work by a filmmaker from the Philippines screens in Venice.

Francis’s first film qualifies him to compete for the festival’s Luigi de Laurentiis prize for best debut film, an honor that includes $100,000 in cash, a $62,500 credit from Kodak and a Golden Lion of the Future trophy. In addition, “Jay” and Lav Diaz’s “Melancholia” are among the entries vying for the Orizzonti Award.

Judges for the award include 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).” The Jury will review all debut films in the main competition and sidebars.

Juror Ansgar Vogt, programmer of the International Forum of New Cinema in the Berlin Film Festival, has observed that this year’s batch of Philippine features “shows that the local indie scene is one of the most energetic in the world.”

In the 4th Cinemalaya Philippine Independent Film Festival last July, “Jay” was cited by the jury “for its sheer originality, energetic storytelling, mastery of digital technology in order to tell a story that is a trenchant commentary on the technology itself, and its very revealing take on the media and the uses and abuses of the truth.” It won several awards, including Best Full-Length Feature Film, Best Actor award for Baron, an additional grant of P200,000, the Cinemalaya Balanghai trophy and Best Editing (which Francis shared with Kate Serraon and Chuck Gutierrez).

“What a journey it has been,” Francis said via e-mail about his tough but rewarding adventure to make his first film. “When I look back on everything we have been through, it’s really a miracle that we finished the film and it is receiving all kinds of accolade here and abroad.”

For his part, Best Actor Baron Geisler said winning was “surreal.” Interviewed by Inquirer backstage at the Main Theater of the Cultural Center of the Philippines (CCP), where the awards show for the independent film festival was held Sunday night, Baron was shaking.

He added that the experience was sweet vindication, having figured in a sexual harassment scandal recently. “It’s weird,” he said about the succession of events. Just days ago, he was in a court hearing. “Now I’m at the CCP, accepting an award in front of respected critics and artists. I’m blown away. I’m in heaven.”

Casting gamble

The 30-year-old director Francis Xavier Pasion graduated cum laude in AB Communications at the Ateneo de Manila University. In our extensive Q&A, he opened up about gambling on the hitherto untested Baron Geisler as well as the financial struggles he’s still dealing with in connection with the film.

Strong spirituality enabled Francis to survive his cinematic baptism of fire and sustains him to this day. He does not hesitate to say that divine providence led him to cast Baron, that God is his co-director, and that a nun named Sister Bubbles is his “official confidante and retreat master.”

He cited a significant event that helped shape him: “After graduating from Ateneo, a friend of mine invited me to a retreat entitled ‘Knowing the Desires of your Heart.’ It was conducted by Sister Bubbles, a Cenacle Sister. It was only then that I discovered that there is a retreat house in Xavierville subdivision near Ateneo. It was during that retreat that I realized I really wanted to create to inspire others, be it in writing scripts for telenovelas or directing movies.”

The young man embarked on that journey right after college. He turned down a high-paying job in advertising and instead chose a fortuitous stint as director Marilou Diaz-Abaya’s wardrobe assistant on the set of her “Muro-Ami” in Bohol.

After that three-month gig, which Francis described as a “dream job,” he worked as creative assistant for ABS-CBN, assessing scripts for Star Cinema and conceptualizing shows for the network. Then he began writing for a soap opera, “Kay Tagal Kitang Hinintay.” But after a few months, he returned to his job as a creative assistant for the Synergy Group.

Writing stints

“Then I realized, I really wanted to create and write,” he said. “I resigned from the Synergy Group, giving up the security and benefits of the corporate world to become a brainstormer for ‘Sana’y Wala Nang Wakas.’ When one of the writers was delegated to another project, I got my writing break. I went on to write ‘Hiram’ and ‘Sa Piling Mo.’”

After these soap-writing stints, Francis became the head writer of “Nagmamahal, Kapamilya.” “I learned a lot in that show,” he declared. “I got to interview real people, travel around the country and in other countries. The show features OFWs and their families left in the Philippines. Sometimes, we reunite families or feature successful Filipinos abroad.”

He revealed, “My experience with this show became the material for the film I wrote. While we were taping the spiels of Bernadette Sembrano in the Big Brother house in ABS-CBN, we were shocked to learn about the murder of the producer of the show. I was deeply affected even if I didn’t know him personally. I decided to use his case as the content of the documentary being produced by the character played by Baron.” In honoring Baron, Cinemalaya described his character as “a gay TV show producer who makes a documentary about a homosexual teacher brutally killed in his home.”

Here are excerpts from my interview with Francis Xavier Pasion:

How did your faith lead to the casting of Baron?

I spent my last two birthdays with the Cenacle Sisters. On my birthday last Feb. 8, I wanted to welcome another year in my life by thanking God for all the blessings. And I had some concerns about my directing debut. I really told God to direct this film with me. I cannot do it alone.

I needed divine guidance even in casting for the roles of actors. I had to cast the perfect actor to play Jay. So I prayed. We had so many candidates, but none really suited our needs. I felt that some of them regarded the role as just another job.

We never considered Baron. We thought he was too “rough” for the role. He auditioned because my director friend, Aloy Adlawan, asked him to try out. When he auditioned, I was forewarned about his alcoholism. I even consulted Sister Bubbles. She told me that she likes Baron because of the “pathos” in his face. Then Leo Abaya, production designer of “Jose Rizal” and my consultant in this project, said the same thing about Baron – that there is “pathos” in his face and his eyes. I thought Baron could give another dimension to the character and elevate it to not just being another gay character on film.

So on the night while I was about to make a decision of whether to cast Baron, I was reading a book on the Kabbalah. A passage struck me. It says: “Miracles never happen in the comfort zone. They always happen on the danger zone. Push yourself to the edge of the cliff for you to fly.” So I made a very risky and “dangerous” decision to get Baron who is straight and has a reputation for being difficult or an alcoholic.

In fairness to Baron, he did not drink during the erratic shooting days of the film. And he helped raise funds for the film. He allowed us to use his vehicles and he was very concerned about the staff. He also waived his talent fee. That’s how much he believes in this project.

Can you talk about his performance?

The role really challenged him. He may not be perfect but he is very sincere and truthful to his character. And it shows in his eyes, in his face. In some scenes, he was really talking and behaving like Jay. His instincts and nuances made him convincing.

Halfway through the production, he got embroiled with his controversial [molestation] case. We never talked about the case on the set. He was professional and did not pose any problems for us.

Have you recovered yet from the feats that “Jay” has achieved in such a short time?

Whenever I look back at our process of making the film, I am always humbled by the experience. It’s so easy to be proud and to tell the world of your achievements, but I also know that I did not direct and produce this film alone. I also refuse to use the tagline “A film by Francis Pasion” because I know that I am not alone in making this film. I should not own it. I do not have the right to take all the credit. Forgive me for sounding overly religious, but I give back all the glory to God.

After the screenplay won the Grand Prize in 2007 in the Cinemanila-FDCP Scriptwriting Contest, I already knew that it should be made into a film. One of the judges wanted to direct it but I humbly expressed my interest in directing it and entering the script to the Cinemalaya.

While we were waiting for the announcement of the Top 10 finalists for Cinemalaya, I prayed to God that if I don’t get in, thank you. I might have been spared from making a bad film. I might not be ready. But if I get in, please make the universe conspire in my favor. I consider filmmaking a spiritual journey. While some of my friends would take up a crash course in film production, I would go out on a spiritual retreat with the Cenacle Sisters. I was preparing my spirit for the journey.

The real director

Being the writer-director-producer of the film, I could have easily been dominated by my own ego and imposed everything on the set. Not with this film. With each sequence, my ego was constantly being beaten up. I realized that the only way to produce a good film is to surrender—to your living set, to your team, and to always choose what is important and true. Allow the film to have its own life, even if it completely opposes what you have in mind. In the end, you realize God is the director.

It’s hard not to talk about divine providence when you are in the process of filmmaking. From day one, I told God, let’s co-direct this film together. When I made that covenant with him, I thought everything would be easy. In the beginning, everything went smoothly. But when we began shooting in Bacolor, Pampanga, I knew what they meant by baptism of fire. I felt the fire scorching deep in my bones. It’s the feeling that you do not have time to even cry by yourself because everyone is waiting for your next shot, for your decision on something. And whenever I look up to God for answers, oftentimes he is silent. My co-director doesn’t talk much. He allows me to learn from my mistakes the hard and painful way.

I can write a book about the challenges and problems we have been through. My line producer and production manager did not finish the film so I assumed their positions. After I’ve shouted “Pack-up!” I would undergo the painful process of counting how much money we have left.

“Even up to now, most of my staff has not been paid yet and I am not proud of it. Maybe more than their loyalty to me, they are all loyal to the film. They believe in the film. When you believe in something, you stick with it. And their loyalty paid off.”

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 Loyola Film Circle, born 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: bayanisandiego@hotmail.com

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