National Artist Ricky Lee on the power of storytelling

Tatler sits down with acclaimed film and television writer, novelist, and fictionist Ricky Lee

Esteemed National Artist for Film and Broadcast Arts Ricardo Lee was lauded for his literary works on varying platforms. His works on iconic films and teleseryes (Filipino television series) have made him a pillar in the screenwriting industry, which thwarted a new appreciation of the said discipline and inspired many screenwriters today.

But aside from being an acclaimed writer for film and television, Lee was also a Palanca-winning short story writer and blockbuster novelist. At the recent Manila International Book Fair held at SMX Convention Center, the National Artist entertained endless queues of fans of his to sign his published works from morning until afternoon. And yet, Tatler was able to sit down with this literary giant to discuss the legacy he leaves for Filipinos and the many things he still aims to accomplish in this lifetime.

Above Ricky Lee’s books

What themes and topics should be written about by our writers today?

Some have already touched on this, but we can do more—stories from the regions. Maybe it’s also my lack of knowledge of the stories that stem from those far-flung areas like islands, provinces, or even places I do not know the names of. I want to learn more about their life because my inspirations have been too metropolitan-centric lately. I’m curious about those stories, and so I hope more writers get into it. Perhaps I haven’t been reading that much, so I have that desire for it.

Another is the political type of stories. I think many are tipping their toes around this topic. Hence, there are stories left undiscovered. I hope more writers become brave enough to tell these stories.

What are the three most important characteristics of a storyteller?

First, they should not be afraid to be lost in the ways to tell their stories. They should not be intransigent in laying down the foundations of their stories for them to reach their resolution. It’s like this: they wanted to go to Quiapo but ended up in Sta Mesa. A writer needs to wander because it is in being lost they would find themselves. When writers don’t get lost, they must be confident of who they are, their style, approach, and others. They are so secure. In a way, that rigidness makes you stop growing or evolving.

Second, it is vital that writers love humankind. Honestly, I am a shy person who is reluctant to go to any parties or crowd gatherings. I always invite friends to accompany me. But on the other hand, I love people. I enjoy watching and observing anyone I see around—especially during my younger days when I could keep up all night—I love watching strangers amid the city’s nightlife. In the wee hours, I see a more mysterious charm over the people I see roaming the streets, hotels, or wherever. There are more compelling stories in them that I sense. There is more drama when I see shops closed in the dead of the night. If you want to be a writer, you should also have that love and sense of belongingness or affinity towards strangers with exciting stories that come in the most unexpected places or times. How can you write about people when you do not care for them?

Lastly, a writer shouldn’t be afraid to make mistakes because there isn’t a perfect first draft. You would never know how good you are when you’re scared to write. So continue writing, regardless of the consequences.

Above National Artist Ricky Lee (centre) with Cultural Center of the Philippines vice chair Margie Moran-Floirendo and Christian Vallez reminisce about the making of ‘Bagong Buwan’ and working with National Artist Marilou Diaz-Abaya

What have you discovered as the power of storytelling with your years of experience as a writer for many forms of media?

I discovered how impactful writing can be when I was still a mere audience, either as a viewer or a reader. Growing up in Daet, Camarines Sur, as an orphan, feeling ostracised, cinema was my recluse. The characters who become alive on the silver screen give me hope and reason to live. My feelings of inferiority and hopelessness for my dreams get erased by the inspiring characters I have watched. Suddenly, I feel seen. I leave the cinema feeling a sense of realness in my being. It’s the same feeling I get from reading books or listening to music.

In a reverse manner, I also feel the same when I write about characters in my stories. In inspiring the audience to feel the same way, I realise I also become more complete with the characters I conjure in my works. I slowly understood myself in the process. I would always say to my workshoppers that as you write your story, your story also writes you. As you complete your story, it completes you, too.

Writing saves me. During the pandemic, when I wrote Kulang na Silya, that kept me mentally and spiritually healthy. I used to have panic attacks when I couldn’t be with my trusted friends and was just alone. I felt suffocated. Then lockdowns happened. But writing that book helped me ease my triggers. I hope my writings, to some extent, also have that effect towards others.

How do you find today’s writing culture? What is your advice?

The significant advantage nowadays is that many ways to express your literary works exist. During our time, the only way I knew how to have my excerpts published was through submitting them in a literary magazine. Eventually, literary contests like Palanca came into existence. Many doors are open if you want to be published or aspire to be a writer. All you need to do is take courage. Even if you lacked formal education in writing, now you can take risks because avenues have been opened for you. I even met someone earlier who self-published their work.

I also discovered that now there is a commonality among writers and publishers. There is this feeling of belongingness. Whether you know the person or not, writers have become amiable towards one another. It’s like I am swimming in an ocean of writers and that anyone is willing to help me or journey with me. That’s a big difference compared to my time, and it helps.

The problem, however, is that a lot of noise makes it difficult to stand out with your distinct style and voice. And so, it is hard to discover one's identity as a writer.

Above Ricky Lee (Photo: IMDB)

Do you agree that many of your writings focus on a single person?

Himala was originally a multi-character story, 14 to be exact. I had to cut down to narrow down the story. There was supposed to be a gay character who helms a criminal syndicate involved in thievery in the miracle’s location. In a way, though Himala focused on Elsa, I was still able to carve the individual storylines of other characters. Moral was an ensemble cast with four main characters.

Looking back, I realise just now that my inclination to write stories focused on central characters must have stemmed from the understanding of myself as a promdi (from the province) and an introvert who finds it challenging to form cliques. In my works, the main characters are also from the margins of society.

Another reason could be the entertainment industry’s classic strategy of promoting their actors as lead stars of their films and television series. And so, in my books, like Para Kay B, I wrote it with multiple protagonists. Though Amapola focuses on the titular character, it also showcases Sepa, Andres Bonifacio, and so on—even the focus on place and time shifts throughout the progression of my stories. My novels reflect my style and identity more than my films and series, as many people were involved in their making process.

Favourite Filipino word

Ooh, a lot! The Filipino language is very visual and melodious. Kahali-halina, bahaghari, kakabakaba, maaliwalas

Favourite pen you use

Just any simple pen

Novel or screenplay

Novel

Prologue or epilogue

Epilogue

National Artist or screenwriter

Screenwriter

Flor Contemplacion or Elsa

Elsa

Bessie or Amapola

Amapola. This one made me think deeply (laughs)

Servando Magdamag or Poldo Miranda

Servando Magdamag

Best director you have collaborated with

Marilou Diaz-Abaya

Best actor you have written for

Naku! The fans would kill me (laughs). But, Nora Aunor, because I've written for her, not just for films but for the stage also. I’ve written also for Vilma Santos but just for films, Gina Alajar also. When I write scripts also, I determine the capacity of the actor. I don’t want to shortchange them and their audience. When I wrote a stage play for Nora about OFW stories, she did six characters without leaving the stage! Remarkable.

I don’t shy away from what is difficult for the actors because it brings out their best.

What do you hope to achieve more in your life?

A lot! I have an entire filing cabinet of unpublished materials for film, theatre, literary. . .I also have an unreleased script for Ishmael Bernal. Many scripts, most of them not yet finished. I want to revisit and finish them—even the manuscripts for novels. I have this shelved draft for a political novel comprising four historical periods, which I hope to work on soon. I still haven’t published the other half of Amapola, also.

I want to go back to doing face-to-face workshops, hopefully in January. I want to return to university teaching, but I don’t know if my body can take it.

There are many things I want to do, so I only hope to finally become free of full-time work to travel leisurely and write my personal projects.

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