BANGGAIN MO ANG KAHON!

RICKY LEE
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 Ang Pagbangga sa Kahon

D
uring the pandemic last year, ito ‘yong common
experience nating lahat sa pandemic eh. During the
pandemic last year, nagkaroon ako ng anxiety attacks,
panic attacks, which I think karamihan sa atin nakaranas. Nagka
roon ako ng feeling na parang nakalutang ako. Hindi ko alam kung
nasaan ako.

And then may feeling ng dread and fear anxiety, doubts and so on.

And when I started looking at the situation and tried to analyze it,
I realized na there was one reason or one factor pala, that’s why it
happened.

Nawalan ng structure ‘yong buhay ko, nawalan ng structure ‘yong

daily life ko, na break ‘yong structure ko, nasira ‘yong routine ko.
Dati sanay akong lumalabas araw araw. Paggising, pag etcetera,
lalabas na. Walang araw na hindi ako lumalabas.
2 RICKY LEE

• • •

It became a routine ‘yong paglabas ko araw araw. Sanay ako na

nakikipagkita sa mga kaibigan on a certain day. Maybe Fridays and
Saturdays, sanay ako na may ganito. So mayroon akong routine.

And mayroon akong sense of purpose, which is part of structuring a

story. Mayroon akong pinupuntahan…

Ah, ito ‘yon, may meeting, may ganito, may script, magshu shoot,
matatapos mag shoot, ‘yong script mapapanood, magre react ang
mga tao. So mayroon siyang steps na malinaw na structure.

So that’s what I realized.

Sinira ng pandemic ‘yong structure ng buhay ko. And to be more

specific, ‘yong structure ng daily life ko. And so to be able to
survive, I had to reclaim the structure of my life and the structure
of daily life.

So I started from there.

So every single day, I stuck to my routine. And then I started

feeling na may certain comfort and confidence akong naramdaman,
kasi mayroon akong hinahawakan na routine.
• • •
 BANGGAIN MO ANG KAHON! 3

Hindi ako nawawala, “Nasaan na ‘to papunta? Ano na mangyayari?”

Alam ko ang mangyayari kasi naka routine ako.Ikalawa, nag set ako
ng small victory… small goals and small victories.

Ah, matatapos ako ng 10 scenes today. Ah, by the end of the week,
makakatapos ng ganito. Ah, pagnatapos ko ‘to, may reward ako.

So slowly, slowly, dahil nagkakaroon ako ng mga small victories,

nagkakaroon ako ng sense of purpose na to a great extent nawala
noong pandemic.

Parang ano’ng silbi nito lahat? sulat ako ng sulat ng script, hindi
naman mashu shoot. Ano’ng silbi ng buhay natin? Any day puwede
kang ma infect at mamatay. Ano’ng silbi ng nakikipag connect ako
sa mga kaibigan? Tomorrow baka hindi ko na siya makonektahan o
bawal na o may sakit na, kung namatay na. so suddenly, nawala ‘yong
sense of purpose. Slowly, binalik ko ‘yong sense of purpose sa
maliliit na bagay.

Small victories, 10 scenes a day. Inaayos ko ‘yong files ko sa work

shop inthree days. Ginawa kong may control ako sa buhay ko. At
ang control ay nangyayari to a great extent when you put structure
to it.

Whether it’s a story or your life. Slowly, nako control mo siya kasi
binibigyan mo siya ng structure ito ‘yong mauna, ito ‘yong
ikalawa… At binibigyan mo siya ng sense of purpose, which all
stories have.
• • •
4 RICKY LEE

Saan papunta itong kuwentong ito? Ano’ng mangyayari? Mapapaibig

ba? Magkikita ba sila o hindi? Magkokonekta ba o hindi? May
purpose na pinupuntahan. Hinihintay natin sa end. I tried to
achieve that by putting a structure. So structure anyway saved me
during the pandemic.

And it’s what is important in every story the structure. And if you
look around, and then we see na na structure ang buhay natin
araw araw. Pinanganak tayo at mamamatay tayo.

That’s structure. Has a beginning and an ending.

Gigising tayo sa umaga. Sisikat ang araw, and then lulubog siya sa
gabi. Kinaumagahan sisikat uli, lulubog ulit; sisikat uli, lulubog ulit.
So may structure.

Kahit sa palibot natin. Pag may tinanim, tutubo siya. Uulan, then
matutuyo ‘yong ulan, and so on. Then we see that mayroong mga
patterns ang structure. Things keep repeating… things keep repeat
ing. Paulit ulit.

So one element ng structure is the repetition. But on the other hand,

we will get bored at makakatulog tayo at baka wala nang mangyari sa
buhay natin if it’s all repetition. So we want a break in the pattern. So
structure is both repetition, paulit ulit ng patterns and then break.

So, structure means patterns of repetition and then the break, and
when we watch a movie or read a story, we are being sooth by the
 BANGGAIN MO ANG KAHON! 5

patterns to prepare us for the break that interests us as casts. So,

ano ang mangyayari?

So, when we watch a film, we are not being told information. It is

not a matter of telling us information. When we listen to stories,
when we read stories, it is not a matter of being told. It is a matter
of going through an experience.

We watch a film because we want to go thru the experience. It is

not a matter of being told na ganito kahirap ang buhay, ganito…
That is not the point. The pont is you are experiencing thru the
characters.

So, every story, every film is an experience. It should be experien

tial. It should not be a telling. It should be experiential, and experi
ence, we get it e ectively because of the structure.

Usually we have characters na either mayroon silang agency. By

agency ibig nating sabihin may kapangyarihan ‘yong character mo
na patakbuhin ‘yong buhay niya, baguhin ang buhay niya. Hindi lang
siya react lang ng react na passive.

Karamihan ng mga pelikulang napapanood mo sabi mo, Asian

movies lalo na, passive ‘yong character ng babae. Ang lalaki ang
active. Ang lalaki ang nag papatakbo ng kwento.

Ang nag papatakbo ng buhay, at ng mundo. ‘Yong mga bavae either

dekorasyon lang or object lang sila,sex object lang or entertainer
6 RICKY LEE

para mas maging entertaining ‘yong pelikula o mas sexy pero wala
silang agency.

Wala silang power.

Ngayon, ang agency is connected with the structure. Kung ang bida
mo ang nagpapatakbo ng kwento, siya rin ang nag ii structure ng
pelikula.

So, kung titignan ninyo ngayon ang “Probinsyano” na active na active

si Coco Martin, siya rin ang nag papatakbo ng structure ng pelikula
kasi siya rin ang humaharap sa problema. Siya ang makakakita sa
problema, siya ang mag so solve ng problema. So, siya ang nag ii
structure ng buhay niya.

Kagaya nang nangyari sa akin kanina, sinabi ko sa inyo during the

pandemic, nawalan ako ng agency. Tinanggal noong pandemic ‘yong
agency ko. “Sandali, ano na ang mangyayari? Wala akong control sa mga
pelikula, hindi nag sho shooting, walang control sa ganito ganito. Aalis,
danger.”

Pinilit kong magkaroon ng agency. Ako ang mag hahanap ng goals

ko. Magiging active ako. So, magkakonekta ang structure at ang
protagonist o ‘yong character.

The moment that you think of a character, you put a place in a

context.no man exist in an island or in a vacuum. Every single char
acter that you think of, you place him in a place.
• • •
 BANGGAIN MO ANG KAHON! 7

Ako hindi ko ma imagine ‘yong character ko until I imagine the

place. Kung saan siya nag ta trabaho, kung saan siya nakatira,
Project 4 type? Magallanes type na lugar? Morato? Anong klaseng
‘yong lugar niya? Hanggang hindi ko na imagine ‘yong lugar, may
sense of place, hindi ko mapatakbo ‘yong kwento.

So, when I did Amapola sa 65 na Kabanata, Isang Baklang

Manananggal na dapat nandito sa Pilipinas, I had to keep going on
to Morato kasi sa Morato nakatira itong si Amapola, at sa Morato
binuo ‘yong mga progressive naman na mananaggal noong
panaaahon ng Kastila na nag re rebelde at na massacre.

So, I had to keep on going back to Morato. By going back to

Morato and walking around Morato and looking at the street signs
et cetera and pretending I am Amapola or ‘yong time traveler
niyang ancestor, at saka ko nare realize na totoo ‘yong characters
nila at saka nagkakaroon ng agency ‘yong characters nila sa buhay
nila kasi may lugar. Pag walang lugar, lulutang.

So, mahalaga ‘yong lugar. Pwedeng nauna yong character, kailangan

i lugar ko na siya. Pwedeng nauna ‘yong lugar, at saka ako nag hanap
nang interesting na character but whatever the case, they are
connected eventually.

Ah, narito pala siya.

Paano kaya lilinaw ang sinasabing ‘agency’?

• • •
8 RICKY LEE

May mga jokes lagi tayo na, usually jokes natin ‘yong tatlong nasyon.
Ang baho baho doon sa kweba hindi mapalabas ‘yong kambing.
Paano mapapalabas? Contest. Lagi ang napapasok ay ibang nasyon,
German. Another ano, French. Laging ikatlong papasok ay ‘yong
Pilipino. Hindi natin ginagawang nauuna ‘yong Pilipino. That is
structure.

Pag sinasabi nating may mga corrupt na politicians na napunta sa

impyerno, papunta tayo sa pinaka corrupt, in that, OK, hindi
pwede mag simula sa pinaka corrupt, that is structure.

Why is it a structure? Because we are experiencing the escalation,

the getting worse, or the getting better.

Step by step or the experiencing. Hindi siya pantay pantay. We are

experiencing.

Hinanap ko lang ang Narrative boxes, and genre.

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10 RICKY LEE

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Lesson 2: Iba’t Ibang Sarili

Lesson 3: Tao sa Loob at Tao sa Labas
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 About the Author

R ICKY L EE

2021 National Artist for Cinema Nominee and the most awarded
scriptwriter in the Philippines.

Ricky Lee has written more than 180 produced film scripts, earning
him more than 80 trophies from award giving bodies, including life
achievement awards from prestigious organizations such as the
Cinemanila International Film Festival, the Gawad Urian, the UP
Gawad Plaridel, the Gawad CCP, and more.
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 BANGGAIN MO ANG KAHON! 13

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