A man with a vision, colleagues described cinematographer Charlie Peralta, who passed away on May 23. He was 59.
Peralta, who started as a cameraman in the movies in 1987, won at least eight awards in his prolific career, including the local critics’ Urian for Chito Roño’s “Dahas” in 1995, the movie press’ Golden Screen Awards for Dante Nico Garcia’s “Ploning” in 2008 and Star Awards for Olivia Lamasan’s “In My Life” in 2010.
Although he shot numerous mainstream movies, he also worked on independently produced films like “Ploning” and Kanakan Balintagos’ “Pisay.”
CHARLIE Peralta on the set of “Ploning” in Palawan Photo by Ryan Agoncillo
Balintagos, who was then assistant director, first met Peralta on the set of Ishmael Bernal’s “Wating” in 1994.
Balintagos recalled, “I admired his technical skill and we hit it off right away. It was my dream to work with him.”
They finally did in “‘Pisay,” where Charlie achieved the technically difficult shots I had envisioned effortlessly.” Balintagos praised Peralta as a “true professional… he was passionate and I learned a lot from him. He will be missed dearly.”
Garcia recounted: “I was still a student at the University of the Philippines, but he was already a big name in the industry.” They met on the set of Roño’s “Curacha, Ang Babaeng Walang Pahinga” in 1998, where Garcia was an art director. “He would always treat the staff to merienda, pan de sal with sardines, liver spread and Cheez Whiz.”
On the first day of “Ploning,” Garcia panicked, realizing how ill-prepared he was for the job of director. “Charlie assured me, telling me to leave everything up to him.”
Perfectionist
Veteran filmmaker Maryo J. de los Reyes remembered the late cameraman as “a cheerful perfectionist, who loved dining out and was easy to work with. He got along well with everyone.”
De los Reyes—who worked with Peralta in several films, including “My Other Woman” (1990) and “Dinampot Ka Lang sa Putik” (1991)—said he treated the cinematographer like a “brother.”
“We were batch mates in (the Catholic charismatic group) Oasis of Love in 1991. He was prayerful,” said De los Reyes.
Another seasoned filmmaker, Joey Romero, explained that although they collaborated only once, on the horror movie “Vampira” in 1994, they remained good friends.
Transformation
“While we were shooting Maricel Soriano’s transformation scene (as a vampire), Charlie showed us what I wanted her to do—squirming as if suffering a seizure and rolling on the floor,” Romero recounted.
From then on, Peralta became Romero’s resident acting coach.
“Not only for Maricel but for the other cast members as well, like Boy2 Quizon and Joanne Quintas… anyone who had to do a transformation scene,” Romero said. “He was not being pa-impress… a know-it-all… I never saw him that way. That was just Charlie’s way of showing his passion for the craft.”
Peralta was a collaborator in the strictest sense of the word.
“If Charlie had a good idea, he didn’t keep it to himself, like other people,” Romero said. “We clicked because, as a director, I encouraged my team to offer suggestions, especially if it would improve a scene.”
Director Carlos Siguion-Reyna related: “I remember most clearly Charlie’s eyes intensely focused on the work. When we discussed camera set-ups and lighting, his entire being would be squarely facing you as if your shot was the most important thing in the world. You could sense an intelligence at work… planning solutions to problems.”
Siguion-Reyna, who worked with Peralta in “Abot Kamay ang Pangarap” in 1996, remarked: “He was generous. When we attended an international film festival, he took Tonton Gutierrez under his wing and made sure the actor would get to watch as many movies as possible. But he also loved to joke around and was a lot of fun.”
De los Reyes said the late cinematographer was the eldest son of photographer Romy Peralta, who established Roper’s, photo studio of the stars in the 1970s and 1980s. He is survived by wife Vicky and five children. Peralta’s funeral was last Thursday.