Fast Talk with Boy Abunda: Janice De Belen talks about Flordeluna (Episode 267)
Aired (February 2, 2024): Binalikan ni Janice De Belen ang istorya sa likod ng pagkakakuha niya sa lead role ng 1978 teleserye na 'Flordeluna.' #GMANetwork #GMADrama #Kapuso
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FunTranscript
00:00 [MUSIC]
00:05 Thank you.
00:06 And I mean that from the bottom of my heart.
00:09 How are you?
00:10 I'm okay. I'm good.
00:12 Nay, Tay Kapuso, I'm talking to the original soap opera princess.
00:17 [APPLAUSE]
00:21 I want to go back a little bit.
00:23 Floor de Luna Days.
00:26 How are those days?
00:28 When I think about it, I think my mind was just happy, fun, playing.
00:36 And then when I go home, or when I get paid, I get a toy.
00:40 So, yes, I was happy.
00:43 Of course.
00:44 I get a toy when I get paid.
00:45 I got it from sources that you were originally supposed to play...
00:53 Wilma.
00:54 Wilma, the contrabida.
00:55 You, Julie, what's the story?
00:59 Originally, I was supposed to play Wilma because Julie was going to be Floor de Luna.
01:05 We're talking about Julie Vega.
01:07 Julie Vega.
01:08 But she didn't materialize because at that time, she already did Mga Mata Ni Angelita.
01:14 And she was under contract, I think, with a film studio.
01:19 So she couldn't do that.
01:21 That's why Floor de Luna went to you.
01:24 How was your friendship?
01:26 How was that friendship or even rivalry, at least on screen, with Julie Vega?
01:34 Maybe because of our age, we weren't really thinking of the competition.
01:38 That it was a big competition.
01:41 We never thought of it that way.
01:43 We just knew that I was doing Floor de Luna, she was doing Annalisa, different stations.
01:49 But when we were together, when we do movies together for free, we were friends.
01:54 We were okay.
01:55 We'd get along.
01:56 We'd actually have play dates, if that's what you call it.
02:02 Play dates.
02:03 We'd go swimming.
02:05 You were so lucky because there were so many great directors who trusted you.
02:13 I'm talking about not just Tito Ronyo, Danny Jalsita, Peke Galiaga, Broca, Bernal.
02:23 How was that, Janice?
02:26 Now that I think about it, when I look at my filmography, of course, you look at the directors,
02:32 I think, "Wow, I am really proud of my roster of directors that I worked with."
02:38 Because most of them are not here anymore.
02:41 Some are national artists.
02:44 Some of them, the younger generation will never get to work with and experience working with them.
02:52 And I've worked with them.
02:54 Let's talk about their styles.
02:56 So that it's more clear for us.
02:58 How did Tito direct his artist?
03:03 Talking about Tito Ronyo.
03:05 I feel like he measures your talent or what you can do as an actress.
03:10 So normally, the director will make you do a rehearsal even if you don't have feelings yet.
03:17 He'll just hear the lines so he can block you.
03:20 Tito Ronyo didn't.
03:22 He had me do my full lines.
03:26 My lines were long with blocking and with feelings.
03:32 He made me do it six times.
03:35 - This was a rehearsal? - Rehearsal.
03:37 Okay.
03:38 And that was the first day.
03:40 The following days, he wasn't like that.
03:43 - I feel like he's just going to block you. - What is that, Janice?
03:45 He brings you to spaces.
03:47 For example, you're here.
03:48 If it's four lines, two or three minute monologue, for example.
03:53 - Tito... - I was walking.
03:55 - Walking? - We were walking.
03:58 - We were walking. - Walking and then?
04:00 We were walking.
04:01 So he made us do it.
04:03 Tito doesn't motivate you.
04:05 He doesn't tell you, "Janice, you should be here."
04:07 "This is how you should feel."
04:09 He doesn't do that.
04:10 He answers, "That's not my job. I'm a director. You're an actress. That's your job."
04:14 Let's talk about Shalsita.
04:15 Shalsita.
04:16 Shalsita, you just show up.
04:19 He'll call you.
04:20 "Can you come here?"
04:23 He'll ask my mom and my dad, "Can she come here?"
04:25 "Yes."
04:26 When you get there, you have no story.
04:27 You don't know what's going to happen.
04:29 Okay.
04:31 He'll just say, "You're the daughter of Louris. You're the daughter of Dindo."
04:35 "You're the daughter of Dindo."
04:37 "You're the daughter of Dindo."
04:39 That's all you know.
04:41 And then, you don't even have a script.
04:43 Alright.
04:44 - It's important for an actress to have a script. - Okay.
04:47 You don't have a script.
04:48 So he'll sit down.
04:50 He'll give you lines.
04:51 So you memorize your lines.
04:54 Then he asks you to rehearse again.
04:56 He doesn't give you the same lines.
04:58 He changes the lines that you just memorized.
05:01 Okay.
05:03 He'll repeat it again and again.
05:05 It has to feel right.
05:08 It has to sound right.
05:10 Plus, his story flows from I don't know where.
05:15 Let's go to Peke Galiaga.
05:17 Peke is a big fan of not acting.
05:24 - Acting but not acting. - He doesn't like it when you act.
05:27 I don't like it.
05:28 How do you do that, Janice?
05:30 You cannot act an acting part.
05:33 I cannot answer.
05:35 I don't know how to answer that.
05:37 It's like a layman watching a movie.
05:39 It's hard.
05:40 That's why I always say that one of the hardest jobs in this world is being an actor.
05:46 Lino.
05:47 I know that you're a national artist for film, Lino Broca.
05:52 Because Lino has a different style.
05:55 I think I failed Lino.
05:58 Why?
05:59 Because when we were doing Flor de Luna and when I started doing movies,
06:04 my main job was to cry.
06:07 To produce tears.
06:09 I produced a lot of them.
06:11 At times, I would get the one tear that would pop.
06:17 I would say, "You can do it, Lino Broca.
06:21 You can do it. You can do it on cue."
06:25 Maybe hearing it so many times.
06:28 Hearing it over and over again.
06:30 I had a chance to work with him.
06:33 And on that day, I wasn't even able to produce not one tear.
06:38 Oh my.
06:39 Not one tear.
06:41 Can you imagine how frustrating and how scared and embarrassed I was?
06:47 But of course, I was only 15.
06:49 But still.
06:50 What did Lino do?
06:51 I was waiting for him to get mad at me.
06:53 He didn't get mad?
06:54 No, because he said, "Okay, good."
06:56 I was looking at him for a long time.
06:59 Then he said to me, "It doesn't matter."
07:02 He said, "I saw the feelings. As long as they were there, it's fine."
07:07 Bernal. Just one.
07:09 Bernal. You know Bernal. He's a big movement, right?
07:12 But I was okay with him.
07:14 What's important to Bernal is you listen and you follow.
07:18 How? What did he teach you? Where are you going? Where are your hands?
07:22 You have to watch.
07:24 Because he moves fast.
07:26 Like this.
07:27 As in literally like that.
07:30 His movements are that big.
07:33 So you have to follow that.
07:34 Yes. So you have to look at him.
07:37 If you can write down the number of things he will do, you'll have to do it.
07:43 Because that's who he is, right?
07:44 So you have to look at him.
07:48 [Music]
08:03 [Music]