Family

Rianne is the eldest of her mother's six children. Along with her siblings, she lived with her aunt (from her mother side) at her grandparents’ house for nineteen years since her parents separated. Now, she is in her mid-twenties and she is already living on her own.

So far, she is the only artist in the family; but her father and her relatives on his side are mostly writers and media people. On her mother ’s side, most of them are skilled in shoe-making as natives of Marikina, the shoe capital of the Philippines. Her brothers and sisters love animes and video games.

Grade School and High School Years

During her grade school and high school years, she has been a consistent honor student who was marked by her being very active in extra curricular activities. And through the diversity of her experiences within the various school organizations, seminars, workshops, and interlevel and interschool competitions, she started to build a versatile character. Throughout the duration of her stay at her former alma mater Our Lady of Perpetual Succor College, she has been known for being an artist, the Campus Best Debater, and Editor-in-Chief of the school paper “The Horizon.” Her writing skills were further honed with her training for a number of competitions in Journalism as the Division Secondary Schools Press Conference and Regional Secondary Schools Press Conference both during her grade school and high school years. She won a number of awards including: 1st Place in Copywriting and Headlining in English and Filipino; 2nd Place in Editorial Writing in English; and 7th Place in Feature Writing in English for two consecutive years. She was also one of the topnotchers of the first NEAT (National Elementary Achievement Test). Her leadership skills were developed further being the Vice-President of the Glee Club, Patrol Leader of the grade school GSP (Girl Scouts of the Philippines), President/Trainer of the Marian Club during her 3rd Year and 4th Year, Vice-President of the Marikina Editors' Guild, Representative of the PAMARISAN (Pasig/Marikina/San Juan) Editors' Guild, and other clubs/organizations inside and outside the school where she was officer/member. Apart from a number of awards from interlevel and interschool quiz bees in English, Math, Science, and History, essay writing contests, poster-making contests, slogan-making contests, and receiving the Campus Best Debater Award for two years, she graduated with honors and she was the recipient of the Campus Journalist of the Year Award during her graduation.

College years

She was grateful to have passed her first choice course at the University of the Philippines (UP), Diliman campus. She took up Bachelor of Arts in Film and Audio-Visual Communication at the University of the Philippines Film Institute. During her college years, she was also very active in a number of organizations and extra-curricular activities. During her freshman year, she became a member of UP CAST (UP Cinema Arts Society), a college-based film organization of the university. She was also a member of the UP Fencing Club and trained in UP and the Philsports Arena for epee and foil. She finished 16th at the Fencing Novice Competition way back in 1999. She also joined UP SAMASKOM (Samahan ng mga Mag-aaral sa Komunikasyon), a renowned university organization known for the annual musical comedy variety show LIVE AIDS. SAMASKOM has a proud roster of successful alumni in the film and entertainment industry including musicians Wency Cornejo, Raymond Lauchengco, Kris Gorra (Fatal Posporos/Cambio), and Miro Valera (Stonefree), comedians/comediennes Giselle Sanchez, Ate Glow, Tuesday Vargas, and Jaja Bolivar, and directors Jerry Sineneng, Cholo Laurel, and Lauren Dyogi. SAMASKOM is a good training ground for harnessing various talents and skills in acting and performing, and also marketing and behind the scene work in various kinds of productions.

When she was an upper classman, she started working as a freelance production artist. Aside from performing for SAMASKOM, she also applied for PETA (Philippine Educational Theater Association). She was also a student DJ from 106.7 Kool, and later on, she transferred to Monster Radio RX 93.1. She was trained using sound broadcast equipment (consoles, carts, and MD players), and also in doing segues, newscasts, OBBs, CBBs, and AOBs, and recording and dubbing radio plugs. Her broadcasting skills led her to freelance stints as host for parties and events. She also started work as a dubber/voice talent for animes, infomercials, live shows, and film productions. She also acquired a good background in events management and marketing through her stay in the radio industry and through CAST and SAMASKOM.

As a graduating film student, she chose to give up her thespian days (as an associate member of PETA for almost two years) to go full time on her calling as a filmmaker. She entered a number of workshops in writing and filmmaking as well. She also started working freelance in different projects/productions as a production assistant, production manager, and assistant director. She had her internship at the production house Videofilm Production Center where she worked for two TV commercials as production assistant and talent.

Her thesis film “Karsel” (“Prison”) was the first thesis film production shot in 35mm at the University of the Philippines Film Institute. She became the recipient of the Kodak Film Award 2003. In the same year, her film was awarded the university’s Best Production Thesis. The film was also nominated for the 2003 Gawad Urian for Best Short Film, competed at the TAU International Student Film Festival 2004 (Tel Aviv, Israel), UP Diliman Film and Video Festival 2003, 1st Indeo Film and Video Festival 2004, and International Women's Film Festival 2006. It was also exhibited/featured at the Pelikula at Lipunan Film Festival 2004, Celebrating Women—Women’s Week Film Festival 2004, Eksperimento Film Festival 2004, Pi Omicron Independent Film Festival 2004, UniversiTV, Illuminations: Awarded Student Films of the UP Cinema Arts Society (UP CAST), and a number of school-based and community-based film screenings.

The Filmmaker and Production Artist

Pains and struggles are temporary; but the films made are forever.

- Rianne

After film school, as she moves on with her career as a freelance production artist, her acting, writing, and technical skills have become advantages for her. A few months after graduation, she worked as unit director/writer for Pilipinas Online-Bantay OCW, a public service TV program in ABC 5 in 2003.

Rianne is a versatile production artist. More than her freelance work as a director/writer/assistant director/videographer/photographer for music videos, AVPs, events, and mainstream and independent film productions, she has also become a speaker and facilitator for a number of art, film, and writing workshops and competitions, and career and independent filmmaking talks and symposia. She also works as a freelance graphics artist, voice talent for promotional spiels and voiceovers, and host for parties and events on the side.

She became a trainee asst. director for a soap opera in ABS-CBN before “Aninag” ("Light's Play") required her to go full time for the said production in order to keep up with her deadline for her approved film grant at the National Commission for Culture and the Arts (NCCA).

The success of “Karsel” ("Prison") inspired her even more to push through with the new 35mm short film “Aninag” (“Light’s Play”). After graduation, she made a concept and passed a proposal at the NCCA. Three months after, she was given a new opportunity to shoot the film. "Aninag" ("Light's Play") competed at the New York International Independent Film and Video Festival 2005 and the Louis Vuitton Hawaii International Film Festival 2006. It also won 3rd Place at the PBO (Philippine Box Office) Digitales Film Contest 2006, a film competition by Viva Entertainment's PBO cable channel. The film has been airing at the said cable channel since last year. The film was also exhibited at the New York Filipino Film Festival 2005, Cinema Purgatoryo 2005, Pelikula at Lipunan Film Festival 2005, and the Pi Omicron Independent Film Festival 2005. It has been featured in a number of school-based and community-based film screenings. It was also selected for the UNESCO (United Nations Educational, Scientific, and Cultural Organization) Audio-Visual E-Platform and the Clermont-Ferrand Short Film Market.

She is presently working at her most recent film entitled "Pera-perahang Lata" (Penny from the Tin Can), a film grant from the NCCA.

Right now, she has a number of concepts and scripts waiting to be finished, and hopefully, with more accessible resources/technology nowadays, she can find enough finances to produce them soon.

The Writer

Rianne is also a freelance copywriter who is currently learning SEM (Search Engine Marketing) and SEO (Search Engine Optimization). She is also a professional writer for entertainment for Yehey.com. Moreover, she is a freelance writer making PRs and feature articles for various projects. Her film blog containing comprehensive film reviews and photos of classic films, local flavors, Hollywood flicks, independent films, and critically-acclaimed films can be viewed at Film Works.

The Educator

Rianne is a part-time film instructor at the First Academy of Computer Arts. She teaches digital storytelling, scriptwriting, independent filmmaking, and directing. She is also a faculty member at the Colegio de San Lorenzo. She teaches photography, video production, advertising, and writing for film, TV, and radio.

It is indeed another fulfilling endeavor to share one’s knowledge to those who are just starting… like a warrior passing on his/her knowledge and harnessing the skills of the next generation… supporting and inspiring them along the way...

The Dreamer

Dream what you want, aim for it.

As a struggling filmmaker, she has been through the ups and downs of filmmaking in a third world country. As a child, her family and relatives have been in full support to her being their “official photographer.” Upon entering college, her heart couldn’t stop yearning for her first love – filmmaking. It was tough for her to choose this course because, back then, her family couldn’t afford an expensive course, and she was considering taking up chemical engineering to make life better for her financially-challenged family. Gratefully, she was admitted to her first choice course at the top school of the country and the only academe then offering a filmmaking course in the Philippines – the University of the Philippines Film Institute. Though she was a state scholar and her tuition fees were subsidized, the production expenses for a four-year course in filmmaking was a really big problem still. But living in a crisis-stricken family became a challenge for her to pursue her very dream. She aimed to be able to shoot her thesis in 16mm film. During her 4th year as a film student, she had six units left together with her thesis. However, she wasn’t able to graduate still because she didn’t have money to shoot her thesis film. She strived and walked various city halls, government offices, and production outfits, at most times literally under the heat of the sun and the heavy rains just to personally give out solicitation and sponsorship letters, and set meetings for her presentations. For one year, she kept doing all these, including regularly making follow-ups calls, continuously developing her vision and script, preparing everything for the principal photography and post-production, and working freelance for different productions/projects on the side in order to sustain her immediate financial needs and acquire enough money for the production. For her, if she would send out 100 solicitation and sponsorship letters, a handful, whether small scale or large scale, would be giving significant help. With all gratefulness, she was fortunate to have some institutions and people who understood and reached out for independent and student productions as this. Seiko Films offered the outfit's film camera and lighting equipment for the shoot. And after aiming to shoot my film in 16mm for five years, she was given the opportunity to shoot in 35mm film instead. Filmex and Production Village gladly gave their 35mm short ends and she used these additional film stocks for the film. LVN Pictures Inc. granted her free processing, printing and editing of the film. Indeed, these experiences have been very tough and yet very rewarding.

Looking into the technical and production level of making an independent film, the filmmaker has a very tight budget to work on. Major expenses fall into the equipment rental and other production expenses. Most of the collaborating artists render free services. For this reason, the filmmaker really has to find ways to ease the burden of production cost. One must be opened to considering alternatives/options if such would be inevitably called for. But of course, the major concern is to make a film “to justify both one's craft and convictions through the story the filmmaker wants to tell.”

Rianne promotes her visions through making use of the various art media that would later on pave way to great opportunities on exhibits, film festivals, and alternative ways and venues to show her works. Right now, she has a number of concepts and scripts waiting to be finished, and hopefully, with more accessible resources/technology (including Youtube and other social networking sites to promote one's work, digital video cameras, and other production equipment, computers, and production softwares improving tremendously every time and paving way to better access to production resources), she can find enough finances to produce them in due time.

Indeed, amidst things said as the Philippine film industry is dying and the issues about independent filmmaking in the country dying as well, Rianne is looking forward to being able to contribute to the betterment of filmmaking in her own little way. And it’s good that now, with more people getting better access to technology and getting more resources becomes easier than before, the digital revolution gives hope for the young struggling artists. People should look on the brighter side of things and positively take advantage of what the present has in stored for the society than becoming too pessimistic and adding up to the chaos and controversies revolving around the Philippine mainstream and independent film industry.

It is true that some people tend to laugh and find it ridiculous for some artists to say that they make films/art works not for commercial purposes and profit endeavors but mainly for the love and fulfillment they get from such independent works, whether such are collaborative efforts or personal works. At times, I have been a victim of such accusations – from coffeeshop chit-chats to online discussions to job applications. But let me tell you now, let us all just respect each other. I have my own life that I am responsible for, and so is everyone else. Even if you close-minded people find it unrealistic or plastic or trying hard, just mind your own businesses, because at the end of the day, the one with pure heart who is doing what s/he loves without harming anyone on the way, will be the one to become ultimately fufilled. So if you just can't accept such convictions, just mind your own businesses. I have a life that I play and I take care of, have yours. :)

-Rianne

The Believer

When the going gets tough, the tough gets going.

Rianne advocates the idea of calling everybody in a film production as filmmakers – not just the director, who is most of the time, the only person who seems to have find the ample right to be called a filmmaker. For her, from the best boy, to the lighting crew, to production assistant, to the art department, to the actors and actresses, to the production designer, to the director of photography, to the producer – all of them, like the director, can also be called filmmakers. Film is a collaborative effort. It is not a one-man work. And for her, “all those involved in the film production are filmmakers.”

It’s hard living an artist’s life here in the Philippines. She even came to the point of disillusionment with how the 'dying film industry' here made struggling artists as herself almost unable to survive the economic needs. There are less opportunities especially to those who have no power and connections. She works for a living just enough to let herself eat everyday, pay her bills, and have few luxuries as sending festival entries, shooting photos, and making personal art works. But all these don’t stop her from working towards her goal and carrying on making films with a pure heart. She continuously seeks for opportunities no matter how scarce they are. She believes that “when you have sincere intentions for your chosen vocation, you will succeed.”

In as much as she dreamt of really pursuing further studies in filmmaking and acquiring a masters degree abroad (as there is no Philippine academe yet offering hands-on masters degree in filmmaking/film production), it is more difficult to acquire scholarships for a filmmaking degree as compared to science, business, and political courses. She has noticed that, in general, those expected to enter film schools are only the affluent ones… some are the lucky ones… and some are the few geniuses in the field – blessed with scholarships abroad. As for her, she survived film school without her own SLR camera nor video camera. She borrowed equipment from friends just to survive her production subjects. She strongly believes that through perseverance and sincerity, doors of opportunities can be opened for struggling and surviving filmmakers as her. She believes that production work is a true fulfillment in exploring her film visions of various cultures and milieus. Making films is one great opportunity for a thriving collaboration of remarkable artists for projects they can fully call their own, practice their craft, express their convictions, and further promote a true filmmaking spirit.

Looking into the technical and production level of making an independent film (especially in a presently crisis-stricken country as the Philippines), filmmakers always have very tight budgets to work on. Most of the collaborating artists render free services. For this reason, filmmakers should really find ways to ease the burden of production cost and be open to considering alternatives/options if such would be inevitably called for. But of course, the major concern is to make a film "to justify one's craft and convictions through the story being told." And the goal in promoting the visions through making use of the film medium would pave way to great opportunities on festivals and alternative showings and exhibitions through schools, film showings in the streets, internet streaming, etc.

Perfection vs. practicality. This is tough for a filmmaker, who, at most times, has a very limited budget. If you just have a little money to spare, go back to your goal. Evaluate your concept and story. Treat your limitations as challenges. Remember, it is not just a matter of having a big budget to create a good film. Being an effective storyteller doesn't mean merely relying on special effects and being a maximalist in art direction and other production requirements. Not all great opuses have the budget of "Titanic," "The Lord of the Rings," "Transformers," or "300." If you can't push for an expensive production, make your stories simple, but touching/engaging. Above all, a film should have a heart. Make more character-driven stories. With the right theme and concept, you will not need any or too much special effects and your film will not demand for too much financial requirements. Be sincere. Read, watch, and observe. Get inspiration from your personal experiences and from the experiences of the people you know and from what you read and hear about.

Also, establish connections and gain experiences in the various fields of production. Not unless you are one out of the one million people ultimately gifted and undoubtedly a genius or privileged enough to be born affluent/influential/powerful, you can't survive the industry by just working on your own and not doing extra efforts to prove yourself. Honest to goodness, "we all need to work and survive and prove ourselves." And this is really tough in this chaotic but yet lovable world we live in.

It is an advantage to be an honest extrovert. In writing marketing letters, don’t sound like you’re bragging, just sound credible and trusting. As a starter, it's good to get out – join student film shoots, observe both mainstream and independent productions, experience the different media both as an observer and as a member of the production (film, TV, music videos, TVCs, commercial films, AVPs, etc.), attend seminars, symposia, and workshops. And you can also talk, interview, or even do apprentice work to production people you look up to. Approach them and ask for help. Don't think you are nobody, think you are somebody who has a dream and sincerely wants to learn no matter how tough the world can be. From all these experiences, you’ll be able to discover your forte, and what aspect of production you really love (cinematography, directing, animation, production design, producing, musical scoring, sound design, etc.). And from here, you can have a better grasp of the different production works and which one/s you would want to concentrate on (advertising, mainstream, indie, etc.). Find your niche and lovingly embrace it – and have the time of your life.

The wonderful thing about filmmaking is that you can actually come from any place, career, and interest. Whether you are from marketing, engineering, accounting, creative writing, music, or any other field, you can use your former or present work experiences (along with your personal experiences) as a source and inspiration for concepts and stories. Your various experiences in life are what you mainly need to get started. “Study and learn to love the craft. Be creative. Storytelling is a means of expression and your work is a part of you.

In filmmaking, it is indeed not a one-man show. Seek the help of your friends and ask for support from good institutions. If you are sincere, even if you don't have a famous surname, your perseverance will pay off in due time. Talk about good karma. And even your good or bad experiences while striving can be a spark of a new concept and story for your future films.

As a filmmaker, be open to suggestions and script revisions as the day progresses. Be versatile in and out of the set. No room for panic. Presence of mind. Lots of uncontrollable situations can happen (delays, missing whatever, location problems, art department/technical problems, accidents, etc. — and they usually come together in clusters during the last minute or even during the actual production). Be alert. Handle the situation. Take charge of your responsibilities. Accordingly, be a fast and effective thinker, leader, and follower.

Most independent films may not be meant for commercial purposes; they are mainly meant for artistic, cultural, and/or personal endeavors – a true fulfillment for an independent filmmaker.

With her struggle as an artist and filmmaker, Rianne would like to contribute to making films, with such personal and collaborative works, hopefully, bringing fulfillment to Philippine cinema and further enriching the country's culture and the arts.