Eugenio “Toto” Villareal (left) with Rep. Ma. Rachel J. Arenas
Change has come, indeed—even for the Movie and Television Review and Classification Board.
Last Monday, Inquirer Entertainment met MTRCB Chair Eugenio “Toto” Villareal for this exclusive interview just 20 minutes after he finally met his successor, former Pangasinan Rep. Ma. Rachel J. Arenas (daughter of socialite and Rep. Rosemarie “Baby” Arenas), whose appointment paper came by way of a memo from the Office of the President dated Jan. 20.
Arenas has yet to take her oath as of this writing, but is expected to assume the post by the end of the week. The transition process requires three steps: You’re served your appointment paper. The new appointee is then given several days to act on it and attend an orientation session prepared by a transition team. Then, you take your oath of office.
What was their first meeting like?
“I was struck by Rachel’s humility. She has a cheerful disposition. She said she didn’t want any fanfare … just a simple turnover. We hit off beautifully. I truly wish her well,” Toto said with a smile. “Rachel told me she didn’t intend to reinvent the wheel. She expressed her support for the board’s Matalinong Panonood and parent empowerment programs. Now, I feel like a missionary who has completed his task. Regardless of how you feel about it, it’s time to move on.”
Any unsolicited advice for his successor? “Always look at things from the eyes of a child—with awe and wonderment.”
His colleagues described Toto as a “brawler in court,” but as MTRCB chief, who succeeded Sen. Grace Poe in 2012, he is noted for his collaborative and multidisciplinary approach to the controversial issues involving the entertainment industry.
“I’m proud of the audience empowerment and media literacy programs that we have worked so hard to implement. We promoted collaboration among stakeholders in the spirit of dialogue, and brought about a paradigm shift in the way that we determined remedial measures for ‘contentious’ situations, like profanity and prolonged ‘mature’ scenes in TV shows. The operative word is self-regulation.
“So a meeting with, say, the people behind ‘Goin’ Bulilit’ is converted into a ‘best practices’ conference that ends up introducing the notion of audience sensitivity, among others. We came to the realization that adapting an adversarial approach is better-suited for the courts.”
In our previous interviews with Toto, we have benefited from his knack for turning complex legal terms into comprehensible, “measurable” concepts—and our chat last Monday was no different.
Hair-pulling scene
Take Presidential Decree No. 1986, about the creation of the MTRCB. To explain the wisdom—and indispensability—of having at least half of the board’s 30-member composition come from the industry, he demonstrated the difference between a hair-pulling scene that merits a PG rating and another one that deserves an R-13.
In the case of the Animal Welfare Act, which has lately been in the news, especially in light of the dog slaughter scene in the Metro Manila Film Festival entry “Oro,” Toto stressed why clearer and more stringent laws have to be put in place to protect the depiction of animals onscreen.
“If there was truly a violation of a special law [concerning cruelty to canines], and a suit has been filed, let’s allow the situation to take its course,” he said. “As we say in law, it has a life of its own now.
“In instructive contrast, in section 16 of the Magna Carta of Women (which seeks to eliminate discrimination against women), it has a specific provision on the depiction of women, unlike other laws.”
Excerpts from our interview:
Are you happy about the reforms in the Metro Manila Film Festival? By this time, it’s fait accompli. I was part of the Execom, and we take responsibility for the decisions we made. It’s like a pendulum swing—it had to happen. For its next edition, a reality check is worth considering. For instance, how do you integrate movies that are perceived to earn more because of the bankable stars they field?
Maybe the festival can toy around with the idea of allotting slots for specific genres in the Top 8—for instance, pick the Top 3 for comedy, the Top 3 for drama, and so on. In the vetting, you may want to take a look at the entries’ ability to do marketing. Smaller production companies can collaborate with big networks (like Star Cinema, Viva, Regal) or put up modern cooperatives, like what they do in Spain and Singapore.
Or, they can consolidate their strengths, like the people behind ‘Heneral Luna’ (Artikulo Uno, Buchi Boy, Tuko Productions). A Film Promotions Act, which I have already suggested to a legislator, would also benefit the local film industry.
Moreover, the distinction between ‘mainstream’ and ‘indie’ has been blurred, as in the case of ‘Vince & Kath & James’—whose magic is in its simplicity. Pwede naman palang pagsabayin.
‘Smaller’ films should also look at the bigger picture, and not just think that a theatrical run is the end of the road for them. These days, the possibilities for profit are bigger because of cable and digital terrestrial TV and, if they can tap into these formats, streaming and video-on-demand services.
A not-so-little birdie told us that despite the lower box office take (P400 million, so far, compared to about a billion last year), the beneficiaries of the MMFF will receive a bigger share of the proceeds this year. Any reaction? That is precisely why I’m proud to be a part of the 2016 MMFF. And I salute (former Metro Manila Development Authority) Chair Francis Tolentino and Chair Emerson Carlos for helping us make that happen. But then again, we need to have the law ‘reformed,’ because the MMFF isn’t based on any law, but on an Executive Order by the Metro Manila Commission.
Strictly speaking, it’s [creation is] nothing but a Memorandum of Agreement among the cities and municipalities of Metro Manila. They agree to not just provide a showcase for local films, but also to help certain beneficiaries that are recommended by the Chair of the MMDA and approved by the Office of the President.
What are your immediate plans after you leave the MTRCB? Continue to practice law and teach Entertainment Law, a bar subject (Evidence) and Social Teachings of the Church (at the Ateneo and the University of Asia and the Pacific).
I’m also involved with a formation center for young dads called Kapuluan Study Center (on Maginhawa St. in Diliman). Interested parties can join our Matrix Adventurer club.
What have you learned from the MTRCB that you can apply to your other endeavors? It’s important to know where people are coming from—don’t make any preconceived judgment. Discover whatever is good in others and build on it. Look at the positive side of things. Think out of the box—be flexible. You have to be firm but kind. Don’t give up on people.