(Conclusion)

LOS ANGELES—“SINCE THE THEME OF the film is truth, I wanted the actors to be truthful in what they say and how they say it,” Venice Filmfest-bound director Francis Xavier E. Pasion declared in our Q&A via e-mail with him about “Jay,” his debut feature which continues to earn acclaim for himself and his cast—Baron Geisler, Coco Martin and Flor Salanga.

In this second part of our column on Francis, he expounds some more on truth and faith which drive him, plus growing up with art, film and religion.

Contrary to what I wrote yesterday, actress Sonia Braga is not a member of the international jury for Venice Film Festival’s Orizzonti (Horizons) sidebar, where “Jay” and Lav Diaz’s “Melancholia” are competing. The jury members are: Belgian filmmaker and artist Chantal Akerman (president); French film critic Nicole Brenez; Italian actress and documentarist Barbara Cupisti; Spanish director Jose Luis Guerin; and Estonian director, Veiko Õunpuu, who won last year’s Orizzonti prize with his debut feature film, “Autumn Ball (Sügisball).”

How and when did your spirituality become such a big influence in your life?

When I was young, I would often draw religious images on the back of cigarette cartons. When I won first prize in a national art contest (I was in grade 6), the first thing I bought was an image of the Sto. Niño and St. Anthony.

I don’t know why I was so religious at a very young age, though entering the priesthood never crossed my mind. I remember challenging my Religion and Christian Living teachers in grade school and high school. I was never satisfied with their explanation of the existence of hell. I was 12, and while other children were afraid of hell and the devil, I wondered, if God is so good, how could He create hell?

I question traditions and beliefs that trivialize the essence of spirituality. I embrace the truths of other religions as well. I read a lot about the Kabbalah, Buddhist teachings, Taoism and other religions. I even practice feng shui. I regularly consult my astrologer. I do not subscribe to an organized religion; I am open to other beliefs. Whatever works for me, I apply [to my life].

You’ve been quoted as saying that “Jay” was motivated by your work in the media.

I worked as a soap writer for more than four years, and my last job was as head writer and producer of a docu-drama program [about] Filipinos living abroad and the families they leave behind in the Philippines. It was my experience in producing these documentaries that motivated me to write the script [of “Jay”]. It [took] a week. It’s easy when you write about your own job. I felt the audience should know the nature of our job and how it affects the final product that they see on TV. I hope audiences were more critical and discerning of what they see on television.

It’s easy to say that the film is all about media exploitation, but oftentimes, the public also manipulates the media. Some of our subjects gamely posed for the camera. Others made ridiculous demands. Media and its audience feed on each other’s insatiable hunger for entertainment. Both media and audiences have a joint responsibility to change the status quo for the future generation of media practitioners and audiences.

How long have you been aspiring to be a director? What was the final push?

Since high school, I have dreamt of being a director. When I went to Ateneo, I founded the film organization, the Loyola Film Circle, borne out of my passion for cinema. It still exists after more than a decade, still actively promoting film production and education. In Ateneo, I met Direk Marilou Diaz-Abaya. She would be my first employer after college. I was not on GMA Films’ official payroll (for the movie “Muro-Ami”); it was from Direk Marilou’s pocket that my salary was drawn.

I am blessed with so many good and generous mentors. If I may just thank them: Direk Marilou Diaz Abaya, for instilling in me the responsibility of filmmakers; Armando Lao, my writing and directing mentor, who should take the credit for the innovative structure of the script; Jeffrey Jeturian, who gave me my first directing break on TV, and who is my advisor on film direction; Leo Abaya, who gave me visual design tips; Enrico Santos and Ethel Espiritu, who gave me the break in “Nagmamahal, Kapamilya.” And Malou Santos, Olive Lamasan and Henry Quitain who exposed me to the world of mainstream film and television and supported me in my film debut.

Can you talk about the much-praised elements of your film—the film within a film structure, exploring exploitative journalism, innovative editing, and the improvisation that you encouraged?

“Jay” is based on my work as a producer for a docu-drama show, and my interviews with reporters and producers from different networks. The structure, suggested by Armando Lao, best illustrates the point of manipulating audience perception. Editing and other elements emerged from the recurring theme of truth and our ways of embellishing, altering or exploiting it.

I wanted the actors to be truthful in what they say and how they say it. I used improvisation techniques with them. I would change their lines—this posed a challenge, especially to Baron who is used to memorizing lines. I think the process benefited the whole cast, as they were acting-reacting in the present moment. They improvised many lines, too.

Can you comment on directing Coco Martin?

Coco Martin is a natural. The improvisation technique suited him well. His indie training really worked.

He is the only Filipino actor whose movies have been in the three major festivals this year: Cannes (“Serbis”), Berlin (“Tirador”), and now, Venice (“Jay”).

What excites you most about attending the Venice Film Festival?

Everything. It’s my first time to go to Europe and I am attending the oldest and one of the most prestigious festivals in the world. It’s an honor to represent local cinema with Lav Diaz’s “Melancholia.” I have seen his film, “Death in the Land of Encantos.” It’s now one of my favorite Filipino films. I thank the Venice film fest ... it was the first international fest to invite a Filipino movie—“Genghis Khan.” I also pray we win the Luigi de Laurentiis Award for First Film. The cash prize of $100,000 would pay all of my debts.

What’s next?

I am researching and writing another material set in Pampanga. (My father is from Sta. Rita.) I am seriously considering the title “Kaye.” I might make a trilogy—“Jay,” “Kaye” and then “L.”

E-mail the columnist at rvnepales_5585@yahoo.com and read his blog, “The Nepales Report,” on http://blogs.inquirer.net/nepalesreport.