File it!

When the early years of the millennium rolled in and we had an influx of independently produced films — or what we call the indies — the movie business and even the movie-going public thought that was simply a passing phase.

However, with the major film studios churning out less and less movies, the indies continue to rule. Of course, nobody makes money among the independent filmmakers today. And the very few who manage to break even from their outputs should forget about getting rich — unless they enlist with the Philippine Military Academy (PMA) and become top-rank officials later.

With the problem of piracy, taxes and the poor economy of this country, I don’t see a booming film business soon. It’s now the era of TV, which remains the cheapest form of entertainment.

I have to admit that I initially looked at the indie filmmakers with suspicion. But with them soldiering on, I salute them for their effort to provide Pinoy cineastes with film products in spite of the fact that the movie attendance remains low. At least, they are there to keep the flame burning while the industry waits for better times. Too bad, I am no psychic and I can’t see the future.

Fortunately, there is Noel Ferrer, who is a man of vision. Noel maintains a low profile and is hardly visible to the public (he seems happy to just stay behind the scene). But every showbiz insider knows him to be a master trouble-shooter to any problem related to the business.

A philosophy graduate of the Ateneo de Manila University where he also earned MA units in communication arts, Noel initially tried doing a balancing act between academe (lecturing at both Ateneo and UP) and TV (at ABS-CBN). I doubt, however, if he can still do that because the man no longer sleeps.

From Channel 2, he also worked for both the film and TV arms of GMA Network before getting absorbed by TV5 where he was one of the biggest moving forces during the station’s grand launch last year.

Noel also writes scripts for special events (like the Gawad Urian) and had produced some very successful indie films: Daybreak (a box-office hit, a rare feat for an indie movie), Imoral, Astig, Magdamag and the critically-acclaimed Adela. I think he had tried his hand at everything except running a pet-grooming salon. Or maybe he had done that, too, but I never found out.

His most recent lofty project (and you will agree with me as you read this column) is publishing a book called Philippine New Wave. Edited by Khavn dela Cruz (with introduction by no less than national artist for literature and Manunuri Bienvenido Lumbera), the book contains articles written by indie filmmakers.

Every piece begins with the filmmaker’s profile and proceeds with an article written by the director himself. And so we get introduced to the likes of Mes de Guzman, whose most outstanding work is Ang Daan Patungong Kalimugtong. Through this book, De Guzman also gets to share his thoughts with the readers.

This book also made me know more about another filmmaker, Rico Maria Ilarde. Rico and I may rarely see each other, but I consider him a friend, except that we never spent that much time together for me to do a background check on him. (He is the son of the eminent broadcaster and former senator Eddie Ilarde.) Thanks to Philippine New Wave, I got to know him better without me coming out like a snoop.

There are also pieces on Jeffrey Jeturian and Brillante Mendoza, two directors I already interviewed after they had their successful launching films. But I never got to keep a copy of the articles I wrote on them and I am not sure if anyone bothered to file these — I didn’t. But this new book had officially recorded their achievements — along with those of the other indie filmmakers.

This is the reason why I say that publishing Philippine New Wave is a lofty project. In this country where there is no sense of archiving (although I hear that will be the focus of new Film Development Council of the Philippines head Briccio Santos), efforts like compiling info about filmmakers is much appreciated.

Bibsy Carballo already came up with a book on mainstream filmmakers with her Filipino Directors Up Close and that is very helpful to anyone doing research on local films. Philippine New Wave, on the other hand, focuses on the less publicized indie filmmakers and every film student should read that (it’s available at the CCP gift shop, La Solidaridad and the Popular Bookstore in Tomas Morato).

Why is it important to have a record of Filipino directors and their list of works? I can give you more substantial reasons, but let’s make it simple: So that the film students today don’t mistake Olive La Torre for a girl! He was one of the more popular directors in the past and definitely male — he fathered Sylvia La Torre.

Having a book like Philippine New Wave made available to anyone interested in film is definitely welcome news. But how I wish there were more indie filmmakers featured in it (less than 20). Of course, I do understand that not everyone can be included in the book because this is a privately funded project (let’s just be thankful we have one) and printing cost is expensive. It definitely begs for a Volume 2 and even 3 or 4.

Just to prove my point, Noel is now in the process of producing and looking for co-investors/sponsors/financiers for a promising new indie project that had been accepted as an entry to the New Breed Category of Cinemalaya 2011. The title is Ligo na U, Lapit na Me, based on the book written by Eros Atalia. The script is by Gerry Gracio and to be directed by Erick Salud.

Erick was my very young associate producer when I was hosting Showbiz Lingo. This is his first directorial job and I have faith in him. I’m sure he will be featured in a future edition of Philippine New Wave. However, with a new indie filmmaker being born every other day, the line is long. Maybe he has to wait for Volume 12.

Let’s just take comfort in the fact that we have Noel Ferrer around to keep tab on them. Each one will be properly documented and unless their works turn out to be so insignificant, they will not be forgotten.

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This just in: Last Tuesday, the Sid Lucero/Cogie Domingo indie movie Muli that Noel co-produced had been invited to compete as the official Philippine representative to the 26th Torino GLBT Film Festival to be held April 28 to May 4.