“Messiah”, Madman, Moviemaker
Interview with Celso Ad. Castillo, 23 October 2010
“Nympha may yet become my Citizen Kane.” — Celso Ad. Castillo.
Photo from the Video 48 blog, where you can read Clodualdo Del Mundo’s review of Nympha from 1971.
JessicaRulestheUniverse: There are so many memorable images from your movies, but the two that automatically pop into our heads are Vilma Santos’s long dance near the end of Burlesk Queen, and Gloria Diaz riding that horse on the beach in Ang Pinakamagandang Hayop Sa Balat Ng Lupa (The Most Beautiful Animal on the Face of the Earth). How did you conceive these visuals and how did you shoot them?
Celso Ad. Castillo: I don’t storyboard. I don’t write the scene, I create it during the actual shoot. It’s different from writing the script and having people follow it while shooting. I create the scene right there on the spot; I am at my best when confronted by the elements. I thought I was a freak until I read that many other directors work this way. I thought I was the only one.
The good thing about Gloria Diaz is that she’s a trouper; if she weren’t I would’ve had a tough time. As a trouper she was my willing victim. I just made sure she would look glamorous in the movie, I used portraiture shots to make her look really beautiful. There were scenes where I shot her between slits of bamboo to project the quality of her being stranded on the island. As if she were inside a cage.
Photo from The Search For Weng Weng blog
One time, while we were waiting for nighttime, sitting on the beach, I saw a horse. It was a workhorse used for carrying copra. I remembered reading that Gloria was an equestrienne. I said to her, Can you ride that horse?
She said, Yes.
Even without a saddle?
Yes.
Please show me.
She got on the horse, galloped around the beach, and that was it.
I told my staff, Don’t let the horse go, I’m using it tomorrow.