{"id":2839,"date":"2013-09-30T09:52:19","date_gmt":"2013-09-30T16:52:19","guid":{"rendered":"https:\/\/www.pbs.org\/independentlens\/blog\/?p=4640"},"modified":"2015-12-09T01:37:42","modified_gmt":"2015-12-09T01:37:42","slug":"dont-stop-believin-filmmakers-journey","status":"publish","type":"blog","link":"https:\/\/www.pbs.org\/independentlens\/blog\/dont-stop-believin-filmmakers-journey\/","title":{"rendered":"Don’t Stop Believin’: The Filmmaker’s Journey"},"content":{"rendered":"

\"DONTSTOPBELI_Poster2\"<\/a>Filmmaker Ramona S. Diaz has focused on the Philippines in her previous acclaimed work: Imelda<\/i><\/a><\/b> portrayed deposed Philippines First Lady Imelda Marcos, a woman as famous for her humongous shoes collection as for her abuses of power; and powerful early film Spirits Rising<\/i><\/a>, about women\u2019s role in the 1986 People Power revolution.<\/p>\n

But for her latest film Diaz returned to the Philippines for an entirely different type of character story: That of singer Arnel Pineda, whose extraordinary real life fairy tale started with a series of passionate YouTube videos covering classic American rock songs, including that of the band Journey. When their lead guitarist Neal Schon spotted Pineda\u2019s work online… well, we\u2019ll let you watch\u00a0Don\u2019t Stop Believin\u2019: Everyman\u2019s Journey<\/i><\/a> to learn the rest. The film premieres tonight on PBS at 10 PM ET\/PT (check local listings<\/a> for the times and stations in your area).<\/p>\n

“Pineda’s ebullience is infectious, and Don’t Stop Believin’: Everyman’s Journey<\/i> is a pleasant story of dreams coming true,\u201d wrote Mark Olsen in the LA Times<\/i><\/a><\/b>.<\/b> We spoke with Diaz about her own journey in making this musically-inclined documentary. <\/b><\/b> <\/p>\n

\n

What led you to make this film? \u00a0<\/b><\/p>\n

I\u2019m always interested in compelling characters and this film was no exception. What could easily have been a five-minute film \u2014 rock band finds lead singer through YouTube\u00a0\u2014\u00a0is a much bigger story because of the camera’s unfettered love for Arnel Pineda. Arnel returns the affection by being the most candid and open person I’ve ever had the privilege to film. And he was extremely articulate about his inner life. Documentary gold. Coupled with some of pop music\u2019s most enduring songs, how can one resist making this film?<\/b><\/p>\n

Were you a fan of Journey’s music before you thought about doing the film? (i.e., when did you start believin’?)<\/b><\/b><\/p>\n

I was very familiar with Journey\u2019s music \u2018cause who isn\u2019t? I have many fond memories that are attached to their songs. Like I always say, you may think you don\u2019t know Journey but if you\u2019ve been to a prom or a wedding in this country or elsewhere, you know Journey. I also hear that hipsters now love Journey (and they\u2019re too cool to be ironic). And that “Don\u2019t Stop Believin\u2019” is the \u201clast call\u201d song in bars across this nation. But I digress\u2026\u00a0No, I wasn\u2019t what you would call a fan and I say this because I\u2019ve seen and met the fans and I would be a total poser if I called myself a fan. To say they are loyal would be an understatement; they\u2019re like Dead Heads. But after having made the film, I now understand the impulse. \u00a0<\/b><\/p>\n

What were some of the biggest challenges you faced in making Don\u2019t Stop Believin\u2019: Everyman\u2019s Journey<\/i>?<\/b><\/b><\/p>\n

Funding. \u00a0Funding. \u00a0Funding. Um\u2026did I mention funding? My producer, Capella Fahoome, and I went out on a limb on this one. It\u2019s not how I usually work and it was very frightening. Not to mention the fact that the film was extremely dependent on using a lot of music from one of the most difficult and expensive catalogs in modern pop music to clear. Following a major music act on tour with limited resources proved even more of a challenge. Imagine being crammed in a minivan with the crew (me, my producer, camera, and sound \u2014\u00a0and sometimes an assistant!), our luggage and equipment trying to keep up with big touring buses in the middle of the night, in the middle of the country, singing Journey at the top of our lungs just to keep awake? We laugh now but it wasn\u2019t too much fun then.<\/b><\/p>\n

So on that topic, presumably it was tricky to deal with the legal aspects of a film like this, including wrangling with music rights? <\/b><\/p>\n

<\/b> No, I wouldn\u2019t say tricky. Treacherous<\/span> would be a more accurate term. All I can say is \u201cdon\u2019t attempt this at home\u2026or at least not without a battery of lawyers.\u201d We were lucky enough to have a wonderful team of people who knew what they were doing because it’s truly a labyrinth, and one can easily get lost in it without ever finding a way out. <\/b><\/b><\/p>\n

\"Arnel<\/a>

Arnel Pineda and Journey bandmates doing a radio interview in Manila.<\/p><\/div>\n

How did you gain the trust of the subjects in the film, Journey and Arnel Pineda?<\/b><\/b><\/p>\n

Persistence and time. The guys were used to the big networks and cable outlets sending a crew for a day or two and then leaving, never to be heard from again. Although they agreed that we were going to be around all summer long and understood it cerebrally, viscerally I don\u2019t think they really got it until we were mid-way through the tour. We were filming lead guitarist\u00a0Neal Schon, in the dressing room and, as per his usual, he was playing his guitar. He was very into it and didn\u2019t notice us until about 20 minutes later at which point he looked up and he said \u201cyou guys still here?\u201d<\/b><\/p>\n

What would you have liked to include in your film that didn\u2019t make the cut?\u00a0<\/b><\/b><\/p>\n

There\u2019s a whole other film that was left on the cutting room floor. We shot hours and hours of Arnel just hanging out in his dressing room. Sometimes he\u2019d just sit there and do his thing, complete silence. Sometimes he\u2019d even take a nap. Sometimes he would just start speaking to me, or to the camera, about anything and everything. The footage is fascinating and one day I hope to fashion it into a short film.<\/b><\/p>\n

Tell us about a scene in Don\u2019t Stop Believin\u2019: Everyman\u2019s Journey<\/i> that especially moved or resonated with you. <\/b><\/b> [Minor spoilers here if you haven\u2019t watched film yet.-ed.]<\/b><\/b> \"Arnel<\/a><\/p>\n

I am particularly fond of the scene when Arnel describes what it was like for him the first time he performed with Journey live in front of thousands in Chile. He related the story in both Tagalog and English. It\u2019s funny, moving, and great storytelling on Arnel\u2019s part. <\/b> I also love the part when Arnel walks around backstage at The Greek in Los Angeles trying to get a phone signal. He steps outside to get a stronger signal and is accosted by the fans. He ends up signing autographs for a good 30 minutes. His reaction in the dressing room after Chuck, the security guy, pulls him out is precious. He was genuinely surprised that people recognized him. It was a moment when he realized his growing power and he was overwhelmed by it.<\/p>\n

What has the audience response been so far? Has the band seen it? <\/b><\/p>\n

We showed it to the entire band, their management, their lawyers, their roadies, assistants, spouses, ex-spouses, and friends in one big screening right before we premiered at the Tribeca Film Festival in 2012. They loved it.\u00a0As for the audiences \u2014\u00a0the response has been truly overwhelming sometimes. It is obvious that Arnel steals their heart. And for some Filipinos, it\u2019s been an emotional experience watching one of their own succeed on the world stage. It’s also heartening to show it to an international audience who know nothing about Journey. It’s evident in their reaction that Arnel\u2019s story transcends the cultural specificity of Journey\u2019s music.<\/b><\/p>\n

The independent film business is a difficult one. What keeps you motivated?<\/b><\/p>\n

<\/b> The truth of the matter is I\u2019m not really qualified to do anything else. And\u00a0\u2014 for\u00a0anything worth doing\u00a0\u2014\u00a0what isn\u2019t difficult, anyway?<\/b><\/p>\n

Why did you choose to present your film on public television?<\/strong> <\/b><\/p>\n

<\/b> I think this is particularly suited for Public Television and Independent Lens<\/i> because, to borrow from the film scholar Celine Parre\u00f1as Shimizu<\/a><\/b>, this film puts the subaltern voice right smack in the middle of the narrative. It is Arnel Pineda telling his own story, in his own words. And how often does that happen?<\/b><\/p>\n

What are your three favorite films?<\/b><\/p>\n

This is always a difficult question and my answers always vary depending on what I\u2019m obsessed with any given month, or what project I\u2019m in the immersed din. So today I love F is For Fake<\/i>, Cleo From 5 to 7<\/i>, and The Queen<\/i>. \"Chris<\/a><\/b><\/p>\n

What about favorite documentaries specifically\u00a0\u2014\u00a0which ones are favorites and\/or influenced you the most?<\/b><\/b><\/p>\n

Sans Soleil, Sherman’s March, Burden of Dreams, Complaints of a Dutiful Daughter, Salesman,<\/i> Soy Cuba <\/i>(not necessarily its politics), Beaches of Agnes.<\/i><\/p>\n

What advice do you have for aspiring filmmakers?<\/b><\/b><\/p>\n

This is what I tell film students when I conduct master classes. They are so lucky to be living in this day and age when technology \u2014 the tools to tell our stories \u2014 is so accessible. And the internet has given them a direct conduit to the audience. However, content still reigns supreme and form should always serve the content \u2014 unless of course it is purely an exercise in form, but that\u2019s not the kind of film I\u2019m talking about. So find your unique voice, it\u2019s there inside of you. What is it you want to say? Once you\u2019ve defined and honed it for yourself, form will reveal itself. Everything else is just technology.<\/p>\n

What subjects are you thinking about doing a documentary next \u2014 or at least, what is one of your dream projects?<\/b><\/b><\/p>\n

I\u2019m superstitious when it comes to talking about dream projects. \u00a0I like to play it close to the vest until\u2026well, until it\u2019s airing on Independent Lens<\/i>!<\/p>\n

Name a food that inspired you and kept you going while shooting the film.<\/b><\/span><\/p>\n

Kale chips. \u00a0And they\u2019re good for you \u2014 but hell on the editing equipment.<\/p>\n","protected":false},"excerpt":{"rendered":"

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In the summer of \u201908 when we filmed Arnel\u2019s first tour with Journey, I sat through very many shows. When the first notes of “Separate Ways” wafted through the summer air, it was new again, every night. \u00a0It worked and worked, and worked again. Every. Single. \"RamonaQuote\"<\/a>Night. I truly understood then what \u201cevergreen\u201d meant in music terms. It\u2019s like you\u2019re hearing it for the first time every time. And the Journey catalog is full of evergreens, a baker\u2019s dozen really. I am in total awe of this. How has one band managed to pull this off? I have such profound respect for what they have done and what their music represents to very many people.<\/b><\/p>\n