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Monday, November 08, 2004

Lights, Camera And All That Jazz

Director for a day. I held that titular privilege once, megaphone as scepter, folding chair as throne. I have once dabbled into the world where Kodak makes a killing on a regular basis. The client cum subject was an Ayer's Rock of a mall. The monolith stretched to almost a kilometer, the camera would have a field day.

How I wound up sitting on the director's chair was another director's doing. For kicks. A maverick film director during his time, Jun Urbano had a penchant for playing with fire. He chanced upon a pyromaniac.

The rookie, whose only experience in film was seeing it on big screen, rampaged for an entire day, followed by a film crew, from the DP down to the setmen, unflinching, shooting three scenes, huge ones, from one end of the mall to the other.

It was pretty much a hands-on initiation into that minute circle of men who get paid at a rate of 24 frames per second. At the end of the edit, director J.U., his inner arsonist deeply satisfied, chose all my good takes, which were really a precious few. It aired a couple of months later.

Floodgate opens. There were immediate offers of apprenticeship from upstarts who would one day become big names in the industry. But my one-day directorial stint, debut, whatever, ends with just that -- a one day dud. My heart was somewhere else.

That was over a decade ago. I could be filming horror-flicks right now.


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