ELY BUENDIA: MUSIC, LOVE

The purpose of this blog entry is to introduce Fully Booked music ambassador, muscian Ely Buendia.

I am enormous fan of Ely Buendia and his music, from the Eraserheads to The Mongols to Pupil. I must admit that I am particularly fond of Pupil and have a deep admiration for the other band members, including Wendell Garcia, who I believe to be one of the best drummers in Manila.

It was only natural for Fully Booked to approach Ely to be their music ambassador. He is a familiar figure in the store, and can often be found prowling the graphic novels section, the architecture section, and of course, the music section.


His upcoming workshop for Fully Booked entitled Aural X (click on the link for details) is original and unique, just like the musician who conceptualized it. Ten individuals will be selected to participate in a workshop and be closely guided by Ely Buendia into creating their own musical masterpieces with an iPad and the GarageBand application, and will involve everything from creating beats to recording and engineering the music to the lyrics of the song!  

This blog entry features the article of guest blogger and Fully Booked Zine contributor, Yvette U. Tan, a Manila-based award-winning writer. Her works have been published in The Philippines Free Press, the Philippine Daily Inquirer, UNO Magazine, Story Magazine, and Philippine Genre Stories, among others. She released Waking the Dead, her first collection of short stories in 2010. Here, her article in the June-July 2011 issue of the Fully Booked Zine, is republished with express permission from the editorial staff.

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Music, Love

How does Ely Buendia come up with ultra catchy songs? What made him want to make music—and

stick with it? Fully Booked sits down with one of the country’s biggest rock stars, and find out what

makes him tick

By Yvette U.  Tan 

Photos courtesy of Ely Buendia

“My biggest challenge was overcoming biases. Every artist’s innate fear of being typecast is both a gift and a curse”

Ely Buendia’s love for music started out, like most of us, in childhood. “I started learning how to write songs very early on when I was still in grade school,” the musician says. “My hobby was to invent verses and melodies for songs I only knew a couple of lines from and sing them in front of class.” It is from this semi-composing, this amateur inventing of words and tunes that one of the country’s most respected musicians found his voice, his niche. He took inspiration in pop culture, first mimicking bands that he looked up to, later moving on to make music that was wholly his own. “When I became a teenager I mimicked the songs of bands like the Cure, (David Bowie) and the Smiths,” he says. “I credit my penchant for unpredictability to those artists.”

These two bands, along with The Beatles, were what pushed him to make music then. Now, he says that his influences have changed to bands “whose works aren’t that popular” but have “lasting power.”

Media exposure—TV, magazines, radio made him see that it was possible to live a life dedicated to his passion of making music. “Watching bands on MTV made me want to be in a band,” he says. You can imagine this being at the back of his mind when he entered college and began forming bands, though the one that would make his name a by-word in Philippine music was his third outfit, making true rock stars out of him and the rest of the Eraserheads. Buendia began making music at a time just before Pinoy rock was about to rise once again. He had no way of knowing that his band would be instrumental in the country’s embracing of original Filipino rock music, nor that he would be at the forefront of the movement until today. Back then he was just a kid who loved music enough to want to make some himself. He says that it was “sheer ignorance” that pushed him to form a band and play at clubs and school programs instead of doing something more sensible like, say, studying.

“My biggest challenge was overcoming biases. Every artist’s innate fear of being typecast is both a gift and a curse,” he says. Buendia has defied the preconceptions that have formed around him by always doing his own thing. The only true constant in his life is his freedom to make music.

Buendia has always had a knack for writing music that speaks directly to the Filipino experience, and has done so without being self-conscious. When asked about this, he demurs, “I come from a provincial background where everything is still steeped in tradition, and there’s a strong communal identity, but I’m a city boy at heart. I only write about the things I’ve done and seen in the streets. I don’t know if that has anything to do with the Filipino psyche.”

Here we come to the crux of the matter. To paraphrase a well-known saying, there is no I in band. Everything, from the name to the finished songs on an award-winning album, is the product of different minds at work together. At times, it can get tough. “Usually writing a song with a partner yields awesome results. See Lennon/McCartney, Morrisey/Marr. But it’s a double-edged sword. Sometimes it’s just more practical and liberating to do things on your own. I still can’t make up my mind about it. This has given me more than my own share of headaches.”

But find the right people, like Buendia has in his band Pupil, and working together can be the sweetest thing in the world. As Buendia puts it, “The best part is the collaborative process. The worst part is the collaborative process.”

Buendia’s songwriting process is deceptively simple, yet you wouldn’t think so to hear his compositions. They’re ingeniously complex, yet catchy enough to be radio-friendly and perfect for a drunken sing along. “There are several possible catalysts: a good song I want to emulate or top, an awesome title, a phrase I pick up from reading, a genre I want to dabble in or adopt, a strong guitar riff, a melody I suddenly hear in my head. Once I have that, the biggest obstacle for me is the lyrics. When all else fails I use the loop trick where I record a rough demo of the music without lyrics and play it over and over. Your mind will eventually fill in the blanks. I use this trick as a last resort, though,” he says. “Usually an idea arrives in my head when I’m driving or on a long trip. Almost all my songs started out this way.”

Has he ever suffered from writer’s block? “I don’t believe I have ever experienced mental block, just bouts of depression, in which case your work is greatly affected. How do you get past depression? Eat! Kidding. I believe that is for a different workshop altogether.” Two things that genuinely put him in a good mood are “perusing modern architecture wherever I can find it and watching comedies withmy kids.”

All this, one imagines, feeds into his songwriting process and his performances. It is interesting to note that until now, going onstage is still a magical experience for Buendia in which he carefully grants a reveal of his soul. “It’s a combination of nerves and anticipation and adrenaline. I guess going onstage is like bungee jumping or confession (both of which I have not tried) where you ego splits in two and only the strongest triumphs,” he says, adding that what he loves about it is, “The immediacy, the sense that everything can fall apart any second, the ultimate high when everything goes right.”

Songwriting, he believes, is both a product of talent and perseverance. “I believe we are born with a set of specific talents but I also believe things can be learned, as long as one is passionate enough about them,” he says. “There’s so much talent out there it’s astonishing.”

Between the digital tools that are at the disposal of the current generation and the digital distribution technologies of the Internet, it’s a lot easier to get a band started. However, that doesn’t mean it’s any easier to get to the top, let alone stay there. Among the many things that Buendia aims to impart in his upcoming workshop for Fully Booked is to guide students through the songwriting process from genesis to completion, and most importantly, to help them acquire the ability to work under pressure. “The chance to challenge myself and others,” is what excites Buendia the most about helming this first-ofits-kind workshop in Fully Booked. “[Students] will learn that making music has nothing to do with real life. This will benefit them immensely.”

Music is still very much a part of Buendia’s life, both professionally and personally. You cannot separate the music from the man. “We [Pupil] just did a an Eheads themed show in the States, and we’re gearing up for the release of the second single from the Limiters of the Infinity Pool album, “20/20” the music video for which we shot in the middle of EDSA. I’m also pretty excited about the vinyl version of Limiters,” he says. And for a man who loves music so much he figured out a way to spend his lifetime playing it, teaching others to do so is but the next logical step in his life’s ode.

"A Picture Speaks Volumes": Favorite Book Illustrators

There is nothing as satisfying as coming across a superb illustration, especially in a book that is composed mostly of pages devoted to just words.

What exactly makes a good book illustration? To me, its not really how aesthetically pleasing it is, but rather how well it brings the story to life. A book's cover image, for instance, can set the tone of the entire story, and even if there are no other images in the book, the reader has that single image to hold on to all throughout. Sometimes even the most simple images are effective at conveying the story's message.

This blog entry is dedicated to my favorite book illustrators! Here they are, in no particular order:

1. Edward Gorey (1925-2000)
Edward Gorey was a writer as well as an illustrator. He is best known for books like The Curious Sofa, The Haunted Tea-Cosy: A Dispirited and Distasteful Diversion for Christmas, and The Gilded Bat (Click on the links to see the book covers). Many of his stories have been republished as compilations (i.e. Amphigorey, Amphigorey Too, etc.).

Amphigorey Too book cover

His artwork is very detailed, and if you notice, borders on the eery and macabre. His use of color is spare, if any at all, but that's what makes his work so striking, and his attention to detail is amazing.

He partnered with one of my favorite authors, John Bellairs (Alas! Also gone from this world) to create a series of gothic tales for children. My favorite of these is a book called The House with a Clock in its Walls. Gorey's style went well with the creepy story of a clock hidden within a house in the town of New Zebedee, by the extremely evil Isaac Izaard—its chimes were meant to herald the end of the world. An ordinary boy—a roly-poly scaredy cat by the name of Lewis Barnavelt is tasked to thwart the doomsday clock and the beyond-the-grave meddling of Isaac Izaard's equally evil wife.    

The House with a Clock in its Walls

Looking at his drawings for this book always leaves me feeling cold—literally. Its a delicious feeling that adds to the suspense and picks up on the atmosphere of New Zebedee, which is located in Michigan (known for its freezing winters).

An illustration by Edward Gorey of Lewis, Mrs. Zimmerman, and Uncle Jonathan escaping from a vehicle in hot pursuit

Illustration of Lewis Barnavelt by Edward Gorey

2. Arthur Rackham (1867-1939)
An English bloke who is considered one of the finest and most prolific book illustrators in history, Rackham was known for his intricate renditions of supernatural folk and fairytale characters. His work—a combination of pencil, india ink, and watercolor—has become the stuff of legend, and has inspired many contemporary works of art in all media. For example, Wikipedia states that Guilermo del Toro, director of the Academy-award-winning Spanish fantasy, Pan's Labyrinth, was heavily influenced by Rackham in the conceptualization and design of one of the film's main characters, The Faun.

The Faun from Pan's Labyrinth

As a kid, I remember seeing Rackham's illustrations gracing the pages of my book of favorite fairy tales by the Brothers Grimm. My mom passed this book down to me (I can't seem to find it. I suspect it's buried beneath tons of cartons). I can't find an exact photo of that particular edition (Sorry). Here are some of my favorite illustrations done by Arthur Rackham from that collection of tales:

Illustration done by Arthur Rackham for the story "The Old Woman in the Wood."

Illustration done by Arthur Rackham for "Snow White."

3. Quentin Blake (1932-Present)
One of my all-time favorite authors is Roald Dahl. I love all his books whether for adults or children. I have to say that the illustrations played a big part in my being such a big fan. Quentin Blake, another Englishman, is the genius behind nearly all of the illustrations for Roald Dahl's books. In fact, the Roald Dahl website features his artwork. This guy is so good he was awarded the Hans Christian Andersen Medal for his work as a book illustrator.

The BFG, short for Big friendly Giant, is one of my favorite Roald Dahl books. Its about a giant whose sole pleasure in life is giving children good dreams. A little girl named Sophie espies him in the act of doing this and so he picks her up and takes her to his homeland. Unbeknownst to Sophie there are other giants who live in Giant Country, and these want nothing else but to gobble up humans, who they refer to as "Human Beans." What follows is an extraordinary adventure that involves helicopters and the Queen of England!   

Sophie and the BFG by Quentin Blake

Another book I love is The Twits, the story of a gruesome, smelly twosome who have a penchant for bird pie, scaring kids, and tormenting each other with cruel practical jokes even if they are husband and wife! In the illustration below, in order to payback her husband for the nasty trick he played on her, Mrs. Twit serves up a dish of WORM spaghetti!

Mr. and Mrs. Twit by Quentin Blake

4. Georgina Hargreaves (1939-Present)
Georgina Hargreaves was one of the illustrators for several of Enid Blyton's books. Born in Lancashire, Georgina studied art in the Bolton Art School. Her style is quite distinct and is very appealing to children. Her drawings exude a warmth and innocence so vital to the characters that populate Blyton's enchanting tales.

"Cover of The Magic Faraway Tree by Enid Blyton," illustrated by Georgina Hargreaves

Her illustrations for the Magic Faraway Tree edition first published in 1939 are really wonderful, and will delight anybody who is familiar with Enid Blyton's tale of three children who discover a magical tree that takes them to fantastical lands. I will never forget her illustration of "boiled sweets" growing from bushes in clusters, the Land of Goodies!

Sir Stamp-a-Lot from The Magic Faraway Tree, as illustrated by Georgina Hargreaves

5. Daniel Egneus
Daniel Egneus is one of the more contemporary artists I favor.  He's done campaigns for big names like H&M and Haagen Dasz, among others, and was elected Best Illustrator by the Association of Illustrators in the UK in 2005.

By Daniel Egneus for the Haagen Dasz campaign

I really enjoyed the illustrations he did for Little Red Riding Hood, published by Harper Collins. They are really beautiful.

Little Red Riding Hood cover image by Daniel Egneus

 His style is very distinct and romantic. Check out this video: 

This wraps up this blog entry. Really, a picture can make an enormous difference, especially if the written work it portrays is equally a masterpiece.

SHEER POETRY

(*Recommended reading age: For mature readers only)

This post is about the recipient for the non-fiction category of the 2010 National Book Awards: Just Kids by Patti Smith, one of the most moving books I've ever had the pleasure of reading.

The deckle-edged edition is soon to be available at Fully Booked. Even if I own the hardcover already, I will definitely buy the deckle-edged version (the cover has a great photo of Patti Smith and Robert Mapplethorpe; the back has a photo of them locking lips) as I really love the feel of the uneven pages.

For those who aren't familiar with Patti Smith, here's a brief background: Smith is an American musician who is also known for her poetry, activism, and work as a visual artist. Furthermore, she is also known as one of punk rock's pioneers and is considered a style icon of the 70s. Aside from her recent win at the National Book Awards, Smith is recognized as Commander of the Order des Artes et des Letteres, a title bestowed on her by the French Minister of Culture in 2005. She was inducted into the Rock and Roll Hall of Fame in 2007, and is also a recipient of the 2011 Polar Music Prize. 

Patti Smith performing at Tivolis Koncertsal, Copenhagen, Denmark.--Wikipedia

Just Kids is a memoir of life with her dearest friend and soulmate Robert Mapplethorpe, one of the most influential photographers of his generation.

Self Portrait, 1980-Wikipedia

In all honesty, I'm no lover of poetry though I do admire the work of certain poets like Ted Hughes and E.E. Cummings. I was a little hesitant to read this book—I wasn't sure if it was one of those books that told a story purely through poetry, but my desire to learn more about the enigmatic Patti Smith (being a fan of her music and art) overcame my fear of not being able to relate. I am so glad I made that choice.

The book does not consist solely of poems though there are a few, but it felt like a string of beautiful verses, seamlessly overlapping. Patti Smith writes with a fluidity and grace that is close to lyrical. She speaks of her relationship with Robert Mapplethorpe with such profundity and reverence. They seemed destined for each other; I believe it was much more than coincidence the first time they laid eyes on each other, and how he would later on save her from an unpleasant experience.

I am awestruck that two people could have such a strong connection, and how their love transcended the physical, evolving into something so pure. (I am deliberately being vague as I don't want to deprive anyone of reading this wonderful story)

Patti Smith and Robert Mapplethorpe by Norman Seeff

The book corrected many misconceptions I had of Patti Smith. I initially thought that she was a harsh woman whose life was marked by vice—it doesn't help that she's reed thin and looked haggard even at a young age, or that she was part of a generation that lost many to AIDS or addiction. A large part of her life was spent surviving poverty and starvation, and through all this she maintained such a great outlook and a constant determination to improve her artistry and her relationships with the people around her. It baffles me how someone could have gone through so much suffering and emerged victorious. She is a Renaissance woman in every aspect. I also love the fact that she worked in a bookstore (Scribner's Bookstore).

Just Kids also recalls an era so steeped in creativity, originality, and raw talent—New York in the 60s and 70s. In its pages are Andy Warhol, Salvador Dali, members of the 27 Club (group of musicians who all died at age 27): Janis Joplin, Jim Morrison, Jimi Hendrix, and the famed Hotel Chelsea, where many staggering works of genius were created, not to mention the death of many famous personalities, including the tragic death of longtime girlfriend of Sex Pistols bassist Sid Vicious, supposedly by his hand.

Patti Smith's writing is admirable. Smith manages to speak of how they (she and Robert) emerged as these larger-than-life creatures—respected and revered as two of the most gifted creative trailblazers of their generation—without an ounce of conceit or self-consciousness.

The book had many painful moments, but I couldn't put it down. I finished it in one evening, and when I finally closed it and set it down, it felt like I was saying goodbye to a person and not merely finishing  a book.

Patti Smith promised Robert Mapplethorpe she would write their story. She has done so much more than that, and has revived his spirit and the spirit of a lost generation with the gift of her words.

Snippets from The 2011 Junior Book Crew Part 2

*If you are having difficulty reading any of the essays simply click on the image for a clearer view :)

As per my blog entry on May 18, here is my promised follow up entry to the reviews created by the 2011 batch of the Junior Book Crew.

To reiterate: "the Fully Booked Zine's editor-in-chief gave several of them an exercise, which had to do with being able to write with integrity and honesty, and being able to find something positive in a book that they would not ordinarily pick up from the shelves. They were instructed to be as truthful as possible. The idea was to choose something from their favorite genre, but on a topic they weren't too fond of."
Expect a lot of honesty from this batch of reviews.

Funnily enough, my favorite one is a review on one of the Pippi Longstocking books by Astrid Lingren. I adore Pippi Longstocking, so why then do I say "funnily enough?"

Well, the reviewer didn't feel the same way. In fact, I could say the reviewer loathes Pippi as much as I love her! Nonetheless "Adrena Lynn's" review was so well-written and so honest that it made me laugh until my sides ached! Since Adrena used a pen name, I will keep her identity secret. Here it is in all its glorious candor:

The next review is by Kirstein Gail Sese, also known as Spring. Spring was not familiar with Tintin until the day she was asked to review Tintin in Tibet by Herge and although she loves children's books she isn't too fond of adventure stories. (Speaking of Tintin, I can't wait for the film adaptation of Secret of the  Unicorn, which is supposed to come out in December 2011)

Spring's essay was very brief, but that isn't to say that it didn't effectively convey how she truly felt about the book. Her review is an example of concise writing. Straight to the point, without frills, but well-written. If you think about it, dailies and publications like Time and Newsweek employ the same kind of writing. They get straight to the point and avoid "unnecessary" details, which lead readers far away from the actual point. Well done, Spring!

The next review is on a compilation of one of my favorite authors Edgar Allan Poe. This review is by Jamiya Doreen Umali (age 15), called Jamie by her friends and family. The editor of the Fully Booked Zine told me that she was pleased to discover that Jamie loves reading classics.

Actually, Jamie is the only one of eight who participated in this writing exercise who professed a love for classic literature. She cited Jane Austen as one of her favorites and horror as one of her least favorite genres. Jamie gamely agreed to read chilling tales written by one of the greatest masters of the macabre, and came up with this essay. For someone who said she didn't really like the horror genre, her essay show that her love for literature and open mind are far greater than her distaste for the genre.

 

The last review is by Daniel Gabriel (age 16). Daniel is a movie buff, but isn't much of a science fiction lover so he was assigned to review the Star Trek Encyclopedia. 

Here is his review, which very neatly points out the longstanding rivalry between Star Trek and Star Wars--even if he's not a fan to begin with, he makes a commendable effort to inform readers on the merits of the book, and why it will appeal to fans and newbies alike. Bravo, Daniel!

THE RING COULD CHOOSE YOU...

Today is the day the highly anticipated Green Lantern movie begins screening in Philippine theaters! Although I'm not a hardcore Green Lantern fan, seeing the trailer made me decide that this is one movie I'm not going to miss. The special effects look great, and I've always found Ryan Reynolds cool, beginning when I first "really" noticed him as George Lutz in the Amityville Horror remake in 2005 (I didn't like that movie much though). 

Trailer 2



Before I go on, Fully Booked has an awesome Green Lantern promo going:

Pretty cool, huh? All you have to do is buy ANY DC Comics Graphic novel, and you're entitled to a raffle stub for a chance to win an awesome Green Lantern t-shirt or poster! Here are the complete mechanics:

Basically, the movie centers on Hal Jordan, who is the second Green Lantern. Alan Scott was first. Before Ryan Reynolds was CHOSEN, there were a couple of Hal Jordan wannabes up for the role, and one of these was Justin Timberlake. I never thought he would be a good actor until I saw The Social Network where he plays bad boy Napster mastermind Sean Parker. Some people joked that maybe he was good because he was actually playing himself though I suspended all judgement since I don't know the guy personally.

Jared Leto was also a contender and so was Brian Austin Green (you probably remember him from Beverly Hills 90210). Green is actually a genuine Green Lantern fan.

This is what Hal Jordan actually looks like in comics:     

Art from the cover to Green Lantern: Rebirth hardcover collection, by Ethan Van Sciver. (2007) from Wikipedia.com

I think Ryan Reynolds is a pretty close match though so is Brian Austin Green in terms of looks (a mask does wonders). However, Green's geeky voice as David Silver in Beverly Hills 90210 is sending alarm signals to my brain. Hopefully, they made the right choice as some hardcore fans out there will be shaking their fists at the injustice of it all. (This is how I felt when they cast Charlize Theron as Aeon Flux. I think she's awesome but for me she just wasn't Aeon Flux material. I was rooting for Famke Janssen! Arg.)

Something else worth knowing is that Geoff Johns, the writer behind several Green Lantern graphic novels (he's done The Flash too) like Green Lantern: Blackest Night and Green Lantern Corps: Recharge is credited as a creative consultant for the Green Lantern movie. This makes me actually want to watch the film all the more as I'm certain that having him on board seals the deal in terms of loyalty to the whole Green Lantern concept.

Another thing I didn't know is that Supe (a.k.a. the Man of Steel) was suppose to make a small appearance. They sliced him out—scared he would steal the show.

Quentin Tarantino (Pulp Fiction, Kill Bill, Reservoir Dogs) was considered for direction (I wonder how true that is though). I am so curious how that would've panned out though I really loved Casino Royale so "Go, Martin Campbell!"

I am currently reading Green Lantern: Agent Orange, which is pretty much the prequel to Blackest Night. So far, it seems pretty good, but since I haven't finished it yet, I'll have to form a concrete opinion after I'm done. It basically revolves around ol' Hal looking for the Orange Lantern. Something I can definitely say is that Philip Tan did a bang-up job. Awesome stuff!

 
Gonna catch this movie soon! Let me know what you guys think when you're through watching it. I'm especially curious how Green Lantern fans will feel.  Happy long weekend everyone!

Snippets Part 1 from The 2011 Junior Book Crew

* If you are having trouble reading any of the essays simply click on the image for a clearer view :)

The 2011 Junior Book Crew graduated just this Monday. It is a pity I never got to meet any of them though I am proud to have read some of their very wonderful compositions. The Fully Booked Zine's editor-in-chief gave several of them an exercise, which had to do with being able to write with integrity and honesty, and being able to find something positive in a book that they would not ordinarily pick up from the shelves. They were instructed to be as truthful as possible.

The idea was to choose something from their favorite genre, but on a topic they weren't too fond of.

I have decided to publish their work as is: no edits; all the charm of their handwritten book reviews preserved. Here is a picture of the 2011 Junior Book Crew during their graduation. There are 2 batches: the first for those ages 11-13 and the second for those 14-16.

The 2011 JBC ages 11-13

The 2011 JBC ages 14-16

 I really love the way Derick del Rosario (age 11) wrote his review on Legends of the Dark Crystal Volume 1: The Garthim Wars (Legends of the Dark Crystal: The Garthim Wars) (v. 1) by Barbara Randall Kesel (Author), Heidi Arnhold (Author). He even included illustrations! Bravo, Derick!

(*You can click on the images)

 

The next review is by Erinn Oleta (age 13). It is on the book Gilda Joyce, Psychic Investigator: A Mystery by Jennifer Allison.

Read on, folks! For somebody who says she doesn't like mysteries, she sure gave me a pleasant surprise!

The editor-in-chief of the zine was particularly pleased with this essay done by Mikki Yam (age 13), who professed a love for the music section and Justin Bieber. She was given a book on Tori Amos (who couldn't be any further from Justin Bieber), a singer she had never heard of, entitled, Tori Amos: The Authorized Biography: All These Years by Kalen Rogers. She was pleased that Mikki was actually open to discovering a new artist, and that she actually "sorta liked" Tori Amos.

To be fair to Mikki, she was allowed to listen to one song of this artist before writing her essay. 

The next essay is also music-related. It is written by Elias "Miguel" Pascual (age 16). Miguel loves indie music, and he's definitely no Bieber fan. Miguel was fortunate that we had just run out of stock of Bieber-related reading material, and so our editor decided to give him a book on Lady Gaga, entitled Lady Gaga: Queen of Pop.

Miguel's piece was undoubtedly sincere, displaying a true love for music, and he has quite a way with words.

Stay tuned for Part 2!

FULLY BOOKED'S 2011 FILM LANGUAGE AND GRAMMAR CLASSES

 
The Fully Booked 2011 Film Language and Grammar Classes are officially closed. Thank you for your participation!

 

Want a career in film or advertising? Or, have one already but are looking to expand your knowledge and hone your skills? Sign up for the Fully Booked 2011 Film Language and Grammar Classes, organized by director Lyle Sacris and moderated by Jozza Palaganas. This series of talks tackles everything from basic film appreciation to post-production to acting, with industry notables as guest speakers and moderators. 

The workshops are open to anybody 18 years old and above. There are limited slots available. Interested parties must pre-register by emailing their name, address, and contact number to marketing@fullybookedonline.com with the name of the class/es they would like to sign up for as the subject heading (i.e. FILM APPRECIATION, DIRECTING, AND ACTING). The fee/s may be paid on the day of the class itself, at the registration booth by U-View. Classes longer than 5 hours will include a 1-hour break for speakers and attendees.

*An important note: Pre-registration automatically saves a slot for the registrant. Fully Booked will not ask you to pay in advance, but should you be unable to make it to the said workshop, a cancellation e-mail to marketing@fullybookedonline.com at least 2 days before the workshop would be greatly appreciated. Your slot can then be allotted to others. Thank you in advance!   

April 9: Film Appreciation I with Quark Henares and Erwin Romulo

1:00-6:00 p.m.

P150/head
*Class closed

April 10: Script Writing with Raymond Lee and Jim Libiran

1:00-10:00 p.m.

P300/head

*Class closed

April 16: Production Design with Richard Somes and Jun Sabayton 

10:00 a.m.-7:00 p.m.

P300/head

*Class closed

April 17: Post Production with Jobert Montreras of Post Manila

3:00 p.m.-7:00 p.m.

P250/head

*Class closed

April 30: Directing with Joel Lamangan and Jerrold Tarog 

10:00 a.m.-7 p.m.

P300/head

*Class closed

May 1: Cinematography with Raymond Red 

1:00 p.m.-7:00 p.m.

P250/head

*Class closed

May 7: Film Appreciation II with Philbert Dy and Oggs Cruz 

1:00-6:00 p.m.

P150/head

*Class closed

May 8: Acting with Cherie Gil, Mark Gil, and Joel Torre

1:00-6:00 p.m.

P800/head

*Class closed

LYLE SACRIS: LIGHT CHASER

This blog entry will feature the article of guest blogger and Fully Booked Zine contributor, Dodo Dayao, who also happens to be a film critic and blogger (Visit his blog "PILING PILING PELIKULA!" )!

Dodo Dayao (photo courtesy of Dodo Dayao)

The purpose of this blog entry is to introduce Fully Booked film ambassador, director Lyle Sacris.

Lyle Sacris surrounded by...uhhh...countless Sailor Moons! (Photo by Ody Flores; Post by Fabo)

Why a film ambassador when Fully Booked is a bookstore? Think about it. Fully Booked has a film section and carries DVDs (as well as CDs). Fully Booked also has U-View, a 62-seater theater in the flagship branch in Bonifacio High Street. Fully Booked also describes itself as "...a shop that brews inspiration. With a cozy atmosphere and a well-informed staff, Fully Booked is not merely a bookshop but a lifestyle destination." 

There are many stories to be lived out. Lyle Sacris's story is an interesting one, and is one of film in both the advertising and cinematic aspect.

Film, as an important aspect of  culture, is something that Fully Booked would like to highlight for the months of April to June 2011, and most especially the significance and potential of Philippine Cinema. Watch out for a barrage of exciting film-related classes and activities!


Lyle Sacris has long been a much valued customer of Fully Booked. I've been a longtime fan of his, and have had the opportunity to meet him on two occasions. He is an awesome dude who drives a Harley and he just adores books. I've spotted him many times skulking in the film and children's sections of the stores, while  myself skulking in the store's various sections. Spotting his unconventional hairstyle and warm, friendly smile always puts me in a good mood.

Here is Dodo Dayao's article on Lyle Sacris, as it appears in the 17th issue of the Fully Booked Zine. Enjoy! 

 
Light Chaser

His parents wanted Lyle Sacris to be a doctor. He really wanted to be a photographer. Terry Gilliam changed all their minds

Words by Dodo Dayao

 

“Nothing beats God’s lighting rig.” We are, Lyle Sacris and myself, talking about his philosophies as a cinematographer, and I’ve asked him, out of curiosity, what his stance on available light is. Lyle is, of course, talking about the good ol’ sun, the HMI of HMIs, such as it were. “After all, natural light is what every cinematographer goes to all the trouble of simulating artificially.” Not to say that Lyle is himself above going to all that trouble. He has, in fact, developed a rather unorthodox madness to his method. “I ask for two, three hours from the director to light the set. I consider the entire area, all the angles of coverage, all the scenes. After I’m done, you don’t have to move the lights anymore every time you change a shot. It actually makes shoots go faster.” It’s a process that factors in time and budget and entails much rigor and science, drawing, as it does, not only from Lyle’s film school tutelage, but from his days of putting in pre-med college toil. That’s no typo. Medical practice really was what lay at the end of his educational path.

The mental image of Lyle Sacris as a doctor doesn’t cohere easy, not even if you think of it as a prank or some wild alternate world scenario, both of which it isn’t, coming this close to finishing up as real world fact. Much as it was at the behest of his parents, Lyle wasn’t exactly disgruntled about becoming a doctor, but he did have this niggling infatuation with capturing images and making them mean something, an art gland, if you will, starved of nutrients and spoiling for discharge, breathing down his neck. This is what usually happens when you stray off your right track. And then he stumbled onto three movies, three very disparate movies at that. And got assaulted thrice by epiphany. After which, he didn’t want to be a photographer anymore.

Terry Gilliam’s urban dystopia Brazil showed Lyle how far you could push the envelope of moviemaking. Peque Gallaga’s lavish period saga Oro Plata Mata showed him how far you could push the envelope of local moviemaking. But Luis Bunuel and Salvador Dali’s surrealist hand grenade Un Chien Andalou showed him you could actually set fire to the envelope and make a film from the cinders, and what had been a dormant strain of avant garde in his blood emerged in heat. This last was what Lyle wanted to do. Set fire on everything and film the conflagration. These films and the volatile paradigm shifts they set into motion, this became the collective map by which he got here. The burgeoning doctor inside him didn’t have a prayer, falling into the cracks and dying a messy death.

I admit to having never seen Lyle’s first two major studio features, outside of random half-remembered fragments on cable. And I’m not sure he wants me to either. I do know that one is a rom-com and the other had the Viva Hot Babes in it, and that both hardly qualify as mortal locks for the experimentalism Lyle was leaning towards. I know, too, that like most films wrung through the local studio system, not all of Lyle was up there on the films. A degree of anonymity and a truckload of compromise are such givens of working in the mainstream that they’re not caveats anymore but a territorial imperative almost. And it’s not as if Lyle was oblivious of this. But much as it didn’t exactly disillusion him, the experience still disheartened him enough that a self-imposed exile in the States and a swearing off filmmaking seemed, at that time, the only salve. But life, as the cliché goes, had other plans. And his filmmaking jones was not about to go quietly into the night. After a serendipitous bumping into with independent filmmaker friends Keith Sicat and Sari Dalena, at that time thick into making what would be their revered feature Rigodon. And before long, Lyle was back in the production grind, helping them finish their film, pulsing the endorphin rush. It was enough vitamin and propellant to make him go back home and back to filmmaking. But this time he wore a new hat. His first work as a cinematographer was on Erik Matti’s sprawling fantasy Exodus. He knew enough to ally himself with friends. Since then he’s felt no need to exile himself again. It was also Erik who gave him a taste of what it was like to make commercials.

“If I can make a living from music videos, or better yet, from making the kind of films I want to make, which are not necessarily commercial, if I can make a living from art, why not?  But we’re not in Hollywood. And in the Philippines, advertising is where you can do that.” Lyle harbors no illusions about his advertising career. He understands that directing commercials is a function of craft, not of art. That it’s a living, not a calling. That the client is king, and there is no room for auteurs, and that to maintain his sanity, he needs to separate one from the other. It’s the sort of wisdom that only someone who has managed to cross over from one opponent discipline to the other with ease and balance can receive and impart. It’s difficult enough as it is for anyone to break into commercials. And he’s not reckless enough to squander the gift. “There are a lot of people with a lot of talent out there but talent isn’t enough, or at least is not the most important virtue. Above all else, you must have a very sound work ethic. Of course, a little luck goes a long way.”  And without being falsely humble, Lyle feels that luck played more of a part than anything else in his crossing over. You could trace it all back, he says, to how two of his early, and best, commercials─Riles and Habagat─received a tsunami of industry awards here and abroad, effectively boosting his cred, cementing his rep and putting him on the map. He’s since settled comfortably into the contours of his new career.

Not that he’s turned his back on film and on making. His last film was a 5-minute segment for Jon Red’s omnibus project Imahe Nasyon back in 2006, and he knows he has a few longer films in him. There’s one script by a friend that he wants to turn into a feature and almost shot a couple of years back. He promises to return to it someday soon. Right now what he’s fiddling with and trying to finish is a short, slightly surreal and very funny one that would double as viral ad for his store, Sputnik. He’s also been teaching film at his alma mater. “Sometimes, you give someone total freedom and they get lost but put them in a box and they find themselves.”  The box he put his students in, the box he’s proud enough to call his baby, is an exercise involving a common script, without the mandatory qualifiers and descriptors, just words on a piece of paper, seemingly random, almost shapeless. These words are what his students make their thesis films from. He’s very pleased with the results. “No two films made were alike. There was a love story, a horror story, all from the same set of words. It’s amazing. Each and every one managed to find its own voice.”

One of his future plans is to parlay the exercise into a film contest for Fully Booked. “I’ve been an avid customer of theirs for a long time, and in fact, it was from one of the books I bought there that I got the inspiration for the exercise, but that’s not the reason I’m bringing it to them. Fully Booked, over the years, has become very supportive of independent filmmakers and independent filmmaking and local cinema in general. They’ve been holding film events at U-View for years. They’re not only very open to things like this, but they’re very serious and very enthusiastic about pursuing them.” The film contest, in fact, is just one of many activities in what Lyle calls an ongoing film campaign. On one hand, it’s an extension of his teaching, a giving back, a paying forward, not just to film students but to film enthusiasts, too, and to those who aren’t yet but have the potential and the desire to be. But ultimately it’s his way of staying in touch with his first love, with the very thing that made him quit his medical dreams. “The itch is still there. The commercials, they’re work. This isn’t. This is love.”-Dodo Dayao