PREMIER MAGAZINE PH MAIDEN ISSUE JAN. '21 VOL. 1

Pr emier SAPERE AUDE

Vol. 1

JANUARY 2021 M AIDEN ISSUE

We Sh all Over com e I first encountered the phrase at a very young age before I could hardly read cursive text. I don't have a clue what it meant because I just happened to read it on my sister 's gray sweatshirt. The thing is, I've always wanted to wear that sweatshirt which looked good (at least on my sibling) with our school uniform.

A couple of years past, my sister finally handed it over to me and I've worn it countless times and kept it with me throughout my teen years.

In my twenties, I researched about the phrase and discovered what the words meant. I think it's one of the most profound three word phrases that made an impact on people's lives especially those who suffered and are still suffering; those who have experienced discrimination of any kind contributes and constitutes to unexpressed pain that has been part of our growth as human beings. No, this is not another protest message. This is my message to those who will read if not browse through this magazine. You may be part of the contents or you may just happen to click the link out of curiosity. This is a platform of minds gathered in one simple place. Consider it a form of art or just another medium wanting to take up space. Premier is just another name, but to me, it is a part of my 2020, a wake up call. And to most of us, it is a time that has brought us many realizations, I would refer to it as the year of Transformation. More than anything we have lost last year, we all know that in 2021, together, we shall overcome.

Photo by Ferdz Decena

DORCAS GRACE LECTURA PUBLISHER, PREMIER M AGAZINE PH dorcasgrace.redlark@gmail.com

Abou t t h e Cover

In 2020, aside from the standard mask and shield, the pandemic made us observe and be conscious about our surroundings. We needed to keep a safe distance between us as individuals and appreciate the space which seemingly became part of our new normal. Thus, the idea of using the actual "space" photos came about courtesy of NASA. It also became the theme of the FAMAS Digital awards which ushered in the digital sphere and introduced the FAMAS digital Maria as we escape our world for a better one where we become super humans in the absence of the dreaded Covid-19; at least in our minds; within the comfort of our home... with our gadgets.

WE NEED SPACE.

Astronomers using NASA?s Hubble Space Telescope have uncovered surprising new clues about a hefty, rapidly aging star whose behavior has never been seen before in our Milky Way galaxy. In fact, the star is so weird that astronomers have nicknamed it ?Nasty 1,? a play on its catalog name of NaSt1.

The star may represent a brief transitory stage in the evolution of extremely massive stars. First discovered several decades ago, Nasty 1 was identified as a Wolf-Rayet star, a rapidly evolving star that is much more massive than our sun. The star loses its hydrogen-filled outer layers quickly, exposing its super-hot and extremely bright helium-burning core. But Nasty 1 doesn?t look like a typical Wolf-Rayet star. The astronomers using Hubble had expected to see twin lobes of gas flowing from opposite sides of the star, perhaps similar to those emanating from the massive star Eta Carinae, which is a Wolf-Rayet candidate. Instead, Hubble revealed a pancake-shaped disk of gas encircling the star. The vast disk is nearly 2 trillion miles wide, and may have formed from an unseen companion star that snacked on the outer envelope of the newly formed Wolf-Rayet. Based on current estimates, the nebula surrounding the stars is just a few thousand years old, and as close as 3,000 light-years from Earth. Credits: NASA/Hubble

"I T 'S

AN

H O N O R !"

By Angelo "Eloy" Padua , FAMAS Chairman of theBoard

Dreams are visions, dreams are big, and dreams are sweeter when they are achieved.

In the entertainment world,everybody aims to be famous. Admit it or not people venturing on this industry have the goal of getting their names in holder and bigger letters. Everybody starts from square one, the very basic and lowly states of being a nobody. When people pause to take their own sweet time in recalling who you are when your name comes up, you always wish to fast-forward to the day when people who mention you remember to connect the face to the name without a blink of an eye. But things like this do not happen overnight. Everybody has to double the effort to get ahead of everyone else, just to get recognized.

We can not deny the celebrities and movie stars are now a dime a dozen.

Here in the Philippines, show business is no longer exclusive to the beautiful people. It is now a battlefield for remarkable talents. And as everybody knows, one talent can be possessed not only by a handful but a number of people. The purely-talented and the wannabes fight for the same attention.

It's just a matter of finding a way of standing out. In today's world where almost everyone is equally beautiful, equally talented, and equally persistent, all you have to prove is that you've got far more better goods than everybody else.

So then, someone discovers you, believes in you,sees your potential and agrees to hold your hand on the way to the top.

Projects come forth, television and movie offers left and right, and you grab every opportunity that comes your way. The public loves you, adores you, admires your quality work. You know you're there, then a certain award giving body notices you. Bingo!

You've been nominated. It's an honor. No, a huge honor! Not everybody gets to be noticed. Your name together with the names of the others perceived ?worthy" is in a pool where only the elite swim. As mentioned, this world has become the arena of fierce performers, all wanting the same thing, an elusive and exclusive title. You are not just clawing your way up anymore, you are now being considered to be the next king. Of course winning is the goal, but do not underestimate the honor that nomination can give you. It simply means that you are in the ranks of the best of the best.

A little comparison to our western counterpart in recognizing the cream of the crop: in the U.S. nominees for an Oscar Award are sent a bottle of the finest champagne. This is a tradition that signifies that one's work is being celebrated and is potentially the best of all. The nominees haven't even won yet, but they are already joyous and toasting with their wine glasses for a job well done, considering that they have been selected and narrowed down from at least a thousand of movies produced in that year which are as impressive as theirs. Being on that list alone is a celebration.

In the U.S., a nominees is proud of his/her nomination. Performers' names are often prefixed by phrases like " Academy Award Nominee" or "Grammy Nominee" when being introduced. Yes,they didn't win the award, but they are proud of that they got the nomination under their belt. It is a truly remarkable way of appreciating the honor that has been bestowed upon them by the nomination. Not to mention that it adds a little something to their market value because it proves that they are not nobody.

They are famous, they are somebody!

It is frustrating to know that in our country, nominations are being taken for granted. It's not enough for the nominees to know that they are nominated. They probably get excited at first, but it seems that it's not a big deal for them unless they win the award. It's a sad state of mind that they don't seem proud.

Sometimes even, they fear losing to other contenders. Sometimes they feel that the nomination could lead them to disappointment if they do not win the award. They feel pressure from their peers, and sometimes they feel that if they don't win, being on the nominee?s list is shameful.

This should not be the case. The mentally of 'I'm just a nominee, I'm not yet a winner ' should be banished from a nominee's mind. We know that winning is the main goal, but a nominee should not feel like a loser if he/she doesn't get the award. Being nominated is an honor. Anong the many talented people in this country, your name belongs to an elite list that is worthy of recognition. One should already feel like a winner just by being on the list of the best of the best. A nominee is already a winner in his own right because he is chosen to be shortlisted together with the names of the most brilliant in the country. A person should be proud,not ashamed, of the nomination he's got. Once nominated, you have the right to hold your head up high, be proud and say: "It's an Honor!"

FA M A S M EGA V I SI O N 2018-2020

By Donna Sachez, CEO , Megavision

It all started in 1952?

And after the turbulent years of 1960, 1973, 1976, 2003, 2005-06, it is still here to stay.

Furthermore, because of its age and prestige, it remains the highest brand and the most coveted award in the film making industry of our country today.

But as we find ourselves in this most difficult time living with the mysterious Covid-19 virus that has put our lives, nay the whole world on hold, we must go on? persisting and continuing to strive with hope and purpose.

Since 2018 when I took over the reigns to revolutionize FAMAS and adapt to the international standards of film award giving and recognition, I am proud to say that we have achieved that goal. With the introduction of the Documentary film and Short film category to the elimination of the Best Child Actor/Actress award and Best Story awards replacing it with Best Original Screenplay and Best Adapted Screenplay, among others.

As we continue in this trajectory to continuously honor the artists, directors, producers and people who worked behind the scenes, well-deserving of recognition, for their significant contributions in Philippine cinema in the past year, we shall now leap into the known future.

FAMAS celebrating 68th years remains resilient, evolving and embracing the unprecedented transformation in a world that has gone pixelated...

WE ARE FAMAS AND WE ARE NOW DIGITAL!

FILIPINO A CA DEMY OF M OVIE A RTS A ND SCIENCES B OA RD O FFICERS

Fr an cia C. Con r ado, M A - Pr esiden t , ACT CIS Party List Consultant , MTRCB Board Member An gelo " Eloy " Padu a, M BA, Ch air m an of t h e Boar d Alice H. Reyes - Fir st Vice-Pr esiden t Ef r en M on t an o - Secon d Vice-Pr esiden t Tit a I. Ar cilla - Tr easu r er Dion isio S. Bu lon g - Tr u st ee Cles R. Ram bau d - Tr u st ee Ar ist eo M . Gar cia - Tr u st ee Ar iel S. Tabag - Tr u st ee Ner Jedeliz - Tr u st ee Edgar Godin Tr u st ee Jose Y. Dadu lla Jr . - Au dit or At t y. Clar en ce Pau l V. Oam in al - Legal Adviser Ju an Asu n cion - Tr u st ee

FILIPINO A CA DEMY OF M OVIE A RTS A ND SCIENCES B OA RD M EMBERS

1.At t y Of el Cajigal 2.Elvir a P. Gon zales 3.Gr ace An n C. Labayog 4.Lor en Pan elo 5.Nin a Tadu r an ?ACT-CIS Par t y List Repr esen t at ive 6.Den n is Agu ilar 7.Rom m el P. Am br osio 8.M ar celo Lagm ay 9.Elson S. M on t albo 10.Rich ar d S. Bu scain o 11.Fer n an do Reyes 12.Lou r des C. Yan t o

Kara Magsanoc - Alikpala

Docu m en t ar y Film Ju r y Kara Magsanoc-Alikpala is a broadcast journalist and documentary filmmaker.

She co-founded Storytellers International Inc, is a contributing producer to CNN International, ARD German Radio, and a member of the jury for the News and Documentary Category of the Emmy Awards.

She is Founding President of FilDocs or the Filipino Documentary Society.

She produced the multi-awarded ?"Call Her Ganda (2018)?that premiered at the Tribeca Film Festival and Hot Docs.

She produced the critically acclaimed documentary?Batas Militar (1997)?for the Worldwide People Power Foundation. To date, it has been the highest rated independent documentary broadcast on Philippine Television. The documentary swept all major awards in the Philippines. It was a finalist at IDFA or the International Documentary Festival in Amsterdam and at the New York Festival.

She has produced documentaries for the History Channel, ARD German Television, the Australian Broadcasting Company, Philippine Center for Investigative Journalism, and the Probe Team.

Raymond Red Sh or t Film Ju r y Raymond Red is one of the pioneering figures of modern Filipino alternative cinema, and has the distinction of being the first Filipino to have won the prestigious Palme D?Or Award at the 2000 Cannes International Film Festival for his short film ANINO, and is also acknowledged for his contribution to experimental cinema in the Oxford History of World Cinema. With a background in visual arts and photography, he established himself with ground-breaking experimental and narrative short films in the 1980s, and soon moved on to independent full-length features in the ?90s making the now classic historical films ?Bayani? and ?Sakay?. He had by then begun to mentor, inspire and usher in a new generation of filmmakers into the independent and alternative cinema scene. Red has won awards and citations for his more recent films ?Manila Skies?(2010), ?Kamera Obskura? (2012), and ?Rebels with a Case" (2015) and has continued to do short feature and experimental films.

Red regularly serves as juror in numerous local and international film events, is a regular instructor at the MOWELFUND Film Institute, is a senior lecturer at the U. P. Film Institute, and an industry fellow at the College of St. Benilde School of Design and Arts. He also works in the tv commercials production industry as in-house director at FILMEX Inc. He is a member of the Directors?Guild of the Philippines and the LPS - Lupon ng mga Pilipinong Sinematograpo. He is one of the honorees of the Sandaan Philippine Cinema Centennial celebrations as an icon of Philippine independent and alternative cinema.

D I GI T A L I S T H E W A Y T O GO By : Alina Co

We catch up wi th E xecuti ve D i rector and H ead of Globe Studi os, Quark H enares totalk about hi s love for ci nema, the lessons he pi cked up from worki ng i n the movi e i ndustry, and how he?s tryi ng tochange the culture and the envi ronment for local fi lmmakers.

H e?s on the lookout for better producers whowi ll truly support storytellers to create world- class content.

When it comes to the rise of digital entertainment, Quark Henares, the Head of Globe Studios, is ambivalent. On the one hand, he proudly shares that their first foray in digital series on YouTube has been overwhelmingly and unexpectedly successful. In just a month after its pilot episode was uploaded on YouTube, (what is he? Poet? Spoken word performer?) Juan Miguel Severo?s romantic comedy ?Gaya sa Pelikula? has already hit one million views. From the measly 2,000 subscribers that hadn?t budged since Globe Studios?YouTube Channel was created in 2016, the number has ballooned to 100,000 almost overnight. ?Juan Miguel Severo approached us and gave a beautiful pitch, and Boys Love or BL stories were becoming popular too. We knew there was no way we won?t produce this series,? Quark says of this huge feat, shooting and producing the series during a pandemic.

But for a cineaste and movie director like Quark, he couldn?t help but lament on how the pandemic has affected the medium he always loved. With the Philippine cinema already been struggling, will the coronavirus pandemic make it plunge to its death? ?I?ve always been romantic about cinema. Ito na yung longest time na hindi ako nakapunta sa loob ng isang sinehan in my whole life, since I was two years old. Every week I?m in the movies. I really miss the sense of community. Kaya it?s really been a struggle,? Quark shares.

PREM I ER Now the big silver screen has been reduced to a device that fits into one's pocket, the moviegoers now called subscribers, the word ?trending? or ?viral? replacing ?blockbuster hit.?

The world has changed and it continues to change, and though Quark is ambivalent about this, he knew the only way he could keep making movies is to adapt and to adapt well. ?When I was starting out, when I was a student, I thought we needed better directors, better writers. And then when you enter the film industry, you?ll find na ang gagaling nila. I realized we don?t need better writers and directors. We need better producers.?

Quark referred to so many talented creators who became demoralized and disillusioned with the ?system?, where producers squeezed the light out of their stories and souls. He wanted to make sure this didn?t happen by making sure the storytellers and producers were truly in it together, and that the story always came first.

?Thi ngs are changi ng. I don?t know of any fi lmmaker whowi ll be happy when you say you watched hi s fi lmi n an i Phone. But that?s where i t?s goi ng and we need toadapt.?

At t h e r igh t place an d t im e Not long ago, the indie film making revival coincided with the rise of video streaming platforms like Netflix.

Thanks to the advent of digital film technology, movie-making was democratized, and more institutions began to host film festivals.

These, of course, did not make money. But what it was able to do was to give fresh talents and new directors a chance to tell their stories. And it didn?t matter if the big film production studios or theater operators would snub them. There were new ways to distribute their film, and being millennials and digital natives, this new breed of creators knew how to use social media to their advantage.

It was in this entertainment landscape that Globe Studios was established in 2016. It was a huge deal, a game-changer, if you will. The biggest film production studios then were either connected to the top TV networks, or were longtime family-owned film studios. But a telecommunications giant? That was new.

Globe knew where content was headed. Creating original content was the name of the game. Netflix was getting bigger, and huge players were joining in the streaming wars. Who best to find the right films to produce than someone like Quark?

Em pow er in g st or yt eller s Because Quark started his career in the movie-making business back in the 2000s, he experienced firsthand what was wrong with the system of mainstream studios. He wanted to change the working environment. He wanted none of the unnecessary politics, power play, and financial backstabbing.

Looking at Globe Studios?track record, one could say their efforts have paid off. In 2016, Globe Studios came in as a marketing partner to Mikhail Red?s award-winning film Birdshot. The film became the first Filipino-produced-film to be released worldwide by Netflix.

PREM I ER ?I thi nk that?s at the heart of Globe Studi os, to empower storytellers, That?s why a lot of fi lmmakers really gravi tate towards us.T hey know that we trust them, and we gi ve themthe freedomtotell the stori es they want totell.?

Globe Studios also co-produced Dan Villegas?Metro Manila Film Festival entry All of You (2017), Jerrold Tarog?s Goyo: Ang Batang Heneral (2018), Mikhail Red?s Deadkids (2018), Lav Diaz' Season of The Devil (2018), and Juan Miguel Severo?s Hintayan ng Langit (2019), among other notable works.

Netflix suddenly made it easier for filmmakers to reach both local and global audiences. After Birdshot streamed on Netflix, other entertainment companies followed suit.

It?s far from being the Golden Age of Philippine Cinema, but it?s a good sign, as people started to take notice and tweet about the films.

As Filipino audiences moved away from TV sets and movie theaters, they started to get exposed to various kinds of content. With that freedom came a shift in preferences.

Widen in g t ast es an d cr eat or f an dom s There are more options than ever before, which is both a bad and good thing. Bad because there?s more competition, good because Filipino entertainment consumers, especially millennials, are really looking for fresh ideas and approaches. ?Especially in Philippine cinema, people are now starting to like high-concept stories. People are looking for style, a different approach. For example, let?s compare the 90's rom-coms, which all had the same formula, to something like That Thing Called Tadhana, where the characters were talking in the entire movie,? Quark says.

PREM I ER One thing hasn?t changed though. Pinoys have always been drawn to love stories. ?It has had many names, from senti, to emo, to hugot, to love teams. Pinoys are always looking for love stories.?

As Globe Studios and other entertainment production companies shift towards becoming more creator-focused, Quark also sees a rising fandom for creators like never before.

Driven by social media, the storytellers develop a huge following that translates to success and viewership. ?So we see fans following the directors now, not just the celebrities or actors. Which is great because people realize that there?s a signature (style).?

?A s people?s tastes wi den, content consumpti on wi ll become more ni che.?

M ovin g digit al Quark believes that as content consumption becomes more niche, watching becomes more personalized. For example, on a given day, a dad tunes in a sports channel, a mom watches a comedy film on her tablet, and the kid binges on YouTube unboxing videos on a smartphone, all at the same time. More access and more content spells a more discerning audience.

And with this pandemic, all the more Quark sees that cinema will fade away at a faster pace than the industry anticipated. ?Napabilis ng pandemic, people are going to be trained to watch from their homes.?

But we can?t fight technology, and where audiences go, so does the industry. ?Where people go, sunod tayo.

Digital is the way to go,? Quark adds.

But one thing?s for sure, whatever the device or streaming service, whatever the next trend and viral thing is, Quark Henares and his team?s passion for great storytelling won?t change. And where the old mainstream studios erred, Quark will make sure storytellers will never feel suppressed. Despite the pandemic, the show will go on, and so will Globe Studios?mission.

W e H eal and R ecover as O ne: T o Empathize and T ake A ction

By Liza DiĂąo- Seguerra, FDCP Chairperson and CEO

The pandemic has single - handedly changed the world, but it is not strong enough to overcome the fighting spirit of Filipinos. In these difficult times, I tapped into my creative juices to cope with distress and stood by my public service commitment to find ways to help those affected by the COVID-19 crisis, most especially those from the industry that I serve.

Unknown to many, I am an empath ? a highly sensitive person with a keen ability to sense what people around me are thinking and feeling. Every time I encounter stories about difficulties or tragedies due to the pandemic, I end up bawling my eyes out. I get so overwhelmed to the point that I need to personally take action.

This was how the Disaster/Emergency Assistance and Relief (DEAR) Program was born to assist freelance film and audiovisual workers displaced by the pandemic. Soon after, more initiatives from the Film Development Council of the Philippines (FDCP) were launched amid the COVID-19 situation: Safe Filming Program, CreatePHFilms, Philippine Cinema Fund, ASEAN Co-Production Fund of the Film Philippines Incentives Program, National Registry Website, FDCP Film School Online, #NoodTayongSine and Binging During Quarantine Campaigns, Film Industry Conference Online, the Philippine Film Archive?s ongoing film restoration, and the online Pista ng Pelikulang Pilipino at the FDCP Channel.

The FDCP also helped lobby for the landmark inclusion of film and audiovisual workers in the Bayanihan 2 Act. On a personal note, I taught flamenco for a cause and put back my chef ?s hat on to cook meals for frontliners and the homeless through Volunteer Corps PH. In these uncertain times, it?s reassuring to have a sense of purpose. That despite being confined in our homes, we are taking action. As long as we are contributing something, no matter how small, we are helping one another heal and recover as we weather this crisis together.

T eam K ramer: A dapting to the Pandemic

By Boyet Sison

Th e year 2020 is over , an d m ost of u s con t in u e t o t r y t o live ou r lives as best w e can in spit e of t h e Covid 19 pan dem ic.

For celebr it y cou ple Dou g & Ch esk a Kr am er , an d t h eir k ids, Ken dr a, Scar let t , an d Gavin , m or e popu lar ly k n ow n as ?Team Kr am er ? on social m edia, dealin g w it h t h e cu r r en t sit u at ion t ak es on m an y f or m s.

Talking with Doug, whom I have known and interviewed on many occasions in the past on our 13-year ANC program ?Hardball?, he says planning ahead is key. Before hanging up his jersey from playing competitive basketball in 2019, Doug said he was already mapping out a strategy two years prior. He made investments, built a good home for his family, and created an environment where he can spend more time with his family, and be a more ?hands-on? parent. ?Team Kramer ? continues to be one of the most sought-after celebrity endorsers, but how did the term ?Team Kramer ? come about? The one-time Ateneo college basketball stalwart explains. ?In 2013, my son Gavin was already born, my wife and I already had a following on social media, with her being a showbiz personality, and me with my basketball career. Gavin, completed the ?team?, and on Instagram, a fan commented by saying ?sir Doug, I have been a fan of yours since Ateneo, and now I am a big fan of your family. You guys are so cute, and you guys are an inspiration, you guys are Team Kramer ?.

That triggered a light-bulb moment for him, and asked the fan if he can use ?Team Kramer ?.

This was still the time when terms like ?hashtags?, ?viral?, were not yet as widely-used as it is now.

Then more fans on their IG account requested that the family set up a Facebook account as Instagram at that time can only accommodate 15 seconds of video, whereas FB can accommodate more.

This Facebook account started getting 20k to 30k followers per day, that pleasantly surprised them, making them ask why this was happening and what did they do to deserve such adoration.

Fast forward to seven years since, and the family has close to 10 million followers, and Team Kramer is very thankful to the fans. ?The best way we can thank them is that whenever we do a ?collaboration?, our fans are always part of it, and when Team Kramer has something new to their name, they are always part of it, because they have been part of this journey.? For Doug, there are no accidents as far as what God?s plans for them are concerned. The success of Team Kramer is a big responsibility, and being given this opportunity allows them to help inspire and motivate people.

He adds, ?the reason why the fans have had a liking to us is because what you see is what you get, and for what they see on on social media is how we are in person.?

PREM I ER How has Team Kramer been able to cope with the ongoing pandemic?

Before Doug Kramer retired from competitive basketball in November of last year, it was fortunate that he and Cheska were able to set up a more ?home based? life, wherein they could attend to their businesses, and do their vlogs, from the safety and comfort of home,?when the lockdown was announced in March, we just kept doing the routine we already had in place.?

He set up a gym so he and the family could keep fit, and since the kids are being home schooled, they also have a lot of of activities in place, "the kids, they used to do physical meets ups for ballet, drum lessons, taekwondo, but the adjustment now is that they do it on-line. We never wanted them to stop progressing, and even if these are now on-line, we wanted them to improve no matter what. The kid?s schedules are filled with activities, and that is how we keep them busy.?

Kendra the eldest, is 11 years old, is a very talented swimmer, has won a silver medal on her 1st competition. Scarlet, 9 years old is the athlete, loves martial arts, and does it really well, while Gavin, the youngest, does ballet, taekwondo, and now that he is turning 8 years old, has found a liking for basketball.

Since his retirement, and now with the ongoing quarantine, Doug and his son are bonding even more, with the game that made him famous. ?I wake up at 7-8 am, and I work out, so as to keep myself fit. The kids are up at around 8am, have breakfast and are in the classroom we set up here at home by 9am, and under Cheska?s supervision are studying till around noon, and from 1pm onward they do their other learning on-line.? ?On Sundays, we have a family Jiu-Jitsu session!? ?And along with that, we still work with several brands, so we try to work around the schedule of that, so we can do the vlogs, so it is pretty busy.? ?The kids are aware of the pandemic, we pray about it as a family every night and before every dinner, we pray for our front liners, who are sacrificing their lives for us. There is a great love and respect for them.?

PREM I ER ?During the first few months of the pandemic, we told our kids that we can stay at home, but there are a lot of people that cannot stay at home, there are people that have to work, and some of them do to keep us and others safe.? ?What is our job?? he asks his kids, ?is it just to stay comfortable in our home, and not do anything??

?So what we did was, we started gathering materials, we built face masks from scratch, we bought gloves and donated these to several hospitals. It is important for the kids to see what we could do, that we can control, and the kids see that. It is a good lesson for them to know that it does not mean if you are blessed, you don?t pass on the blessings to others. God blesses us to help others and it overflows to others. That is our job.?

Asked about what his advice to other couples /families who are struggling at the moment is, The PBA champion says, ?We need to adapt to this change, we can?t say everything will go back to normal, we don?t know, this might take another year or two, we need to figure out how best provide for our families.?

Mayor Joy Belmonte assures all faculty and students in the University of the Philippines Diliman of the City Government?s support for academic freedom in the embattled University. ?I was a lecturer at the UP before, and I know how important academic freedom is in an educational institution.

True learning will only happen in an environment where there is a free discourse of ideas by all members of the community.

Quezon City is known as a bastion of higher learning being host to many prestigious universities and colleges. ?In Quezon City, academic freedom will always be protected and upheld,?

Belmonte stressed.

Mayor Belmonte taught MA students at the University of the Philippines?

Archaeological Studies Program after completing postgraduate degrees in Archaeology and Museum Studies in the United Kingdom.

Mayor Joy Belmonte Supports Academic Freedom "True learning will only happen in an environment where there is a free discourse of ideas by all members of the community."

- QC Mayor Joy Belmonte

For his part, the Executive Officer of the People?s Law Enforcement Board (PLEB), or the people?s court for erring policemen, vowed that any abusive conduct of policemen that may be done in the UP Campus will be dealt with accordingly. ?We pledge that disciplinary action awaits possible abusive conduct by policemen inside the UP Diliman campus. Please be reminded that we all live in a democracy where basic freedoms, including academic freedom, must be upheld,? said Atty. Rafael Calinisan, a UP Diliman alumnus.

T H E N EO N A CR O SS T H E O CEA N

By MatthewVictor Pastor

The 2020 trilogy which The Neon Across the Ocean is a part of follows the story of Mandy (Waiyee Rivera) in her final year of high school. These three films explore different aspects of our constantly changing reality, the future, the present & the past. Set in the not-too-distant future after the 2020 pandemic The Neon Across The Ocean is a coming of age film, not just for our Filipino Australian protagonist Mandy but for myself and perhaps others. To capture these feelings raw and immediate in a period of transition is to reflect our collective anxiety. The last time I personally felt this anxiety might have been in my own final year of high school when I was still figuring it all out. As part of the Filipino Australian diaspora alongside our team Waiyee Rivera, Alfred Nicdao, Akira Matsuda, Rachel Javier, Cassandra Rivera, Vladelyte Valdez, Felino Dolloso & the crew, there is a constant search for solace through our art.

Our film is just that, a search for identity, and being separated by a whole ocean, we wanted to tell a story which brings the audience into these feelings. It?s a universal story so I hope more people that see this might learn something about the Filipino Australian experience.

The whole process (recording our post-production voice-overs via phone), experiencing our films world premiere at the 44th SĂŁo Paulo International Film Festival, International Perspective section (online through my computer screen), the whole construct of the story and aesthetic align. As an emerging artist myself, it was also encouraging to see other artists who I respect and admire like Ai Weiwei, Jia Zhangke & Abel Ferrara also premiere COVID-19 themed films at this year 's International Perspective at SĂŁo Paulo.

Our art at this time will reflect what people are going through. This hectic year sparked an ongoing creativity in me, and now the second part of the trilogy A Pencil to the Jugular has finished filming. As we enter post-production some of the main cast are not even in Australia anymore due to the pandemic. It?s a sad feeling to capture it all before the world changes but it?s important as the film has the power to build empathy. The most difficult thing about making this body of work was the uncertainty of never knowing if things would be canceled or just stop altogether. I wanted to capture this time told by the marginalized who in Australia are sometimes exploited and overlooked. This is happening everywhere; the lower socio-economic areas have to suffer. If it?s hard in a pandemic for people with a job, a roof, how is life for the less fortunate? Our films present this story. As we currently look at the third film The Plans That They?ve Made the world has changed so much, making films have changed, and even though Melbourne is finally opening up our 112-day lockdown. I know that internally I?ve changed. Despite the loneliness, I'm so fortunate to be in a city that has managed their second wave. To be given a gift to make films, to make moving images that come to life can help me heal, but also share a story to people to help them feel less alone. I get this ability from my Filipino creativity, our rich culture, and I will continue to search and find that no matter the circumstances.

PREM I ER OUTTAKES

Matthew Victor Pastor is a Filipino Australian filmmaker. An alumnus of the prestigious Victorian College of the Arts, his Masters' film I am JUPITER I am the BIGGEST PLANET was awarded Best Director and went on to screen at over 20 international film festivals. Selected for a world premiere at the 44th SĂŁo Paulo International Film Festival (Mostra) in October 2020, is the first in his 2020 trilogy of feature films The Neon Across the Ocean (91 mins). He is currently in post-production on A Pencil to the Jugular set for a 2021 release.

In 2018, MELODRAMA / RANDOM / MELBOURNE! won Best Original Score at the 2018 Sinag Maynila Film Festival and was selected to have its Australian premiere at the 2018 Adelaide Film Festival. It was also nominated for the 67th edition of the FAMAS Award (Filipino Academy of Movie Arts and Sciences Award) in the music category. In November 2018, MAGANDA! Pinoy Boy vs Milk Man a hybrid-experimental-exploitation-art feature film he directed and starred in had its premiere at Monster Fest Australia's leading genre film festival.

In 2019 the Darwin International Film Festival premiered his short documentary Between Worlds & Oz Asia Festival in Adelaide presented his experimental hybrid musical film Repent or Perish. Screen Australia, Film Victoria, and AFTRS have funded his new short film Fun Times which was penned by AACTA nominated writer Llewellyn Michael Bates. In June 2020 it premiered at Australia's academy qualifying St Kilda Film Festival and continues its film festival run. ?It?s about seeing those faces, it?s about seeing those stories. It has a lot of weight.?, said Matthew Victor Pastor, in an interview with The New York Times.

One thing is for sure, the young director will stop at nothing to see diverse stories told.

T I M CR U Z : V I SU A L ST O R Y T EL L ER ST A T ESI D E As a Filipino American Director in today?s Hollywood, I find the current industry hopeful for a more diverse future, though slow, progress seems to be an industry wide objective in creating new content for the masses. With the growing reach of OTT networks (Over the Top, Netflix, Amazon Prime, Hulu) the global entertainment market is demanding content that caters to a diverse audience. I was born in Manila and when my father and I emigrated to America back in the early 90?s I didn?t see shows or movies with character ?s that looked like me. While I related to characters of color, there were still specific nuances in my experience that I didn?t know I shared with countless other South East Asian Americans till I saw it represented in current shows like Superstore, or My Crazy Ex GF. I love the trend, because it has also spilled into positions Behind the Camera.

Timothy Cruz is a Director, Producer and Photographer based in Los Angeles, California. He talks about the growing trend of diversity in the entertainment industry in the U.S., as well as his efforts to help other Filipino artists gain access to the world stage.

For the longest time prior to the recent decade I rarely, if ever, found a fellow Filipino behind the scenes; I knew of Matthew Libatique, and a handful of others. It was so surprising to find four other Filipinos in my recent feature film production we were filming in Kentucky of all places. Nowadays, you?ll find us in every department and a growing number in above the line positions as TV staff writers, producers and directors, it?s exhilarating.

Within Los Angeles there are groups that support Filipino Filmmakers and different initiatives that provide opportunity to the community. Fil Am Creative is a wonderful not-for-profit volunteer community organization dedicated to the advancement of Filipino-Americans in entertainment and media, they host potlucks (because Filipinos love to eat) where they meet like minded people who are passionate about their craft.

Organizations like the Producers Guild of America also have programs like the ?Power of Diversity Workshop" where they foster up and coming producers to get their project to the next level.

I've had the privilege of collaborating with Filipino Artists here in Los Angeles. I once directed a music video for Warner Bros Recording artist Jake Zyrus (then Charice Penpengco) and it was a blast filming her ?Louder ? video in West Hollywood. We had a blast. From collaborating with her through rehearsal and choreography all the way to our long shoot day. I think the future is bright for our young artists.

PREM I ER OUTTAKES I've had the privilege of mentoring and teaching Filipino Filmmakers. I used to fly to Cebu and teach at the former International Academy of Film and Television back in 2008. You can feel the passion and the talent was obvious. With the rise of digital cameras, it?s the perfect storm for some of the best filmmakers and talents to showcase their work. And I AM SO excited to see Filipino made films and tv series reach a worldwide audience, theatrically and on streaming services like Netflix and On Demand. Filipinos are hard working and are so emotionally invested in our culture that it was only a matter of time before our stories hit the international cinema scene.

I do plan on coming back to the Philippines soon. I have so much family and friends there and I do have a couple projects in the works that would shoot both here in California and in Metro Manila. I want to help grow the film industry in the Philippines and their place on the world stage.

Secrets at the Lake Directed by TIM CRUZ

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FAMAS 2020 BEST PICTURE NOMINEES

WINNER Best Picture Best Documentary Best Editing Best Cinematography Asw an g

By Alyx Ayn Ar u m pac In 2016, a machinery was set in motion to execute suspected drug peddlers, users, and small-time criminals in the Philippines. ASWANG follows people whose lives entwine with the growing violence.

WINNER Best Actress Best Film Scoring Best Cinematography Best Production Design Babae at Bar il

By Rae Red A department store saleslady has had enough of being an underdog. One night, she discovers a peculiar-looking gun right on her doorstep. Her life drastically changes as she discovers how much power owning a gun can give her.

Nominated in 3 Major categories: Best Director Best Picture Best Actor

Joh n Den ver Tr en din g

By Ar den Rod Con dez Set in a Philippine coastal town of Pandan, Antique, the film centers on the character of a poor 14-year old Grade 8 high school student, John Denver Cabungcal (Jansen Magpusao) of Sta. Ines Catholic High School, who is falsely accused of stealing his classmate?s iPad. He is caught on video brawling with this classmate, and because he?s not exactly a popular kid? and having committed some misdemeanors in the past? this video turns viciously viral in the worst ways.

WINNER Best Actor , Elijah Canlas

Kalel, 15

By Ju n Robles Lan a He is fathered by a priest, mothered by a man hungry woman, has a horny sister. It talks about interpretations of love, lust, danger, anger, and survival. A quick formula that will certainly lead him to an aimless and visionless way to pathetic destruction or to survive with resilience, ending up with a hard, vengeful, and calloused soul.

WINNER Best Director Best Actor Best Supporting Actress

Ver dict

By Raym u n d Ribay Gu t ier r ez The abused and battered wife, Joy, stand up for justice against her alcoholic husband, Dante, in a turmoil process of the justice system.

WINNER Best Screenplay

Clean er s

By Glen n Bar it Cleaners is a coming-of-age anthology film about high school classroom cleaners for the school year 2007-2008. Set in the backdrop of a Catholic school in Tuguegarao City, the characters deal with different pressures of being clean, proper and pure while slowly discovering that the world is dirty and superficial to begin with. The different stories range from the taboo of shitting in school to navigating local political dynasties.

Con gr at u lat ion s t o t h e SEDA Hot el Gr ou p f or w in n in g t h e Wor ld Tr avel Aw ar ds 2020 as t h e Ph ilippin es' Leadin g Hot el Gr ou p f or seven con secu t ive year s.

FAM AS AWARDS 2020 NOM INEES

FAM AS AWARDS 2020 NOM INEES

FAM AS AWARDS 2020 NOM INEES

FAM AS AWARDS 2020 NOM INEES

FAM AS AWARDS 2020 WI NNERS

K R I ST I N E S. L I M : A R T I ST O N A M I SSI O N

By K ri s Sogui lon

Being able to draw before learning how to write foretold what Kristine Lim was born for. Lim graduated Cum Laude from a globally recognized and prestigious university in the Philippines, University of the Philippines Diliman, College of Fine Arts with a major in Visual Communications.

As a University Scholar for four consecutive years, she passionately explored her chosen path which has always been her calling. Hence, she grew as a multi-disciplinary artist, with painting, drawing, graphic design, film and digital photography, and digital art as her areas of interest. Over the years, she has come to understand what visual art means for her. Art is a God-given skill to relay and do something beyond what the artist wants to convey and where the message goes past all known words and texts. There is no right or wrong interpretation. Every exposition counts, especially, if it positively impacts and transforms the viewer 's life and disposition.

This Filipino missionary Christian artist has captured the hearts of many after her successful solo art exhibit called "Almost There," which marked her official return to the art scene after being on hiatus for years. The death of her son and the near-death of his twin brother was the pivoting point of her life to live not for others or herself but for God. It was a wake-up call to go and do what she wants and this time, for God, she will no longer hold back. It was sponsored by and held at The Manila Hotel and The Diamond Hotel, both respected and described as world-class in the hospitality industry. Her show was well-received and was officially sold-out before the event even started. High-profile art collectors, as well as, elite members of the society and even international-based collectors were captivated by Kristine's works and immediately acquired her paintings. Her comeback art exhibit paved the way to better opportunities both in and outside the Philippines. Additionally, her exhibits abroad for the next couple of years have already been lined up.

FAMAS Digital Philippines, an institution and legacy in the entertainment industry, had commissioned her to be the official Artist to paint and immortalize their Special Awardees for 2020, mirroring Lim's distinct art expression which is patriotic yet modernized and full of diversity.

Kristine always aims to consistently represent God and her country by bringing with her other Filipino Christian artists to do exhibits and mission works wherever she goes. For her, her accomplishments aren't for her alone but for her fellow Christians and fellow Filipinos as well.

She has been a missionary since High School and has been teaching art workshops to orphans and marginalized sectors of the community. She founded and spearheaded the Artists on a mission workshop and Little Artists on a mission workshop. She uses her art to help and support NGOs and LGUs and other missionaries like herself.

Succinctly, Lim is an advocate of Edenic Living and Sustainability. She is currently a volunteer as the Director of Culture & Arts for Sustainable PH, a non-profit organization that promotes sustainability and becomes the forefront of Greenovation in the Philippines. Lim is also one of the founders and the Vice President for External Affairs of Christian + Collective, an initiative she and her fellow Christian artists created to further evangelize the word of God through arts.

Now a wife to Jasper and a mom to Justine, John (+), and Judah, Lim stays true to her faith as a Filipino Christian artist and missionary despite and in spite of unpredictable circumstances. As she always says, "An artist is not just someone who creates art. A true artist is someone who can create meaningful pieces that impact and change lives; because it is not self-serving. It is purposeful.

A R T I ST O N A M I SSI O N

FA MAS

Special Awards 2020

When an actor plays the role of a hero, he or she gains the responsibility of playing the character not only on-screen but also off-screen. This is the legacy of Fernando Poe, Jr?s life story, a National Artist for Film who offered his life in the service of the Filipino people beyond his calling as an artist. The FPJ Memorial Award honors the rare artist who has given that same service above and beyond their call and obligation as an actor. The Poe Family bestows this award as a continuous effort to champion FPJ?s legacy in the film industry.

The FPJ Memorial Award

ANGEL LOCSIN The talent of an actor to portray a role is one aspect of how the artist expresses himself or herself. But the actor's ability to touch people's lives and have a positive effect outside of the industry is another way of fulfilling a responsibility to the audience. This aspect of an artist builds his or her sense of purpose not only as an actor but as a Filipino as well. Today, we recognize an artist who continues to heed the call of those who are most in need, whoever and wherever they are. She does this without asking for recognition or praise. She continues to inspire many Filipinos by helping them believe that those who choose to do good will always win, whether in film or in real life. It is the honor of Fernando Poe, Jr?s family to bestow the FPJ Memorial Award to Ms. Angel Locsin, our real life Darna.

Artist: KRISTINE LIM Title: Angelica Locsin Colmenares Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

FPJ Mem o r ia l Aw a rd 20 20

Artist: KRISTINE LIM Title: Marietta Subong Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

Do lp hy King o f Co m ed y Aw a rd 20 20

Artist: KRISTINE LIM Title: Eugenio Romerica Abunda Jr. Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

D

Dr. Jo se Vera Perez Aw a rd 20 20

Artist: KRISTINE LIM Title: Gianmatteo Fernan Guidicelli Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

Ger m a n Mo reno Yo ut h Achievem ent Aw a rd 20 20

Artist: KRISTINE LIM Title: Hope Elizabeth Soberano Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

Ger m a n Mo reno Yo ut h Achievem ent Aw a rd 20 20

Artist: KRISTINE LIM Title: Hon. Mayor Maria Josefina Tanya Go Belmonte Alimurung Medium: MIXED MEDIA ON CANVAS

Canvas Size: 23 INCHES DIAMETER

Date: 2020 , Commissioned by FAMAS DIGITAL Frame: Floating Canvas on Pinya Barong Matting with Wooden Frame in Champagne Gold Finish.

FA MAS Dig it a l 20 20 Lea d er ship Aw a rd Fo r Hum a nit a r ia n Innova t io n

Neal Tan is a director, writer, production designer and a visual artist that currently lives in Novaliches,Quezon City (Philippines). Neal has several film credits, some of which are on IMDb. He started the so-called pito-pito movies (Films shot entirely in seven days) in the 90?s and the first Asian filmmaker to introduce the filmless filmmaking using the first digital camera from Sony next only to George Lucas of Starwars episode 3 followed by award winning digital films mostly advocacy films like Ataul for Rent (Casket for Hire) which competed in Cairo and Kerala International film festival in 2007, Tarima, HIV, Homeless, Men In Uniform and OFW the movie among others. Neal has been a persistent scholar in his academic career at the Polytechnic University of the Philippines. He started his early showbiz career as ` komiks?writer, assistant director, scriptwriter and production designer until his directorial debut with ?Kakaibang Karisma?in 1994 followed by several notable films. Neal is still currently focused in doing advocacy films for independent productions.

FA MAS Dig it a l 20 20 Ad vo ca cy Film Direct o r Aw a rd

ESCA PI N G FR O M T H E PA N D EM I C with a littlehelp from MAVX Productions Fresh from the success of the film "Kita Kita" which he co-produced, Erwin Blanco, Lucky to his friends, established MAVX Productions in 2018. Two years and several films later, MAVX releases via Netflix its latest film project "Finding Agnes" topbilled by Jelson Bay and Sue Ramirez. The film industry has been hit hard by the Covid 19 pandemic but Lucky and his MAVX crew refuse to give up, as they continue to make films that aim to help people cope with the so-called new normal. Erwin sat down with Premier to talk about the challenges in the film industry and his plans to make a difference.

Wh en an d h ow did M AVX st ar t ?

I'm originally from the film industry. I started with Bossing Vic Sotto as a continuity director. After that lumipat ako sa Star Cinema. Four years ako sa Star Cinema. Then kinuha ako ng Spring Films nila Direk Joyce Bernal as Producer dun sa company nila and I ventured to produce ng sarili kong movie which is Kita Kita. We got lucky and nagkaron ako ng puhunan, so in 2018 I put up my company which is MAVX Productions Inc. How con f iden t ar e you t h at " Fin din g Agn es" w ill appeal t o t h e in t er n at ion al au dien ce?

Number one yung quality nya, sinet na namin yung international standard. The post (production) was done outside the country, all the technical parts of filming we geared towards international (standards).

When it comes the story, I guess the fact that Netflix decided to show it worldwide, dun nanggaling yung confidence na ma-appreciate sya worldwide kasi, according to Netflix it will be dubbed in 27 languages, it will be shown in 190 countries.

Wh y M or occo?

Yung pag shoot abroad it adds aesthetics to the film, plus, ang film ay audio- visual, so malaking tulong pag maganda yung setting. Dun sa "Finding Agnes", there's a specific story kung bakit dun pumunta yung nanay nung main character (Jelson Dey). Iniwan kasi sya nung mom nya played by Sandy Andolong.

(Shooting abroad adds aesthetics to the film. A film is an audio-visual medium so a picturesque setting can be a big boost. In "Finding Agnes", there's a specific story why the main character 's mother went there. His mother played by Sandy Andolong left him.)

PREM I ER How con f iden t ar e you t h at " Fin din g Agn es" w ill be a su ccess?

Yung confidence nanggagaling lang dun sa lahat ng ginagawa namin is from hard work, from passion and from the films that we really enjoyed making. Kumbaga, I believe in change. Yun naman yung concept ng MAVX, yung laging iba yung ipapakita. Yun naman yung ultimate goal, ang maging alternative.

(Our confidence comes from hard work, our passion and from the films that we really enjoyed making. The concept of MAVX is to show something different. That is our ultimate goal: to be an alternative.

Do you h ave a f or m u la f or m ak in g f ilm s?

Ang process kasi namin paggawa ng movie is number one: we create stories na gusto namin mapanood as an audience. Story muna and then, tsaka na lang kami namimili ng cast. One of the considerations of MAVX is we bank on the actors na magaling, more than sa sikat, kasi we believe in storytelling and mas mabibigyan ng justice ng magaling na artista yung story namin.

Mas iba yung pelikulang tumatak sa utak mo, iba yung pelikulang mas tumatak sa puso mo. So we still aim for the heart.

(Our process in making a film is number one: we create stories that we ourselves want to watch as an audience. We create the story first then we choose the cast. We prefer good, skilled actors and not just popular ones. We believe in storytelling and a good actor can give justice to our story. A film stands out if it stays in your head, if it stays in your heart.)

You've done films outside the Philippines, do you also plan to make films set here?

Yes. First quarter next year meron na kaming naka set sa Bicol. Actually we have a plan next year to showcase all hidden places in the Philippines na ipakita sa buong mundo sana, sa isang pelikula.

(First quarter next year we will make a film set in Bicol. Actually we have a plan next year to showcase all hidden places in the Philippines and show it to the world, through one film.)

Is it m or e dif f icu lt t o sh oot a f ilm abr oad t h an sh oot in g it h er e?

Pareho namang mahirap, kasi at the end of the day, logistics pa din yan. Since there's a pandemic, we're trying to show some sort of an escape to our audience. Since walang makaalis na tao, walang maka-tour, at least makabigay ka ng movie na shot abroad, somehow you can bring them there.

(They are both difficult because at the end of the day, they both deal with logistics. Since people cannot leave or go on tours, we can offer them a film that was shot abroad.)

If, for example, the pandemic ends next year and theaters reopen, do you think the shift of the viewers to digital content will continue or people will return to cinemas?

Siguro ako, ang talagang sagot ko dyan is, regardless kung cinema or Netflix, ang dapat nating ayusin is the content. Ibig sabihin the quality of the content we watch, kasi pag maganda yung content mo, ilagay mo sa cinema yan ma-appreciate, ilagay yan sa Netflix, ma-apreciate yan. It does not matter.

(For me, my answer to that is, regardless if its cinema or Netflix, we should fix or improve the content. If you have good content, whether you release it through Netflix or through theaters, it will be appreciated.

PREM I ER Wh at can you say abou t t h e Filipin o au dien ce? Can you say t h ey n ow appr eciat e var iou s k in ds of f ilm s?

Ako kasi feeling ko its a question of responsibility ng producers, ng filmmakers, ng theater owners. Yung first question, I always respect naman the Filipino audience. Mataas yung faith ko sa Filipino audience kasi why would something like Netflix be a lucrative business in the Philippines kung hindi tayo matalino as an audience?

(For me, its a question of responsibility of the producers, the filmmakers, the theater owners. I always respect the Filipino audience. I have faith in the Filipino audience because why would something like Netflix be a lucrative business in the Philippines if we are not a smart audience?)

You also h ave You t u be con t en t ?

Yes, yes, marami na rin lumalabas sa Youtube so we wanted to have a share of the market. But itong mga Youtube content namin, hindi naman sila film, at least iba naman sya, meron kaming Game Show, Talk Show pero puro out of the box din.

Af t er 2 year s in oper at ion , can you say t h at M AVX h as ar r ived?

Maybe 2 more years, and siguro, just continue what we are doing. I know we are on the right path, we just need to create and create lang. Kung kilala na kami, to be honest, mas maganda. Hindi ko alam from an outsider 's perspective kung kilala na kami, we just continue to produce films na gusto namin. But we are on the right path.

FR O M T H E O U T SI D E L O O K I N G I N THE PERSPECTIVE OF THE FILIPINO MOVIE GOING PUBLIC DURING THE PANDEMIC

By Paolo Angelo Florenda

The pandemic has taught us a lot as a people. The way we normally do things were disrupted.

People were forced out of their comfort zones and tried new things just to fit in with the so-called ?new normal?. From eating out to how we consume entertainment, there were uncomfortable adjustments that we had to do in order to follow the strict protocols apprehensively put out by the Government.

One of the hardest hit was the entertainment industry, specifically the movie sector. Movie theaters were unrelentingly closed down due to fear of mass infections of COVID-19, since watching in theaters were considered public congregation. Suddenly, ?Relax and See A Movie? is now just a phrase. People had to scramble to look for an alternative to this simple but vital entertainment practice. An article published in Deliotte.com last July succinctly described the state of the movie industry around the world: ?In March 2020, the COVID-19 pandemic disrupted the motion picture industry at every level, shutting down content production and canceling theatrical premieres.? In India alone, the government put forth a rigid standard operating procedure (SOP) in the reopening of theaters and conducting of film festivals, which all the more wrought havoc on the already depleted resources of cinema operators, film producers and distribution firms. It?s bad enough that there were zero profit these past few months, add to that costs that need to be incurred just to resume cinema operations like buying thermal screening devices, sanitation equipment and the training of personnel to screen moviegoers.

PREM I ER The usual cinema watching was now replaced by another albeit similar form of entertainment called digital movie streaming. The rise of Netflix and other online streaming services were clearly evident during the pandemic. Another type of these services called Premium Video on Demand (PVoD) was also introduced to cater to people who want to watch movie releases that were shuttered during the pandemic. It was bad enough that these new-fangled entertainment services were directly competing with the cinemas, but it became more pronounced due to its absence (cinema) in the pandemic period.

Here in the Philippines, one doesn?t have to have deep knowledge to know about the state of the film industry. ?Just go to the nearest mall and you?ll see the usual bright lights of cinemas gone and the forlorn, eerily quiet state of its premises,? says Loysa Orense, a doctor/businesswoman who is an avid cinemagoer. Edman Locsin, a BPO executive who considers himself a certified couch potato says watching TV programs alone can give you a precise glimpse of the state of Philippine movies. ?You can see big-name stars complaining about the absence of work. Some would even go to great lengths, slashing their massive talent fees just to get miniscule guestings on TV soaps, talk shows and game shows.? Even a few minutes of browsing through social media news feeds, one can see celebrities ranting about film projects being cancelled. And worst, some of them had to get down their high horses just to take on menial, non-entertainment jobs just to get by and to pay their astronomical, monthly bills. Some celebrities also resorted to being Vloggers (video blogging). They utilize Facebook, IG, YouTube, and other video streaming platforms to play out their lives, scripted or not, to monetize advertising and viewership. Some were successful in this craft like Raffy Tulfo, Ivana Alawi, Alex Gonzaga, Kim Chui, Vice Ganda among many others.

Although not new, the advent of subscription-based video streaming services like Netflix, Amazon Prime HBO Now and even YouTube TV are slowly and excruciatingly replacing cinemas as the top choice for entertainment. Even social media platforms like YouTube, Facebook Live and the rest are now competing with the public?s attention, thereby narrowing the market for theatrical films.

However, there are still bright spots for this age-old entertainment practice. Some enterprising malls are now offering old-school drive-by cinemas. Most millennials I?m sure have not heard of this entertainment staple of the 80s, 70s and 60s. In the Philippines, we normally see drive-by cinemas only in Caucasian movies and in Archie comics. It?s basically watching movies outdoor in your car on a big parking lot.

The good news is the pandemic is slowly easing out with the number of infections going down.

The vaccines from China, US and Russia are now in its late stages of approval. It?s only a matter of time before these vaccines come out and eradicate the COVID-19 virus completely. Then everything will go back to normal including watching movies on the big screen, the way it?s supposed to be consumed. But until then, we hope and pray that all the players in this sector, most importantly the production crew and bit players i.e. small-time actors and stuntmen would find ways to get by. As far as the medium is concerned, we should all accept that online streaming and video on-demand will only get stronger due to its convenience and immediate availability. And as streaming devices like smartphones, smart TVs, laptops, and internet connection get better, people will now have mini-movie theaters in the comfort of their homes.

The secret to the movie industry?s relevance is still in the content production. Content is like a bullet for the gun. Media without content is nothing.

The medium is constantly evolving but the content will always be there. Think of it in a positive light. Content creators like movie producers, scriptwriters, actors, video production crew will now have a slew of options to show their content. Before it was all broadcast and movie theaters. Now, the internet offers various platforms to stream content and in various unimaginable ways. Short films, documentaries, informationals, bug budget movies, tele-dramas, and any sort of motion picture can now be shown online with extremely limited restrictions. This bodes well for the industry and it is just a matter of acceptance. Change in the way entertainment is consumed will always be there. It is up to us to change our behavior in the way we watch films. Enough of this for a while. Let?s relax and see or, uhm to be more relevant, stream a movie!

Photo from Fodors Travel Guide

www.dooh.ph / 8562-8941

Image of the Philippine islands taken from the Internatinal Space Staion on Sunday , May 9, 2010

MANILA, Philippines -- Last October 2-4, 2020, Filipino developers, engineers, technologists, designers, scientists, coders, storytellers, makers, builders, innovators, and entrepreneurs from Luzon, Visayas, and Mindanao came together to address real-world problems on Earth and space by engaging with the United States space agencyNational Aeronautics and Space Administration's(NASA) free and open data, together with partner agencies likeJapan Aerospace Exploration Agency(JAXA),National Centre for Space Studies(CNES) of France, theCanadian Space Agency(CSA), and theEuropean Space Agency(ESA) in a virtual hackathon. Some of the projects developed include road hazard detection, data visualization tools, and machine learning for satellite image monitoring, and a lot more.

This year 's edition of NASA's International Space Apps Challenge was held online due to the coronavirus pandemic situation worldwide. The theme of this year "Take Action" -- is a critical reminder that anyone can make a difference, even from the comfort and safety of home. In this unprecedented time, the Space Apps community exists as a reminder that there the tools and talents to tackle challenges facing the planet, as well as the ability to unite across boundaries and borders of all kinds.

Vice President Leni Robredo lauded this event as "our ability to gather ourselves, organize, and come together have opened the doors to technology and progress. We have done great things, cure diseases, find ways to connect with each another across the oceans, and even walked on the Moon... all thanks to mutual cooperation."

The first Director-General of the Philippine Space Agency (PhilSA) Dr. Joel Joseph S. Marciano Jr. stressed the importance of space science in helping the society. "Space infrastructure, space data, and space-enabled services therefore help inform policies and decision-support systems that can lead us to better plan and decongest our cities, improve our transportation systems, monitor the state of infrastructure, enable better connectivity, enhance our agricultural and fisheries production, and protect our natural environment," he said.

Since the start of Space Apps in the Philippines on 2016, the country witnessed on how the community grew from a group of volunteers to forging partnerships with collaborators and stakeholders. For many years, Filipinos collaborate and work with one another in developing projects to solve problems using space technologies. NASA and partner agencies recognized the hard work done by Filipinos, and thus being recognized and awarded globally as winners and finalists consecutively in the past three years.

Software developer Michael Lance M. Domagas is optimistic that in these momentous and trying times, the country would still choose to prioritize and give value to science, technology, engineering, and mathematics (STEM), especially in emerging fields like space science where innovators can contribute and solve the most pressing problems prevailing in the society and environment today.

Technology and developer community leaders and STAMINA4Space engineers as mentors helping participants during the hackaton.

Filipin os developed solu t ion s at h om e t oget h er w it h NASA

"How could someone imagine that Earth-observation data coming from space could give us valuable and unique insights about the socio-economic impact of the coronavirus pandemic in various countries, and to pinpoint possible mosquito habitats which causes another epidemic called dengue? Why can't we support our own modern-day heroes specializing in new and emerging technologies to address issues and help others in our country? NASA and partner agencies from other countries have already recognize the ingenuity of Filipinos for the past three years. Now is the proper time for our own country to recognize their achievements too," Michael Lance said. Together with technology and developer community leader Tzar C. Umang from Pangasinan and U.S. cultural affairs officer Matt T. Keener, Michael Lance looks forward in having more Filipino winners and finalists being recognized, and to a more meaningful and impactful Space Apps challenge in the future years to come.

Photo by Bryan McGowan on Unsplash The Department of Trade and Industry(DTI) undersecretary for competitiveness and innovation Dr. Rafaelita "Fita" M. Aldaba,Analytics Association of the Philippines(AAP) president Colin Christie, former Department of Information and Communications Technology (DICT) undersecretary and University of the Philippines System Information Technology Foundation president Monchito B. Ibrahim, assistant professor and assistant chairman for administration, Department of Geodetic Engineering at the University of the Philippines and Sustained Support for Local Space Technology and Applications Mastery, Innovation and Advancement (STAMINA4Space) GRASPED project staff Dr. Czar Jakiri S. Sarmiento, part-time lecturer and technopreneurship/program manager at the Technological Institute of the Philippines (TIP) Nitro Erwin A. Lizarondo, senior consultant for data analytics for social impact at CirroLytix, Data Ethics PH, and COVID-19 challengewinnerfor the best use of data Nick Tobia, and Africa University chair educational technologies and United Nations Office for Outer Space Affairs (UNOOSA)Space4Womenmentor Ms. Basuti Gerty Bolo from Zimbabwe served as local judges in Manila.

Community partners include STAMINA4Space, PhilSA, thePhilippine Council for Industry, Energy and Emerging Technology Research and Developmentof the Department of Science and Technology (DOST-PCIEERD),DTI-Design Center of the Philippines, AAP, Data Ethics PH, CirroLytix,PWA Pilipinas,TMDC IT Solutions, Pampanga Developers Group, Koodi,Web and Mobile Developers PH,UXPH,DevCon,Alaga Health,Philippine Information Technology Organization(Phil IT Org), TIP Nitro,De La Salle University, Google Developers Group (GDG) Cloud Manila,98 labs, United Pangasinan ICT Council, Code UX, DesignMNL Studio,Talino Labs,Impact Hub Manila,Elinnov Technologies,Drupal Pilipinas,Pantheon, Wadwhani Foundation, Youth for Women in Technology (WiTech),Kallisto,Wavefarers,Stock Knowledge,MVN Photostudio, and theU.S. embassy.

"The Global Organizing Team is inspired by the journey the Philippines has with the Space Apps program. In particular, we appreciate the development of STEM in the Philippines and elsewhere, because one goal of Space Apps is to foster interest and learning in these fields worldwide," said Matt Scott, the global community director and storyteller.

The recent COVID-19 challenge winners and finalists discussed how their space-based solutions address the coronavirus pandemic during theData Brew 4: Space and Ground Data for the Betterment of the Human Conditionon Wednesday, October 7, 2020 by the Remote Sensing and Data Science (DATOS) Help Desk of theDOST-Advanced Science and Technology Institutewith PhilSA and STAMINA4Space.

In the Philippines, Space Apps is part of theWorld Space Weekand celebrates the Design Week Philippines with DTI-Design Center of the Philippines.

Space Apps is a NASA-led initiative organized in collaboration withBooz Allen Hamilton,Mindgrub,SecondMuse, and theNASA Open Innovation Applied Sciences Program.

Abou t Space Apps

Now in its 9th year, Space Apps is an international hackathon for coders, scientists, designers, storytellers, makers, builders, technologists, and others around the world, where teams engage with the National Aeronautics and Space Administration?s free and open data to address real-world problems on Earth and in space. Space Apps 2019 included over 29,000 participants in 71 countries. In May 2020, the virtual-only Space Apps COVID-19 Challenge concluded with over 15,000 participants from 150 countries. Space Apps is a NASA-led initiative organized in collaboration with Booz Allen Hamilton, Mindgrub, SecondMuse, and the NASA Open Innovation Applied Sciences Program.

What can a ten cent buy ?

Th e View f r om t h e Top Fortune 500 companies spend billions to ensure the proper image of their brand? which is why they often spare no expense when it comes to building their headquarters. And it?s in China, where many newcomers to the Fortune 500 list can be found, that some of the most innovative new offices are located. Among the top of the Fortune 500 list is Tencent, an investment holdings firm that specializes in internet services. Valued at $930 billion, Tencent is Asia?s most profitable company. In 2013, the firm enlisted New York?based architecture group NBBJto build its $599 million headquarters in Shenzhen.

The building is connected by a series of skybridges and features such state-of-the-art technology as hologram-led tours of the space.

The design premise breaks away from the sprawling suburban campus model not easily replicable in dense cities and moves away from the traditional corporate high-rise where staff are disconnected from each other. Instead, Tencent?s headquarters splits a single high-rise into a pair of towers, one 50 stories and the other 39 stories, linking them together with three horizontal ?skystreets? or links. These links representing culture, health and knowledge, bring connective elements like community areas, green spaces and fitness amenities ? including a basketball court, running track, and pool ? to Tencent?s workforce to encourage intellectual, physical and creative growth. Also featuring rooftop parks, they help remove barriers between departments and serve as community areas, much like an urban civic center, plaza or other gathering place.

By incorporating dedicated spaces that allow the other components of life to seamlessly integrate with work ? from learning and discovery, to wellness to cultural offerings ? Tencent?s headquarters reinvents the community of work, putting its biggest assets and innovation drivers at the core of its business: its people.

In uniting sustainable approaches and digital technologies, Tencent?s global headquarters flips the traditional workplace on its head. In an effort to address the effects of climate change ? including flooding and rainwater runoff ? the Tencent Headquarters is the first in Shenzhen to meet China?s ?Sponge City? Initiative criteria. This program seeks to ensure that 80% of the city?s land will absorb 70% of rainwater.

At Tencent, key green elements help absorb stormwater runoff ? from recycled ceramic brick to specialized concrete. Skystreet plantings, rooftop gardens and bioswales also help mitigate rain water, in addition to air pollution and heat gain.

Aw ar d- Win n in g Ar ch it ect u r e

The Tencent Binhai Mansion received the Best Tall Building Asia & Australasia 2018 Award of Excellence in 2018 by the CTBUH Awards or The Council on Tall Buildings and Urban Habitat (CTBUH) , the world?s leading nonprofit organization for all those interested in the future of cities. It explores how increased urban density and vertical growth can support more sustainable and healthy cities, especially in the face of mass urbanization and the increasing effects of climate change worldwide. The relationship between policy, buildings, people, urban density, urban space, interior space, and infrastructure is key.

iflix is currently available to consumers in Malaysia, the Philippines, Thailand, Indonesia, Sri Lanka, Brunei, the Maldives, Pakistan, Vietnam, Myanmar, Cambodia, Nepal, and Bangladesh.

COM E TOGETHER St or ies of gr eat acqu isit ion s an d m er ger s iflix was founded by Catcha Group, leading international investment focused on emerging markets, and Evolution Media, a merchant bank focused on the media, sports, and entertainment industries. In April 2015, the Company announced the formation of its Advisory Board, comprised of Hollywood?s most elite business and creative leaders.

There is a set of conditions, which tends to exist universally across emerging markets? prevalence of piracy, inconsistent infrastructure, inconsistent quality and distribution of internet connectivity, expensive and limited mobile data, low paid television penetration, low credit-card penetration and a lack of familiarity with online payment options. Iflix has been able to address and solve many of those challenges through technology and commercial partnerships. They have further been able to take the learnings and solutions from one market and apply them new ones and new regions.

In April 2015, iflix announced the completion of a $30 million round of funding led by leading international investment firm, Catcha Group and Philippine Long Distance Telephone Company (PLDT), the largest integrated telecommunications company in the Philippines. Shortly after, the Company welcomed Metro-Goldwyn-Mayer (MGM), one of Hollywood?s most acclaimed and prestigious studios as an investor in the business.

In March 2016, iflix announced the completion of a large new round of funding, led by Sky PLC, Europe?s leading entertainment company. Indonesian company Emtek Group, through its subsidiary Surya Citra Media, one of Indonesia?s leading television and content companies, also participated in the round.

In March 2017, the Company announced it had completed a $90 million funding round to support its expansion in the Middle East, Africa and new markets in Asia. The financing included new investors ?

Liberty Global plc, major distributor of TV entertainment, sports and other programming, Zain, a leading mobile and data services operator in the Middle East and Africa with whom iflix recently established a joint venture ?iflix Arabia?in the MENA region, and a privately held investment management firm that invests in consumer businesses across Africa, alongside additional capital from existing shareholders Sky PLC, Catcha Group and EMC. In August 2017, the Company announced it had completed a $133 million funding round led by Hearst, one of America?s largest diversified media, information and services companies. The financing included additional new investors ? Singapore-based EDBI and clients of DBS private bank. Existing shareholders Evolution Media Sky PLC, Catcha Group, Liberty Global, Jungle Ventures and PLDT Inc. also increased their investments.

WeTV, which is operated by Tencent Video, was launched first in Thailand last year, offering original Chinese content with Thai dubbing and other content made with local partners. The service has also been made available in Indonesia and the Philippines.

Ten cen t bu ys st r eam in g plat f or m If lix

In June of 2020, Tencent, the entertainment Titan announced the acquisition of Iflix, however, financial details were not disclosed. ?Through the purchase, WeTV will further extend our presence in the video-streaming industry across Southeast Asia to reach a broader audience base within the region and to better serve our users with a better viewing experience,? Tencent stated.

With the purchase, which includes Iflix?s content, technology, and resources, Iflix?s local network across emerging markets will give WeTV?s current users a wider range of international, local, and original content.

The company also said that most of Iflix?s current staff, including CEO Marc Barnett, will retain their roles. ?Our current priority is to ensure smooth integration with our existing business and also talent retention.?

To date, Iflix has raised a total of US$348 million in funding. Its latest round came in July 2019 when it banked US$50 million ahead of a potential IPO. The company was reportedly looking into going public in Australia this year, but later shelved its plans as it looked to raise more funding.

M EGAVISION