Actors take short cuts …

It all started on the set of the GMA 7 period series “Amaya.”

Between takes, actors Perry Escaño and Yutaka Yamakawa, who were cast as pre-Hispanic warriors in the prime time soap, were chatting about their dreams of directing their own indie films.

Escaño had just finished shooting his debut, the short film “Overture,” which he entered, along with his second short film “Alibi,” in the 23rd Gawad CCP Para sa Alternatibong Pelikula at Video, held at the Cultural Center of the Philippines (CCP) from November 22 to 25.

“I encouraged Yutaka to direct his own short film,” Escaño recalled.

Soon enough, they were brainstorming about a story idea which eventually resulted in “Tama,” scripted by Escaño and directed by Yamakawa.

Yamakawa submitted “Tama” in the CCP tilt as well.

“Perry is like family to me,” Yamakawa explained. “I’m comfortable working with him.”

Yamakawa also acted opposite another indie regular Richard Quan, under Escaño’s direction, in “Alibi.”

Total pro

“Even though we’re friends, Yutaka followed my instructions. He was a total pro on the set,” Escaño recalled.

Apart from TV work, Yamakawa shuttles between indie and mainstream films. “I was in Chito Roño’s ‘Dekada ’70’ and Jose Javier Reyes’ ‘Working Girls.’ I also worked with Lav Diaz in ‘Heremias’ and ‘Corporal Histories.”

Escaño has also appeared in a slew of TV shows and movies—most memorably in indies like Will Fredo’s “Compound,” Soxie Topacio’s “Ded na si Lolo,” Paul Soriano’s “Thelma” and Brillante Mendoza’s latest, “Captive,” which top-bills French actress Isabelle Huppert.

“I was inspired by local indie films,” Escaño quipped. “I used to write plays when I was in college and was motivated to try writing again.” Aside from “Tama,” Escaño also wrote “Alibi.”

“Indie films allow us to experiment with different kinds of characters and explore just as interesting stories,” Yamakawa asserted.

Quan said that working with the duo was a breeze. “It’s always an advantage to work with people you know. You’re more comfortable and easily understand each other. Plus, you also trust and respect each other, which is the foundation of a good performance.”

Yamakawa and Escaño picked up lots of pointers by simply watching their directors on the set.

Generous teacher

Yamakawa admitted: “I have no formal training in directing, but I’ve always been curious about filmmaking. In the past, I made it a point to study my directors’ shots and work styles.”

Topacio is a “generous teacher,” Escaño recounted. “For five years, he was my director in [the theater company] Bulwagang Gantimpala and he shared with us his experiences as filmmaker. He gave us numerous tips.”

“From Direk Lav, I learned the meaning of being a true artist,” Yamakawa noted. “He has very strong views on cinema. He taught me the importance of originality …  that, as an artist, I shouldn’t be afraid to take risks and tell whatever story I want to tell.”

Escaño pointed out: “We were determined to learn everything, all the tiny details of a director’s job, from pre-production to execution and editing.”

“Overture,” “Alibi” and “Tama” were produced by MP Productions.

“We’re happy and honored that our works were shown at the CCP,” Escaño said.

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