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Bedtime Stories - Tales from Our Commmunity

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Movie Script For ANAK

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Narrator: Hongkong, isa ito sa mga lugar na dinadagsaan ng mga Pilipino, kasi naman kahitsaan mo tingnan talagang mas malaki ang kikitain dito kaysa duon saatin. Mabuti nalanguuwi na ako, matagal narin mula noong huli akong umuwi ng Pilipinas, 6 na pasko, 6 nabagong taon, 6 na birthday ng mga anak ko ang pinalampas ko.

Josie: dahil mahal ko kayo. Mahal na mahal ko kayo. ngayon sabihin mo sa akin, sinasabi mona hindi kita naiintindihan bakit Carla ako ba inintindi kahit minsan, sana kahit minsanbinigyan mo ng halaga ang lahat ng pag-hihirap ko sa inyo, lahat ng sakripisyo ko, sanatuwing umiinom ka ng alak, habang ginagastos mo ang pera na binibigay ko, sana maisip morin kung ilang pagkain ang tiniis ko na hindi kainin para lang makapagpadala ako ngmalaking pera dito. Sana maisip mo rim kahit kunti! kung gaano kasakit sa akin ang mag-alaga ng mga batang di ko kaano-ano samantalang kayong mga anak ko hindi ko man langmaalagaan! Alam mo ba yun kung gaano kasakit yun sa akin bilang ina alam mo ba kunggaano kasakit iyon Kung hindi mo kayang ituring ako bilang isang ina, respetuhin mo nalang ako bilang isang tao. Yun lang ang kailangan ko, yun lang Carla, yun man lang!

Lino Brocka's Mother, Sister, Daughter tops the current crop of 1979 movies because it has a strong, simple theme that gives Mel Chionglo's story and screenplay a unity most current scripts lack. Mother, Sister, Daughter is the story of two daughters who vie for their father's love. Emilia cannot understand why her father does not love her in spite of all her sacrifices. Pura, born out of wedlock, is the favoured daughter, but she cannot understand why her love for the man she wants is not enough to make him see that she is better than Emilia, who seduces him into marriage. Both women find it difficult to realize that love cannot be possessed. Both are hardened by this obsession, and their rivalry blights their love. Pura comes to an uneasy understanding of their situation, and there is hope that she finally would attain some sort of peace. But Emilia, though calmed by her father's death, is still dazed and cannot understand why she has been made so unhappy by the events in their lives.This theme, that man cannot demand love from another, that it must be freely given (in the same way that we cannot demand that God loves us or shower us with special favours) is intertwined with sub-themes: the sub-theme of pride which will not bow to the ravages of time. After twenty years, Emilia still sees Pura as the bastard daughter who has no right to set foot in their house. After twenty years, Pura still harbours revenge in her heart, wishing dire poverty on Emilia, who stole the man she loved, when Emilia could not steal her father's love. (Pio de Castro, Expressweek, 1979)

When it comes to a movie, all you probably have to do as the audience is grab your popcorn, sit back and watch. At the end of the film, you give accolades to the actors, the director and the screenwriter, but, most times, the producer or production company is left out. Series of stages are involved right from the ideation moment until it becomes a masterpiece displayed on the screen. And it is usually the producer who makes things fall in place.

The first day on any movie set is not when everything related to shooting the film commences. The first production stage is called pre-production, where all the planning goes down and where imagination begins to find life. Pre-production defines how successful the production process and the overall outcome of the movie will be. It starts once the script is ready and forms the foundation for which all other stages will be built. The steps involved in pre-production are:

Filmmaking is mainly about collaboration. Behind every great movie lies spectacular crew members. While some directors already have crew members they work with from time to time, new crew members might be hired depending on the project. Some of the crew members for any film production include


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