VIDEO DIRECTORS - UNCUT! (WINCY ONG)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

WINCY ONG
"PASSION FOR LIFE!"

Another notable music video director toiling this tapered streets of the limelight and entertainment industry is direk Wincy Ong, or Wincy Gerardo Aquino Ong completely! By profession, finished AB Communication Arts course at Ateneo De Manila University.

His notable opus so far were few that draws laurels on his forehead: The Itchyworms “Akin Ka Na Lang” (2005), Sponge Cola “Una” (2005), Silent Sanctuary “Rebound” (2006), Nikki Gil “Forever Is Not As Long…” (2006), Pupil “Dulo Ng Dila” (2006), Cueshé “Borrowed Time” (2006), Hale “Hide and Seek” (2006), 6cyclemind “Prinsesa” (2007), Callalily “Magbalik” (2007), Sandwich “Sunburn” (2007), Chicosci “Chicosci Vampire Social Club” (2007), Callalily “Sanctuary” (2007), Pupil “Sala” (2007), Gerard Santos “Mahal Kita” (as director consultant for SOP Music Video Awards) (2007), Kyla “One Day In Your Life” (2008), Sandwich “Are We Good” (2008)

At a hunk age of 21 direk Wincy began his small steps in directing music video in one of his class in Ateneo De Manila. “The first music video I ever did was in 2003, so roughly, I was about 21 years old. It was for a DV Filmmaking class I was attending in Ateneo,” he commenced. Consequently, he has a band at that time which gave him an auspicious choice to start with one primal shot. He tells, “by chance, I was also in a band back then, a small indie called Narda, and since it was the most convenient option I had, I decided to direct a music video for a song I wrote for the band.” Further, at the outset, who could have tell that few of his comrade appreciated his effort, “to my surprise, my classmates and my professor actually liked it, and it even got aired on a UHF channel,” he exclaimed.

At the first light of his life, more in particular academic, he has no voluntary conscious purpose to be a music director, nevertheless and perhaps it's nature that brought him somewhere here. “I never pictured myself to be a music video director really,” he explained. It was rather a thought for something else, “my teenage dream was either to become a published writer, a musician or a comic book artist.”

At an early age in while still scampering his high school vicinity, he is in fact doing some. “In high school I was always the creative type in our class, and I even won an award for Best Director in our school’s short film competition. I made this short film about a lonely student who wakes up to an empty campus only to find out that the school has been evacuated because of a bomb threat,” he elaborates.

Formally, it's his music video project with Itchyworms that gave him a black and white contract. “My first project for a recording company was a video for the Itchyworms!’ “Akin Ka Na Lang”, and from there I had kept doing this for almost four years now” he adds.


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What are the difficulties you encountered at the start?
The competition is really tough. And in my case, since my closest friends are also in the same boat as I am, it’s so much tougher. Everyone wants to be the best and there is so much envy and arrogance and backstabbing in this line of work, especially when you’re the one who gets lucky.

Looking back, how bumpy was the road when you were just starting to get your feet wet?
Oh, it was really tough. You could have no projects for months, and you have to direct corporate videos, teach Korean students or cover promotional events so you could feed yourself. There have been a lot of times when I was sleepless in bed, thinking that I’m no good and I have to find an office job to support myself.


Do you have early role models or mentors?
I consider Quark Henares to be the one who really inspired me to get into this line of work. If I didn’t know him, I would not have the courage to work in such a cutthroat and competitive industry, and I would just probably end up as an office drone working in Makati. Quark was my favorite professor in college, and now he’s one of my best friends…he’s like a brother to me nowadays.

I have also learned from my friend Bernard Dacanay, who taught me the technical side of things like cinematography and editing. And he has also given me sage advice on how to handle my career. I also look up to two of my best friends who I closely work with all the time: King Palisoc and Mihk Vergara, who are two of the best directors working in the industry right now. We, three, are like a really tight unit, and are really good friends even outside the set. They have given me the greatest ideas, and have helped me so much during trying times.

What are those things that test your patience in making your craft as music video director?
Directing music videos is the greatest job in the world really, but the sad thing is the money, which is, sad to say, non-existent. It usually takes about three weeks to complete a whole music video from pre-production to editing, and there are times, when you don’t even earn a single centavo! The budgets could be cruel at times! Some of my friends even have to lie to their parents about how much they’re earning just to keep their self-esteems intact.

What are the perks of being one?
Well, seeing your work being broadcasted for millions of eyeballs to see. That is priceless, and making people happy with the images you’ve dreamed up…no amount of money could buy that. Just the act of directing, of creating something…that is such a big perk already! I’m not in this for the glamour or for the fame or for the money. The act of creation is so much larger than all those.
What's the hardest part in being a music video director? The Styrofoam breakfast, lunch, and dinners. Makes you crave for steamed vegetables.

Growing up, did you envisioned yourself doing this?
I don’t have a clear memory of a single moment where I told myself: “I will be a music video director when I reach 25…” But there was this one point in college when I felt lonely and I just couldn’t relate to people. I usually spent hours at home repeatedly watching this DVD collection of Blur music videos, and I guess that was instrumental in my decision. Yup, that was a great collection of music videos from a great band. It’s funny how people approach and tell me how most of my music videos look like Blur videos.

What are the common misconceptions about music video directors?
That we’re rich, popular and powerful people in the music industry. In truth, we are all penniless, sleep-starved, anonymous individuals who just love to ape Michel Gondry.

Do you usually base your visual concept on the meaning of the song itself?
Not really. I think I’m pretty offbeat in my approach. Like even if I’m directing a more mainstream artist like Kyla, there’s this sense of offbeat-ness to my video. I want the music video to add more to the song, and so the audience could experience the song in ways they did not think of.

Does adding visuals to the song make the song more expressive? What do you think and in what way?
I think music has always been a visual medium. And transforming music into imagery is a natural process every one does. I think most people think of music video concepts for their favorite songs when they’re waiting in line or bored at Mass. I know I do.

How do you choose song or songs to be made into a music video?
I don’t. And it’s not the artist who chooses which. It’s the bigwigs from the recording company.

As a particular director with particular taste of music, what type of music or song do you usually directs or interested in making a video?
Of course, the music I like! Anything by Ciudad, Pupil, Sandwich and The Itchyworms!

Years after years of directing (producing) music video, what is the shortest time you've spent so far to come up with one?
Four days. My team conceptualized, shot and edited Callalily’s “Magbalik” video in four days. That was wow insane.

And the longest one?
Two months. For The Itcyworms’ “Princesa”, where I was a one-man Adobe After Effects guy, and the video was a Hanna-Barbera-inspired cartoon.

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
I’m a musician myself so I just talk to them about what’s it like to gig outside of Manila, what recording equipment they use, etc. Small talk. And I also ask them for creative input.

What segment or part in the music video making that makes you exited or expectant?
Everything! But I’m really at my most excited when I see the sets finished and lit and you’re about to shoot it. When the colors come alive, and the shapes and images come together. Then the band comes in dressed to the nines and asks you, “Ano? Game na ba, direk?”

So far, whose music video you wish you would have directed?
Blur’s “The Universal”, directed by Mark Romanek.

What would you tell an aspiring music video director?
Learn everything! Be an actor, a cinematographer, an editor, a production designer, a musical scorer, a special effects guy. That way you won’t run out of money, and you’ll never be bored.

Would you recommend it to other people who are thinking of going the same route?
I wouldn’t recommend it if you love your health and sanity so much.

The greatest lesson a music video director can ever share?
Let your passion save you from this otherwise boring life.

NEXT IN LINE:

TOPEL LEE
AVID LIONGOREN
RA RIVERA
CARL DAVID PALISOC
PAUL SORIANO

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversary Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRECTORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.

VIDEO DIRECTOR - UNCUT! (TOPEL LEE)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

TOPEL LEE
"LISTEN, LISTEN and LISTEN"

Topel Lee's works besides his filmography were: “Sili Song” by Fatal Posporos, “Baboy” by Radioactive Sago Project, “Hari ng Sablay” by Sugarfree, “Sayang” by Gloc-9, “Hallelujah, Much Has Been Said and F.U.” by Bamboo, “Magbalik” by Callalily, “Kung Wala Ka, Waltz and Pitong Araw” by Hale, “Sandalan and Trip by 6Cyclemind, “Doobidoo” by Kamikazee.

Direk Topel Lee (Christopher Lee) begun lighting his torch of passion for directing was aproximately in college, he said “I directed my first music video when I was still in college. The first video I directed was Fatal Posporo’s “Sili Song.” In exchange for Math 1 exam answers, I directed their music video.”

With Rox Lee and Mon Lee as his models for doing his music video thing, both were experimental filmmakers.

Same necessary clamor you would hear from directors about things that hamper their creative insights into materiality, “incompetent production staff, artists who are full of air, and low budgets,” he explains. He adds, “the main and often constant difficulty I have had to deal with has always been the small budgets I have had to work with for most MV projects.” However, these never compromised his love to do things that he wants and he is supposed to be doing. “For the most part, you have a huge amount of creative freedom... with this kind of freedom you are able to experiment and hone your craft and film making techniques in the process.” Most of all it's how he and some others see and enjoy the fruition of what he has done, he elucidates, “you get to watch your work on TV...Your friends, family, and the rest of the thousands of viewers get to watch the fruits of your labor.”


MORE VIDEO TALKS

Looking back, how bumpy was the road when you were just starting to get your feet wet? The road was not so bumpy because back then, there were only a handful of music video directors.
What's the hardest part in being a music video director? The hardest part would be working with a low budget.

Growing up, did you envision yourself doing this?
No.

What are the common misconceptions about music video directors?
None.

Do you usually base your visual concept on the meaning of the song itself?
Yes.

Does adding visuals to the song make the song more expressive?
What do you think and in what way?
Yes, definitely.

How do you choose song or songs to be made into a music video?
I never choose the song. The recording company, the band or the band’s manager always gives the song assignment to me.

As a particular director with particular taste of music, what type of music or song do you usually directs or interested in making a video?
Rock, Alternative music

Years after years of directing (producing) music video, what is the shortest time you've spent so far to come up with one?
1 week

And the longest one?
2 weeks

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
I do not compromise my concept. I listen to their suggestions but I always make sure that the general concept remains intact.

What segment or part in the music video making that makes you exited or expectant?
The conceptualization stage.

When does a music video takes a lot of finances to make?
When the video is shot using film.

What do you think makes a music video salable in terms of market and popularity?
I think the reasons for this are: (1) the fans get to see their favorite artists, and (2) they get to feel the power of the song visually.

Does making a music video, makes a living too?
Definitely not. It is a good way to start but making music videos only is not enough to keep you afloat.

So far, whose music video you wish you would have directed?
Eraserheads

What would you tell an aspiring music video director?
Be unique. Be creative. Push your boundaries. Experiment.

Would you recommend it to other people who are thinking of going the same route?
Yes.

The greatest lesson a music video director can ever share?
Listen to the music...not just the lyrics of the song, but listen to the beat, the rhythm, the nuances of the instruments and the voice, as well. Feel the music. When you feel the music, images will form in your mind and everything will just flow.


NEXT IN LINE:

WINCY ONG
AVID LIONGOREN
RA RIVERA
CARL DAVID PALISOC
PAUL SORIANO

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversary Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRECTORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.

VIDEO DIRECTORS-UNCUT! (AVID LIONGOREN)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

AVID LIONGOREN
"DIRECTOR EXTRAORDINAIRE!"

An award winning director Avid Liongoren shares his idealism on his directorship and how he comes to terms with things which made up a valuable director. Avid won as Best Director on MTV Pilipinas for directing Everyday by Barbie's Cradle. Besides, the advertisements he directs dictates considerable commercial success on television as well as prints on varied arts.

He is a solid director with a potpourri of artistic splendor that defines his own style of self-expressiveness. His creativity and brainchild is now spawning the cyber world stunning casual fans and even technocrats. To mention few of Avid's commercial craftsmanship he directs advertisements for Dutchmill Yugort Milk, Pride Detergent Powder, PLDT My DSL, Lipton Iced Tea, Coca-Cola Beat Game, Rebisco, Globe Communications Fan Zone and many more. Finishing Fine Arts having majors in Ninjitsu at UP College of Arts is seems divergent to his preoccupation at this juncture in his life, however his doing some.

Of course the music videos he directs from various local artists, accordingly as he favorites them: Martyr Nyebera (Kamikaze), Mottaka (Cheese/Queso), Same Ground (Kitchie Nadal), Jealous (Nina), Say You Love Me (Regine Velasquez), Time In (Yeng Constantino) Macho Version 2 (Parokya ni Edgar), Everyday (Barbie’s Cradle).

Director Avid Liongoren started formally started his director thing at a responsible age of 22. Doing it first for Moonstar88. “I was 22 (I’m 28 now), I did a non commissioned video for Moonstar 88, it did not air… my first real record company music video was Mottaka for Cheese under Warner Music Philippines.” He enjoyed his video splash together with some other, perhaps, pity mistakes and some complementing devices. “It was fun to do and I made a lot of mistakes and it felt so hard back then but I was so excited. My computer back then only had 6 gigs of hard drive space and 256mb of ram and we did animations.”

Robert Quebral (from Parokya Ni Edgar videos) was his first role model, though he had more often than not confined to his own creativity, “I’d talk to Robert Quebral (Parokya videos from late '90s to early 2000s) regarding costs and stuff. I looked up to Furball for being brash & young though we never interacted much… I hardly interact with anyone. I’ve always been a hermit.” Despite his sharp inventiveness, Avid used to encounter dismaying points in his directorship, especially at the dawn of his career. He elaborates, “well the beginning was fun, bumpy but fun…I’d figure out different creative ways to use the small budgets like working with students who are willing to work for free and passing off the music video as a school project to get discounts on lighting equipment and film (I had about 8 fake “thesis”).”

“Working with different kinds of people… you learn so much in 6 months worth of projects as opposed to working 2 years in an office.”

Besides fastidious cronies, for him, it's the meager budget that tests his patience and gives him the bottle-neck at most. “It was in the later years when I realized “hey the budgets are getting tinier and tinier and our expenses are going higher… this is not fun”. You come to a point when you get tired of apologizing to people about how low the budget is and how you can’t pay much (or at all!) but is hoping that they would do it for the love of…. Music videos are fun if you are an incredibly rich person that owns helicopters & submarines or when you are fresh grads out to get some experience and you still live with your parents and is not pressured to support yourself,” explains Avid. It seems founding a living on such music matter will put your family's welfare at stake. After all it gives us the impression that it's an elite-class endeavor.

He wants to teach that music video making is not bad as long as won't spend your own financial load or penny unto it. On the basic misconception about them he said, “that we make a shitload of money. We don’t! Not out of making Music Videos. Pick your favorite video… if it looks insanely amazing, chances are the director did not make money out of it or probably even spent his or her own money on it.” Spending a gross of thousands to a video that must have been a shared duty among the rest, might end you up sobbing instead of jingling with your video.

This is where creativity pays them, not him, “that’s what I did… we pursue creativity for creativity’s sake. In my first pop music video I ended up shelling out 30k of my own money or I’d always forfeit my fee so the money can go to making the video look nicer. If we do make money, it’s nowhere in the vicinity of what we deserve… we can make more money if we let the video look ugly and cheap… but no director really wants that. That’s why I moved on to directing TV commercials instead. I’d only do Music Videos now for artists that are old friends or new artists that I really believe in.”


MORE VIDEO TALKS

What are the perks of being one?
Working with different kinds of people… you learn so much in 6 months worth of projects as opposed to working 2 years in an office.

What are those things that test your patience in making your craft as music video director?
Tiny budgets & big egos of some artists. Even if budgets were tiny and egos were big, in the start it was fun. I didn’t really mind as I was younger and just wanted to make music videos and I had the support of equally eager friends.

Growing up, did you envisioned yourself doing this?
Nope, no really, I just kind of fell into it. I wanted to be a ninja.

Do you usually base your visual concept on the meaning of the song itself?
Most of the time.

Does adding visuals to the song make the song more expressive? What do you think and in what way?
Of course it does… but often we hear a song first and we have made images up in our own heads already in how it personally relates to us so the music video is more of like an addendum or a way to see your favorite artist performing.

How do you choose song or songs to be made into a music video?
Well often it’s because you were asked to do a music video for an artist’s single… that is the record company’s choice. In some cases though… I like a song so much, I offer the artist a music video that I pretty much fund by myself even if it’s not yet a single… I did that for Drip’s “Pushing Him Away”… Barbie’s Cradle’s “Independence Day” and Kitchie Nadal’s “Same Ground”.

As a particular director with particular taste of music, what type of music or song do you usually directs or interested in making a video?
I like any genre as long as the artist is interesting to shoot.

Years after years of directing (producing) music video, what is the shortest time you've spent so far to come up with one?
Parokya ni Edgar’s Version 2 of Macho was shot in one take & was thought of on the spot after we spent all day doing version one… I just asked them to stand in place, shake their hips and voila… magic. That’s why I love that video so much.

And the longest one?
Kamikaze’s “Marty Nyebra” took around and 7 weeks from planning, to shooting to post production.

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
Most of the artists do not interfere with the music video process… they show up, you shoot them, finished… the ones that want to be involved… I sit down with them and talk and manage expectations.

What segment or part in the music video making that makes you exited or expectant?
When I’m in front of the computer and putting it all together.

When does a music video takes a lot of finances to make?
When you shoot on location out of town with many many lights and nuclear explosions.

What do you think makes a music video salable in terms of market and popularity?
If it features the artist prominently or it makes the song feel nicer… often you have songs that you don’t really like so much but if the video is great you begin liking it. But a great song, with a terrible video would still be a great song.

Does making a music video, makes a living too?
No. NO.

I guess that is the important part of this interview that I hope people who want to get into music videos realize. Before my time, music videos cost a certain price… I came in and I was happy to do it for much less and I did so many music videos thinking the budgets will get higher if I do a good job. Wrong… the record companies were just happy that a new crop of directors were doing it much cheaper and then comes a new batch who are willing to work for much less and they work on most videos because the older ones have smartened up…. and then a newer batch comes in bringing the price even lower…. It’s a vicious cycle…Music Video production is at an abysmal state where in it’s simply used to build portfolios and no one can support themselves by working on them… Sometimes it’s bordering on abusive even… some artists even if they have commercial endorsements and pull down huge sums per concert still insist on tiny music budgets. That’s why I moved on to making TV commercials instead and I’d only do Music Videos now sporadically for artists that are friends or with decent budgets.

So far, whose music video you wish you would have directed?
Eraserheads.

What would you tell an aspiring music video director?
Just read my answer to “Does making a music video, makes a living too?”

Would you recommend it to other people who are thinking of going the same route?
Not the part where you spend your own money.

The greatest lesson a music video director can ever share?
Shoot the performance of the artist first. Because if all else fails, you’ll still have a video : )


NEXT IN LINE:

WINCY ONG
TOPEL LEE
RA RIVERA
CARL DAVID PALISOC
PAUL SORIANO

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversary Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRECTORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.

VIDEO DIRECTORS - UNCUT! (RA RIVERA)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

RA RIVERA
"GUTS FOR PASSION"

Standing on same ground with some of our local music video advocates and producers is direk RA Rivera. Just one slab of a genius in his own right arrayed among our renowned and hard working music video directors. For a determined purpose, RA Rivera schooled himself in UP Diliman with Film and Audiovisual Communication course. Ripping what he sow, direk RA would testify how rewarding it is to be one and how arduous it is to be broiled just to spice up a song.

Meanwhile, here are some considerable music video shot of RA Rivera with our local rock acts: RIVERMAYA: Bandila, Inosente Lang Ang Nagtataka, Sugal Ng Kapalaran, Maskara. PUPIL/BARBIE ALMALBIS: Nakakabaliw. ITCHYWORMS: Beer. IMAGO: Under Repair. SESSION ROAD: Leaving You. SUGARFREE: Dear Kuya. UP DHARMA DOWN: Oo. MOJOFLY: Sa Uulitin. SOAPDISH: Ewan Ko. CAMBIO: Patlang. PEDICAB: Dizzy Boy, A Stormy Night, Konti Na Lang, Dito Tayo Sa Dilim, Ang Pusa Mo. PRANK SINATRA: Hit The D Chord.

Everything started with a dream, “when I was in late high school, even before I decided to go into film, I had a vague dream of directing a music video for the Eraserheads,” that ended in reality. Direk RA was nervous at age 23 when he foretasted the role of a ruler on the reel. “I was 23. Details are hazy but what I do recall was that I was nervous,” he commenced.

Making the most of the kickoff video he is doing, direk RA presumes that impressions might last, “getting started by itself is difficult. I think the first video was the most difficult in the sense that it was having to live up to the trust given to you by the artist to make their video, he asserts. Besides, before dancing on the platform as music director, he had been a TV show director somewhat giving him more lift for the latter. “...before I broke into the music video directing scene. I had been directing TV shows and other projects for three years already before I started directing music videos.”

Lack of financial budget constricts or rather challenges his creative side besides the labels that presses the burden upon him, “lack of budget always proves to be a challenge in implementing your vision but what really tests my patience is when some record labels try to limit your space for creativity,” he buffs. Nonetheless, few consoling thoughts can alleviate few discomfort knocking him down along the way, “it’s still definitely a boost to be trusted to direct a video for an artist you highly respect. It’s a great perk to get to know them and sometimes become friends with them long after the music video. Sometimes it also gets you backstage passes or free CDs.”


MORE VIDEO TALKS

Who are your early role models or mentors?
I wouldn’t exactly call them role models or mentors but I definitely look up to Richard Lester, the director of the Beatles’ Help and Hard Day's Night.

What's the hardest part in being a music video director?
Being the director means you’re the captain of the team and that’s a lot of responsibility, that I would say would be the hardest part of directing, not only of music videos but of directing in general. Its also a lot of pressure to be able to visualize your concept and let audiences relate to it and of course the pressure that the artist would like the end product as well.

Growing up, did you envision yourself doing this?
When I was in late high school, even before I decided to go into film, I had a vague dream of directing a music video for the Eraserheads.

What are the common misconceptions about music video directors?
A common misconception is that music directors make a lot of money shooting music videos. The truth is music videos usually have small budgets and more often than not, if the artists are your friends then you end up sharing the costs with them because you believe in their music and their vision and would like to help them reach out to their fans and to the public. I could say that probably more than half of the music videos I’ve directed, I’ve shelled out my own money to cover the deficit in the budget and waived my talent fees just so we could achieve the vision we have for the video.

Do you usually base your visual concept on the meaning of the song itself?
No. Sometimes I deliberately come up with concepts that are far away from the meaning of the song, take Drip’s Song # 9 for example, which really did not have any basis on the meaning of the song.

Does adding visuals to the song make the song more expressive? What do you think and in what way?
Yes visuals help. In fact, early music videos were called promo films for the artists and their songs. Music videos today are still in a sense a marketing tool to sell the music. But it also helps define the look or image of the artist.

How do you choose song or songs to be made into a music video?
It varies. Most of the time the artist or record label approaches me and if we agree on the concept then it’s rock and roll.

As a particular director with a particular taste of music, what type of music or song do you usually direct or interested in making a video?
Generally I am interested in directing videos for rock bands.

Years after years of directing (producing) music videos, what is the shortest time you've spent so far to come up with one?
The shortest is probably 20 minutes, it was Pedicab’s Put the Pieces Together which was shot right after Ang Pusa Mo.

And the longest one?
Radioactive Sago Project’s Wasak na Wasak was almost two years in the making and the actual shooting was two days.

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
I don’t think I’ve really experienced this because even before we start rolling, I make sure that we, meaning, everyone involved, from the crew to the artists, are all on the same page and generally know what to do and expect at the shoot.

What segment or part in the music video making that makes you exited or expectant?
Saying “it’s a wrap” is still the best part of making a music video.

When does a music video take a lot of finances to make?
The concept dictates the cost, for example if it will need building a set or going to several locations. A music video also costs a lot of money when it’s shot on film, like Radioactive Sago Project’s Astro and Wasak na Wasak.

What do you think makes a music video salable in terms of market and popularity?
It’s a combination of several things, the music, the visuals and the artist. Sometimes if the video is entertaining then there’s a lot of recall, in the same vein, if a video has a lot of pretty girls then it also has a lot of recall. A video that also stands out from the rest with a unique concept can also help.

Does making a music video, make a living too?
No.

So far, whose music video do you wish you could have directed?
The Beatles, the Eraserheads and Christina Aguilera.

What would you tell an aspiring music video director?
There’s no money here but its artistically rewarding.

Would you recommend it to other people who are thinking of going the same route?
Yes, I think people should give whatever it is that they aspire to do a try, it’s the only way they will find out if they still want to go down that road. Directing music videos can also be a way to get into other projects like TV shows or commercials.

The greatest lesson a music video director can ever share?
I wouldn’t call it the greatest lesson since every experience has its own share of lessons but what I would share is that a music video director should learn to say no if the concept verges too way off course from what you first envisioned. Yes there are compromises and concepts change through exchanges of ideas but if you are no longer happy with the concept you are about to do, maybe its not for you. In the end, the video you direct should still be something you are happy and proud to say is your work of art.


NEXT IN LINE:

WINCY ONG
TOPEL LEE
AVID LIONGOREN
CARL DAVID PALISOC
PAUL SORIANO

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversay Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRECTORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.

VIDEO DIRECTORS - UNCUT! (CARL DAVID P. PALISOC)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

CARL DAVID P. PALISOC

Another music video director that falls in line for this issue is genius of his own crafty director Carl David P. Palisoc. Who obviously schooled himself for a determined goal in Ateneo De Manila University wit a degree in AB Communications.

Meanwhile, here are some of the music videos that fall under the spell of his baton: Nimbus 9 feat. Cosmic Love – Island Lovin, Daydream Cycle – Avenue (co-directed by Marco Ortiga), Pupil – Dulo ng Dila (co-directed by Wincy Ong), Nyko Maca + Playground – Turn My Head, After Image – Musikero, Brownman Revival – Walang Kasing Sarap, Pumping Pluto – Kalye ng Pag-ibig, Pumping Pluto – Pag-asa, Prank Sinatra – Droning On, Check – Kaiisisp, Pupil – Monobloc, Katya Santos – Sayang (co-directed by Quark Henares), Ramon “RJ” Jacinto – Mashi Mashi, The Out of Body Special – Sexy Beast, Sponge Cola – Puso, Rico Blanco – Yugto, Rico Blanco – Your Universe. More and a lot more to come in his career, the way just anybody else are expectant for the sunshine to shine in another promising day.

Direk Carl could just reminiscence the day when he directed his first video and it was for the band Daydream Cycle, he commenced, “the first music video I directed (out of college) was for a band called Daydream Cycle. I was 22 then.” Little did he know that things are coming big with what he did not expected, he continued, “what was surreal about the whole experience was that I didn’t know until the day of the shoot that Daydream Cycle was actually a side project of the brothers Sergio (Japs of Rivermaya and Dok of Pupil). A month after shooting, Dok called me to make the music video for Pupil’s ‘Dulo ng Dila’. I was overwhelmed. I never thought I would get to meet and to work with the most talented musicians in the country at 22. Saya! It's a matter of grabbing the right opportunity to promising persons themselves.

Bearing with the reality that worth keeping endeavor are hard-won, he keeps obstinate on what he wants and dears what he believes, “gaining the trust of the artists. Especially when they haven’t seen any of your works, or rather when you don’t have anything to show yet. That’s why we had to literally kneel down and beg to bands for them to let us direct their music videos. De joke lang,” he kids.

Opportunity always peeps and that would promise something for anybody new. He explains, “anyway, despite this, there will always be an opportunity to make a music video. We got our first music video from a forwarded email in some mailing list, saying that their band is looking for someone to direct their music video. We took advantage of that, and we finally convinced them to let us do their video. Tuluy-tuloy na pagkatapos nun.” He only wants you to keep few things in mind, “Be careful. But enjoy it.”


MORE VIDEO TALKS

Do you have early role models or mentors?
I consider Quark Henares as my mentor/role model. Ever since I was in college, I’ve been a fan of his works. Then I took his class (twice), and showed us the works of Spike Jonze, then he got us, his students, to talent for his music videos, so there. Wincy Ong is also one of the people who helped me when I was starting out. The guy taught me everything – from shot compositions to the business of music videos, to loving the craft of music video making.

What are those things that test your patience in making your craft as music video director?
A lot of things. But more importantly, 2 things. Listening to the song multiple times before thinking of a concept. And more than 2 revisions in post-production.

Looking back, how bumpy was the road when you were just starting to get your feet wet?
The first ever music video I directed was back in college called “Island Lovin”. The shoot lasted 19 hours, and it the location was in an unused showroom that was full of dust and had no ventilation. We almost died after that shoot.

How bumpy was the road?
Very bumpy. In fact it still is. I think the will always be bumpy, especially since music video making is not really the most glamorous job. But honestly, these bumps just make the journey more rewarding.

What are the perks of being one?
You get to work with the most talented musicians in the country. I always wanted to be in a band since high school, but I never really had the chance to. So the closest thing to actually being in a band is during shoots. At hindi lang isa, iba-ibang banda pa! san ka pa?

What's the hardest part in being a music video director?
Not getting enough compensation for your work.

Growing up, did you envision yourself doing this?
I wanted to work for a music channel when I was a kid. I was really fascinated at those weird TV blurbs / TV plugs, and I wanted to make stuff like that when I grow up. Turns out I get to work for music channels. Only I get to make music videos. No complaints.

What are the common misconceptions about music video directors?
That music video directing is a glamorous profession. IT’S NOT! But hey it’s fun!

Do you usually base your visual concept on the meaning of the song itself?
Not necessarily. But I do listen to the song a lot of times before thinking of a concept. For me, the most important thing in music videos is the song. Because without the song, there’s no music video. So what I do is I think of a concept that will supplement the strengths of the song, instead of overpowering it. For example, if the song’s strength is the lyrics, then I think the concept should not distract the viewer from listening to the lyrics. The song is King, the concept is Queen; it should be a healthy marriage of music and video.

Does adding visuals to the song make the song more expressive?
What do you think and in what way? I think adding visuals to the song can make the song more expressive. But it doesn’t mean that it does so all the time. There are times when the video distracts the attention of the viewers from the song, which I don’t think should be the case.

How do you choose song or songs to be made into a music video?
Of course the most important thing is that I like the song, or that it can grow on me. Although im not really picky on choosing songs for music videos, it’ll help a lot if the song is interesting, and that you believe that the song deserves to be heard/have a music video.

As a particular director with particular taste of music, what type of music or song do you usually direct or interested in making a video?
I like doing music videos for songs that try to explore other genres that are rarely heard in local mainstream music. Mas challenging kasi. Electronic, maybe? Or songs that have influences from European bands.

Years after years of directing (producing) music video, what is the shortest time you've spent so far to come up with one?
Less than a week. Including post production.

And the longest one?
About 2 months. Mostly because of post production.

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
In working with artists, I think it’s important to be able to establish a good rapport with them. It’s hard to work with someone whom you aren’t comfortable with. So there. When everyone’s comfortable with each other already, that’s when you give them imperatives. Hahahahaha joke lang

What segment or part in the music video making that makes you exited or expectant?
Shooting and getting the shot that you’ve been imagining during pre-production. And editing. Especially once the first cut’s done!

When a music video does takes a lot of finances to make?
When the concept is big. Meaning, when the concept has a lot of production requirements. For example, if the concept is a performance video along EDSA, then it means that they have to close down the whole of EDSA just to be able to shoot it (unless guerilla style, of course, but you get my point), which will definitely cost a lot. But if the concept is just a performance video in a park or a field or something, mas tipid yun definitely.

What do you think makes a music video salable in terms of market and popularity?
Again, I think the song is the most important thing in a music video. Given that, the video more or less will be salable if the song has an appeal for the audience. However, if the video can support the song and make it more appealing, then that’s how the music video will be make an impact on the market.

Does making a music video, makes a living too?
Not so much.

So far, whose music video you wish you would have directed?
Local? Sugarfree, Itchyworms, and Eraserheads. Foreign? Radiohead and Blur.

What would you tell an aspiring music video director?
Congratulations! You are officially in the business of having fun.

Would you recommend it to other people who are thinking of going the same route?
Do it for love. Love for music. And love for video.


NEXT IN LINE:

WINCY ONG
TOPEL LEE
AVID LIONGOREN
RA RIVERA
PAUL SORIANO

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversary Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRETORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.

VIDEO DIRECTORS - UNCUT! (PAUL SORIANO)

INTERVIEW WITH (LOCAL OPM) VIDEO DIRECTORS - A SERIES

We listen, hear, enjoy and felt the emotion of the music through the graciousness of our auditory faculty, but to see all the rest in a motion picture is a lot whole different thing. This is where music video directors takes toll in their visual ingenuity and acumen. Audibility would never be the same with a share of visual artistry. Audio-visual tandem brings entertainment to a different enjoyable level. Thus, there's more to music than meets the ears!

We salute our music video directors for besting up our local artists and rock acts with their visual concepts coupled with the passion that answers the sparsity of supply for the video-making's demands. It's one way of saying they're building a road of extra mile for producers, composers, artists and musicians themselves as a whole.

Meanwhile here are some of our local heavyweights on music direction and production we could ever scout on Philippine entertainment industry. We've got a handfuls of them here. Basically, we are to know how are they doing it, and what is their basic sentiments of the chosen career path.


PAUL SORIANO

"PATIENCE FOR PASSION!"

Director Paul Soriano is noted for his wit and passion in directing music videos and other film stuffs. Since childhood Paul is shimmering with eagerness and determination for these freely chosen moves in his life. He would tell you to grab a camera, shot a video and tell your stories. This is what it took Paul Soriano to push himself to the edge of every scenic stunt in his video craftsmanship. But most of all it's love to what he is doing that makes jewels in every project he does. A director and a friend in common to himself and to the rest that anticipates his every command – and the rest are just details, patience, patience and patience!

Some of his notable works were Ibaon Sa Limot by The Johnnys, Your Love by Erik Santos (won Best Remake Music Video at MYX Music Awards 2007), Wag Mo Sanang Isispin – Gary V. featuring Kiana Valeciano, You Gave Me Reason – Gary V., Tulak Ng Bibig – Juliane, Stay – Chris Cayzer, Even If, Happy and I'll Find Your Heart – Sam Concepcion, Catch Me I'm Falling – Toni Gonzaga, Rule # 1/Fixing The Radio – Ciudad and Overtone and 'Wag Mong Pigilan - Overdose

Direk Paul salutes his childhood as a flickering light that mushroomed to what he is now, “I always wanted to be a director. I was the kid running around the house holding the camera, shooting and filming anything I could. I feel really blessed to be getting paid for something that I love to do.” Direk Paul start putting his best foot forward at a youthful age of seventeen , making music videos for friends as his jumpstart. He recounts his high school music playground, “I started making music videos in high school, I was 17 years old, small time music videos though for friends.”

“I always wanted to be a director. I was the kid running around the house holding the camera, shooting and filming anything I could. I feel really blessed to be getting paid for something that I love to do.”

His first “career single,” so to say was “Ibaon Sa Limot” by an independent rock act call The Johnnys. “My first music video that aired was “Ibaon Sa Limot” by an independent rock band called The Johnnys,” he adds.

For him, making a music video is a pioneering experience to every unexplored horizons of creativity, “ I really enjoy making music videos, it’s allows you to be creative and challenges you to come up with something that’s never been done before,” he thought. Mark Romanek, Joseph Kahn and Hype Williams were few of those directors direk Paul admired, “these guys have set trends and have all given us something new to look at,” explains direk Paul. This thought might have led him to his patient and passion drive as music music video director, “It’s a very competitive job, you need a lot of patience and a lot of passion for this kind of job. It took me about 8 years before I got a project, but now that I’m doing this for a living it was worth the wait.” No matter how low the budget might be, he tries to fit them to the slot of his genius. “I think locally it’s the budget, cause sometimes your creativity is limited because of the budget that’s given to you. But I like to turn that around and make it a challenge, to see how creative and how good you can make a music video with the budget given.”


MORE VIDEO TALKS

What are the difficulties you encountered at the start?
For me it’s creating a demo reel, that’s the key to getting hired in this business. Artists will usually ask to see your demo reel before they work with you. Its being patient (lots of patience) before someone can trust your ability to direct a music video. While waiting though, go and shoot something. Get a camera and tell a story. I made a lot of short films and simple music videos before I got my first real music video project.

What are the perks of being one?
Honestly there are hardly any perks of being a music video director. Some that I can think of is that you become friends with the Artists and that may lead to other types of projects. I recall directing a music video for Gary V and after the success of that we got to work on many other projects and I even got to work in some of his concerts.

Another perk would be that you are starting to create your demo reel, after directing a few music videos, you’ll be able to put together a demo reel that can get you more projects. After directing quite a few music videos it opened the door for me to start directing TV commercials, which is something I’ve always wanted to do.

Do you usually base your visual concept on the meaning of the song itself?
The meaning of the song definitely helps in the creative process, but not all the time, sometimes you try to think outside the box, give the audience something new, something fresh, that’s always the challenge, which makes this whole process fun.

How do you choose song or songs to be made into a music video?
Usually the record label and the Artist have already chosen the song. They approach the director once they have decided on a song and from there, the creative process starts.

As a particular director with particular taste of music, what type of music or song do you usually direct or interested in making a video?
I’m a fan of all types of music; I can’t say I like a particular type. I keep an open mind when I listen to music, especially when I’m asked to direct a certain artist and their song. Although, personally I like to listen to songs by the Dave Matthews Band, Coldplay, John Meyer and Toni Gonzaga.

As head and director which gives imperatives every now and then, how do you get into terms with the artists themselves?
It’s all about collaboration; the director and the artist must work together to create the best possible visuals for their song. In music videos, or any other production it’s always a team effort, everyone must work together to bring out the best in everyone.

What segment or part in the music video making that makes you exited or expectant?
The actually shooting, it’s when you make your imaginations reality.

Does making a music video, makes a living too?
Unfortunately, locally music video budgets are low, but I believe the when you direct music videos it gives you that freedom to speak your creative mind, plus it opens a lot of doors to other projects that may have bigger budgets. Honestly for me, I love making music videos because it’s a sincere passion of mine; I don’t make music videos for the money, sometimes when you’re given that chance to speak your mind and to be anything creative, that opportunity is priceless.

So far, whose music video you wish you would have directed?
I’ve been fortunate to direct a lot of great artist already, although given the chance I’d love to work with some of our local bands, bands such as: Bamboo, Urbandub, Hale, UpDarmaDown and also Rico Blanco, who is now a solo artist.

What would you tell an aspiring music video director?
Patience, Patience, Patience.

Would you recommend it to other people who are thinking of going the same route?
Of course, always chase your dreams and live out your passions. Grab a camera, tell a story, make a music video, the only person that can stop you, is you. So go, become a filmmaker and share with everyone your imaginations.

The greatest lesson a music video director can ever share?
Just stay creative, continue to find unique inspirations, be patient, thankful and on top of all that always pray.


NEXT IN LINE:

WINCY ONG
TOPEL LEE
DAVID LIONGOREN
RA RIVERA
CARL DAVID PALISOC

♫♫♫

Special Thanks to:
Pinoy Mag 5th Anniversary Issue
Released Date: 06 November 2008
Special Feature: MUSIC VIDEO DIRECTORS
Facebook: Pinoy Magazine (official)
And for all the proceeding and preceding articles in this blog.