I met hunky Charles, and took him with me to Guimaras to meet beauteous Jannah.
Wait, I actually went to Guimaras to write the screenplay.
To check on Jannah’s available clothes.
To check on possible locations, Plan B locations.
Because for a no-budget movie, I can’t write without seeing first what I can shoot.
You see, I’m also the production designer for most of my films.
*
I wrote the script while having late breakfast with Charles at the Jannah Glycel Beach House.
Jannah had to leave early for school.
I discussed the script with Jannah’s parents.
Joyce echoed what Charles’s mom said ─ I trust Peter Solis Nery.
Somehow, that’s a relief.
But also, some kind of pressure.
*
When I went back to Iloilo, I borrowed a set of period costumes from Ilonggo fashion designer Hector “Totong” Gellangarin, who generously waived the rentals.
Totong could not understand what a heritage gown will be doing in a mermaid movie.
I cannot explain it either.
So I just told him, this is a paramaiba film.
And he asked, What’s that?
“Paramaiba” ─ para maiba lang.
*
My crew and I crossed to Guimaras by RO-RO on the Friday afternoon of September 28 for a two-day weekend shoot.
(I needed to be back in Iloilo City on Sunday night for a guesting at Bombo Radyo on the topic of my HIV testing and awareness advocacy.)
We brought with us Charles’s python. Yes, the snake.
And we were ferried in a special pump boat trip. So, that was cool.
I mean, Peter Solis Nery’s film crew gets a special treatment in the RO-RO.
That night, I storyboarded the movie with DPs Aldrin and Efren, who brought along Aldrin’s cousin James Reymart Gazo to man a third camera.
*
Miji and his parents joined us on Saturday morning.
Another Guimarasnon beauty titlist, Rowena Siva Gandeza, agreed to have a special appearance in the movie.
She was amazing as a vamp at the Guisi lighthouse.
The Guisi shoot looks really beautiful.
But it was a most grueling day for us.
So freaking hot.
*
The high altitude, humidity, and the direct heat of the noon day sun burned us all.
I was naked most of the time, if you see the behind-the-scenes, because my shirt was drenched with sweat.
My forehead also got sunburnt bad.
And Charles, who is normally moreno, got really toasted.
In his photo with Jannah later that day, they looked like cookies-and-cream.
But they both were smiling.
*
Mario Donesa Jr. joined us on the Sunday shoot for the aerials.
I’m not a big fan of drone shots.
They are expensive.
I mean, I like them; but I don’t think they are very important in my kind of budget storytelling.
But Mario gave me a discount.
And I remembered the clear waters of Guimaras.
So, I paid for some drone action.
*
We finished the shoot on Sunday, September 30.
The next day, I walked up the Dumangas municipal hall to offer it to be included in the lineup of activities for our town’s Haw-as Festival.
From October 26 to October 31, Dumangas will have a weeklong celebration of Culture, History, Art, and Tourism.
Mayor Ronaldo Golez gave me October 26 for my film’s premiere.
He even promised an LED wall screen instead of the ordinary projector.
*
So yeah, I’m also excited for this little film.
This is decidedly a paramaiba film. Para maiba lang.
I have no high aspirations.
As of this writing, I still don’t know what final form this film will take.
Will it be 15, or 20, minutes?
Will it be silent?
Or French, as I have originally envisioned it?
*
It’s not final until it hits that LED screen for our premiere in Dumangas.
(You are all invited.
I’m told there is Sugbahanay sa Plaza just before our film premiere.
And food ─ as in boodle fight food ─ is free.)
But I think I’m sticking to my original title: La Sirène.
So I can have this novelty credit: Un film de Peter Solis Nery.
C’est la vie, mon cheri! (500tinaga@gmail.com/PN)
