![]() ![]() This, I suppose, is the bane of modern-day filmmaking.”ĭulay claims that education plays a big role in reshaping the minds of the audiences and filmmakers alike. Producers and advertisers can only place their bets on purely entertaining pieces because these are the types of shows that generate money. “It becomes a struggle for storytellers to provide stories different from what we see in mainstream media. The filmmaker believes Filipino films and series still have a long way to go in exploring themes outside “pure and safe entertainment”. Even now, his ‘Found Story’ filmmaking philosophy guides me in whatever it is that I decide to pursue,” he adds. “He truly made an impact on my filmmaking career. ![]() I was there, at the side, listening, learning,” Dulay shares. It was a small group of directors who met every week. “Sir Bing agreed and asked me to attend his ‘Sunday Clinic’ instead. But instead of caving in, he plucked up the courage to contact Lao and offered to be the latter’s assistant in exchange for free lectures. In the middle of Lao’s workshop, the filmmaker was restricted by his financial situation and could no longer pay for his tuition. What Dulay lacked in resources, he made up for with his dreams and determination. More from Tatler: Why 'Truth' Matters to Cinemalaya 18 'Blue Room' Director Ma-an L. I enrolled in Sir Armando Bing Lao’s workshop.” I was truly inspired that I wanted to learn how to make films. “I watched Endo and Ang Pagdadalaga ni Maximo Oliveros. Around this year, the art and culture corporation launched Cinemalaya, which, as of this writing, showcased more than 1000 works from independent filmmakers. Sometime in 2005, Dulay stepped in Manila and hurriedly took himself to the Cultural Center of the Philippines. Sa palagay ko, doon sumibol ‘yung kaluluwa ng mga likha ko ngayon. “I became interested in movies that are not only there to entertain. “I watched movies like Bata-bata Paano Ka Ginawa, Dekada ‘70, Maynila sa mga Kuko ng Liwanag, Orapronobis, Bona, and a lot of Lino Brocka films,” he shares. With heightened class consciousness, Dulay was even more drawn to politically-charged storylines. In case you missed it: 'Maria Clara at Ibarra': What's the Hype with GMA's Newest Historical Drama? There were no equal opportunities between the rich and the poor.” Although it was deliberately framed as a love story, hierarchy, power, and class disparity were apparent in the narrative. And while the classic is widely remembered as a romance flick, the filmmaker asserts that its plot is more than what it seems to appear. In 1997, Dulay was among the people who flocked to the cinema for James Cameron’s Titanic. ![]()
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