You’ll see a lot of close ups and medium shots in that scene because the bottom parts of our bodies were already underwater.” The calling card All went well until the tide started to rise, and so did the prop piano. The scene called for a white baby grand piano so the production design team made one. “It was filmed on a sand bar out in the sea. The singer says shooting the fantasy sequence featuring the song “Shadow of Time” at Hundred Islands, Pangasinan was a memorable moment. The fun and energetic finale with Jobelle and Gary. We both spent a lot of time talking about technical things like cinematography and lighting for film. He knew what he wanted and didn’t stop until he got it. I liked Jeric very much because he was finicky but very nice. ![]() “Shooting took longer than usual because he shot like he was shooting a glossy TVC. “Jeric was a perfectionist,” says Raymond. He played the talented composer who needed to keep his dreams of becoming a musician a secret his father wanted a more ‘practical’ pursuit for his son. Of Raymond, the director remembers the movie’s melancholy songs. Herbert’s ad libs, Jeric later realized, killed inside the movie houses. While shooting, Jeric wouldn’t exactly find Herbert's jokes funny but he let the guy tell his punchlines-which would turn out to be the smart choice. He lives in a house as old as his doting grandparents and finds comfort in his room full of exotic animals. Unlike the Aga character, his was the one who didn't get the girls. Jeric remembers Herbert to be the comedian in the group. Eula Valdes has both her hands tied at right. Inside Intramuros for the fantasy battle scene. With one snap of his finger, he could get any of those girls, but he kept his distance. Every time we have a shoot we have to move fans here and there.” Jeric describes the 15-year old Aga as a young boy who loved music. Walang break-in break-in.” Besides, they weren’t exactly making a Lino Brocka movie, Jeric adds, laughing.Īga Muhlach played himself, too: the handsome, baby-faced charmer who could get any girl he wanted. “He was a lady killer, that’s for sure,” Jeric recalls of watching Aga on the set. “He could deliver his lines, he could emote. “Gary was very accommodating,” remembers Jeric. It helped that the singer was partly playing himself: a sought-after recording star whose fans just couldn’t get enough of their idol. Gary Valenciano, who was being introduced in the film, was a lot like his director: a confident first-timer. “They were all as excited about making the movie as I was,” he says. Working with the actors turned out to be a breeze. Image courtesy of Jeric Soriano First timers He made eating at Jollibee look cool. He put the film together with the assuredness of a veteran, making the original material, in more ways than one, sing. He made it visually exciting, throwing in fantasy and animation to the pot, and action and adventure. He gave it the youthful polish and style not exhibited by any other director in those days. “Hotshots,” even now, does not look like the work of a newbie second-guessing his moves. The story may have been a bit too lightweight for some people, the script a little predictable, but the bagito director gave it the pizzazz it needed. I knew the cameramen,” recalls Jeric of the “Hotshot” environment. When Viva hired Jeric, it didn’t only hire a director it hired his crew and his equipment. It hired his company. ![]() Image courtesy of Jeric Soriano Not a stranger ![]() Behind them, production designer Edwin Garcia (with beard). In conversation with cinematographer Rody Lacap. He worked as the latter's assistant director for seven years, in films like “Bona,” “Angela Markado,” and “Kontrobersyal,” even appearing as an actor “for about five seconds” in the Gabby Concepcion-starrer “Burgis.” Meanwhile, he continued working behind the scenes in the movies, doing production assistant duties for Marilou Diaz Abaya before moving on to the great Lino Brocka. I did not do my first film but I did my first commercial.”įrustrated, he moved his deadline to four years later. It was a passion,” the now 64-year old recalls. I was a 20 year old boy and I said, my gosh, I want to be a director. “I’ve always wanted to be a film director. Unlike his father, though, Jeric wanted a job behind the camera. He is the son of ‘50s icon and LVN actor Nestor de Villa, or Gines Francisco Soriano in real life. If the young Jeric was under the influence of the magic movies make, it was perfectly understandable. That was my dream." Image courtesy of Jeric Soriano Soriano on the set of 'Hotshots.' “I’ve always wanted to be a film director.
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