TAKE FIVE
Thoroughly independent Tetchie
By Bayani San Diego Jr.
Philippine Daily Inquirer
First Posted 16:22:00 12/31/2008
MANILA, Philippines—She sounds thoroughly like a teacher in Art Appreciation class.
Tetchie Agbayani, who won Best Supporting Actress for Richard Somes’ “Yanggaw” at the recent Cinema One Originals film fest, explains that the digital movie is not just a horror flick: “The aswang is a metaphor for any affliction that threatens the family.”
Tetchie — who made a splash as a Playboy centerfold in an earlier celebrity incarnation — now teaches Guidance and Counseling for Special Children at St. Joseph’s College in Quezon City.
Teaching is a whiff of normalcy in the otherwise abnormal work schedule of an actress, Tetchie notes, but the thrill of acting remains irresistible.
She has two movies in the works, one indie, the other mainstream — Chito Roño’s thriller “T2” for Star Cinema and Raya Martin’s period drama “Independencia” for Cinematografica (Philippines) and Atopic (France).
Coincidentally, “Indepedencia” scriptwriter Ramon Sarmiento was Tetchie’s teacher in college. “I still call him ‘sir.’ I found out he wrote the script only when I saw his name on my copy.”
The scriptwriter says the actress was a conscientious student who never ran out of questions.
But right now, it is the actress who answers questions for Philippine Daily Inquirer readers.
What’s it like working with independent directors?
It’s always refreshing to work with young people. With them, the whole process is creative. It’s not boxed up or dependent on formula. With indie filmmakers, you can explore and experiment.
What’s the challenge of doing “Independencia,” a period film shot entirely in a studio?
From the script, I read that the setting is a jungle. At first, I couldn’t understand the filmmaker’s goal. I thought shooting it in a studio was creative, but I wasn’t sure if we could pull it off.
But on the first day... the rushes were wonderful. We have a French cinematographer (Jeanne Lapoirie who worked in Francois Ozon’s “8 Women”) whose work is mind-blowing!
Now I can see the director’s vision. I believe that our job as actors is to help the director realize his vision. Now, in period costume, dark makeup and dishevelled hair, getting into character is a breeze.
How long does it take for you to get deglamorized?
An hour. It’s not so tedious. Working in a studio is great because all the sets are within reach. It’s not tiring moving from one set to another.
What’s it like working with Sid Lucero in “Independencia”?
We worked in (the ABS-CBN soap) “Ligaw na Bulaklak” before this movie and we hit it off right away.
Did you get to work with his dad, Mark Gil, in the past?
Yes, in Eddie Romero’s “Desire” in 1982. I was teasing Mark at the Cinema One awards: My kabarkada is your son; not you. Berks kami!
How do you see your character, the Mother?
I like her a lot. She’s strong and determined. When the Americans arrive, she takes her son, flees to the jungle and decides to stay there until the fighting is over.
Are you still teaching?
Yes. Every Wednesday. I have only one subject this semester: Guidance and Counseling for Special Children.
School is a totally different world.
Ay, oo, 180-degree turn! The hours are normal — unlike in the movies, where the hours are longer and unpredictable. The trick is to blend the two worlds, with their incompatibilities.
Your role was originally offered to Vilma Santos. Do you mind taking over another actress’ part?
Oh, not at all. When it was offered to me, I didn’t know they had considered somebody else. Well, I also didn’t ask. It’s really not my concern. They ought to know who to get.
I don’t have any qualms about stepping into somebody else’s role. No problem.
What’s your take on the international interest in Filipino movies, considering you made Hollywood films (“The Money Pit,” “The Emerald Forest,” etc.) in the past?
I hope it continues; it’s about time. That’s the effect of globalization. The world is shrinking. Everyone is interconnected now.
There are a lot of local indie films with gay themes; it would be nice if we could also send out movies that tell other stories. That’s why I’m happy that “Yanggaw” was invited to the Hong Kong Film Festival (in March).
Films like “Yanggaw” and “Independencia” are very Filipino in flavor. It highlights our culture. But what I love about “Independencia” is that it has a Pinoy look and a European sensibility. That’s very interesting.
