DIREK: ESSAYS ON FILIPINO FILMMAKERS

FILM / PHILIPPINE STUDIES

In Ishmael Bernal’s Pagdating sa Dulo, Eddie Garcia plays the film director who is uncompromising and meticulous; moreover, contrary to industry practice, he is the type who does not want to be called “direk.”  When Romeo, the young star, asks, “Ano’ng gagawin ko sa eksenang ito, direk?” (What am I going to do in this scene, direk?), the filmmaker quietly admonishes him with disdain, “H’wag mo akong tatawaging direk.  Di ba sinabi ko sa iyong tumitindig ang balahibo ko ’pag tinatawag akong direk?  Wala kayong alam kundi short cut.” (Never call me direk.  Didn’t I tell you that I get goosebumps when I’m called direk?  You know nothing but cutting corners.)

We have decided to call this book Direk.  The term is not meant to belittle the work of the film director.  “Direk,” through the years, has gained currency to refer to the filmmaker who calls the shots in a production.  If a medical doctor is called “Doc,” then we, in the field of filmmaking, call the film director “Direk.”  It’s a term of recognition of one’s position, a term of respect, a term of endearment.  And, it’s very Pinoy, isn’t it?  So, this book is Direk: Essays on Filipino Filmmakers.