story.

For me- I still believe that a good artist should be a good person. Follow your gut. If I
have some feeling about your project, follow your instinct.

4. Do you usually get involved in the creative aspects of the film- aside from
being an Actor?
Most of the time NO- because I believe that the director still holds the vision and
direction of the film. Unless the director asks me- these collaborative director gives
chance to give inputs.
Sometimes, it is frustrating that the actors have no input- it is important that the director
can transcend the scene to motivate the actors. In my experience, sometimes we may
have differences in interpretation and views about the scene. I want to make sure that
we’re on the same page.

Nowadays- I believe that the directors are collaborative.

5. Are there differences with working with directors abroad and Filipino
directors?
The differences rooted with the differences of culture. Foreign directors give some time
to have rehearsals; with the Director and DOP on the rehearsals. Foreign Directors asks
for inputs- to figure out and help bring out the scene. They really want to know what the
actors think about the character- they collaborate with the actors- it made me feel to
have ‘creative freedom’.

The preparations (of key scenes) helped with faster principal photography; from DOP to
lapels. It can ensure that the set is safe. The best way to ensure a good shoot is to have
rehearsals- to forge relationship; rapport.

6. What are your expectations when working with first time Directors (like
students) and Close Friends (established)?
First of all- I say yes to student films. I don’t have expectation for student but safety
(emotional, mental but also physical). I usually ask for locations and information about
the set. It is good to know that we are prepared. Sometimes- I give advice to them if
they ask. I usually don’t give unsolicited advice because it might disrupt their creative
process. I respect them because they are still my directors.

For established (friends)- I usually ask for safety.

7. How can student filmmakers approach you for their film projects?
Some of filmmakers- they can get in touch with me thru email with details (with
Synopsis). I think it’s the most formal way to approach someone to hire in your project.

8. Van: What's your method in acting po?

Yes- there are many acting styles out there- Stella Adler, Meisner, Morris, Chubuck. But
I love doing script analysis. But I found in the internet about Meisner- and I love it.
That’s why I don’t get really prepare for a shoot- because your co-actor has input.

Through Meisner- repetition exercise really helped me. From throwing a statement and
receiving the statement- I became aware of the entire thing around me. It sometimes
put me in the ‘zone’.

Practice Public Solitude (Konstantin Stanislavski)- being aware of the things around
you but appearing that you are alone.
 9. What do you think about regional themes and regional directors?
There is charm and certain flavor- on the line (dialogues) and; may way kayo sa
pagsusulat na iba. Regional filmmakers respect the text. I analyze the script based on
how I could deliver the character.

10. Josh: May mga pagkakataon po ba na hindi nyo gusto yung role na binigay
sa inyo? how do u internalize yung role po?
Yes it happened- again my primary objective is to please the director and serve the text.
If I can’t do it- I ask the director. If the director has given the direction- I have to learn it.

11. Van: How not to be type-casted?

After Ilo-ilo, I was offered many OFW roles (even from student films). If you serve the
text and the story- you will be in the character- to escape from being type casted. Find
the differences of the roles; find the similarities and differences from yourself- before
portraying the characters.

12. Audition tips po, like for example sa cinemalaya you were only given 30
seconds to prove yourself. any tips po
If you have just have 30 seconds to get that role- you really need to go outside the box.
You must do something else; do something different. Ang turo sa amin sa theatre- when
you come to the audition; LOOK THE PART. If you’re daring to be different- come in
costume.

In my experience- auditioning for Damsel in Distressed: I have to come in ‘emo’ mode:

Goth Chick outfit with Gin Bottle- instead of coming in appropriately. Do something that
the people will remember. But still have to make sense!

13. Dexter: Do you have an agent? What's the relationship with your agent
supposed to be like?
Yes I have a manager- the actor should be the boss; the manager should help you in
your career. The actor is the one working- for both of you. Some managers may have
more demands than the actors. Some managers screen the offers and project.

The relationship should be rooted with trust and respect- you may not be friends. You
should be clear with your manager with your goals even your wants. When you lay the
ground rules, there should be no problem.

INSIGHT: Actor is boss: good to remember. I also recall an infamous case: Jojo Veloso.
He basically pimped out the actors in his care. Communicate, lay ground rules, and
develop trust. (Dexter Lira)

14. Rocel: Having worked with professional and student/first time directors po,
ano po nafoforsee niyo sa future ng PH cinema?
I think we have many game changers- since the atmosphere is collaborative. I think
we’re going back to basic in terms of truth- for truth. For all the techniques we learned at
the end of the day we are telling a story. More honest stories to come.
 15. Emmanuel: Question. Si Sheenly magdidirek na. Ikaw ba may balak din. O
ayaw mo?
No- because I think I need to acquire the knowledge to direct. Imagine that a director
sees many thing and practices many things in a shoot. I may not do it now- but if I do it;
will study more.

Playwriting: The Structure of Action by Sam Smiley

Norte | Hangganan ng Kasaysayan (Lav Diaz)

 They think that I’m veteran with Lav Diaz
 I usually ask for Direk Lav’s approval- if the shot
was good or okay
 I have to open again-
 There are changes: in crewlist; co-actors
 I rediscovered that for Lav: Serve the story first.- I
don’t care if I looked stupid in film for as long as I served
the story.
 I must think what my role is in the bigger picture.

Bagahe (Zig Dulay)

 Zig Dulay was my friend and colleague
 It was challenging because it was almost
improvisational
 It was really a collaborative
 Improvisation is great- but set parameters
 Interesting: Long takes (I love long takes- may true
line ka!)
 Zig Dulay: Sabay-sabay tayong nakakadiskubre
ng mga bagay-bagay. haha!
Ilo-Ilo (Anthony Chen)
 It was a great thing
 Working with Koh Jia Ler (non-actor) was
amazing: rawness, truth and discipline. He had to
grow up right away because of the experience.
 Foreign films love to have multiple takes
 Accidentally, I have a Med Kit that time for
Jia Ler.
 Singapore is the location: I am only the
Filipino Actor- I was housed in a condominium
near the airport, which is far away from the
locations. I have to wake up earlier from everyone
else and I have to get home late.

Purok 7 (Carlo Obispo)

 I felt a feeling of family from the crew/ co-
actors
 It was fun because everyone was on the
same page
 It was simple but truthful and honest
 “You know you‟re in the safe hands”
 There are film projects that I don’t need
standby areas; there are films that I need to be
away from other crew members
 After Purok 7; I was looking for the same
experience: I missed it- the feeling of
„community‟
Parting Words
Since we are in the arts- as freelance, some of us decide to have family: we question
ourselves. There was a time that I almost give up, for my son- I realized that at the end
of the day, the best we can do to ourselves is to be true and honest to ourselves. I
believe that my son will not thank me for not continuing my job. I don’t want to be
unhappy that may trickle into my relationships- which I don’t want.

One thing also that I realized- is if you can’t take care of the small thing. I believe that
that if you don’t care of the small thing- the universe may not give you the big things –
never at the expense of dignity.

I know it is not easy- but the beauty of it is it so hard but it so good. Along the way you
inspire people- like being involved with thesis film. It wasn’t just for my son but also for
the people believing and doing filmmaking.

You may start up wanting to be a director, actress or writer- but you may end up
something else. You may not gonna know what may happen to you- but make the first
step to go there. Don’t be in hurry- and don’t compare yourself with the success of
others- be happy for them; be inspired by them, instead. We have our own process to
success.

Find your own truth before finding the truth of others.

Be kind.