Off-cam: Diokno’s directions
Credit to Author: The Manila Times| Date: Tue, 11 Feb 2020 08:06:04 +0000
Be it a big time or small time client, a Diokno shoot is a Diokno shoot.
It’s easy to remember TV ad director June Diokno. Think Safeguard’s “Ako ang Iyong Konsensya” (Conscience) slogan. The campaign for the germ-killing bath soap, which has undoubtedly, wedged itself into the consciousness of Filipino consumers.
Procter and Gamble’s “Conscience” slogan, which Diokno wrote when he was still a struggling creative copywriter in 1978 is perhaps the longest running and presumably, the most effective campaign for a bar soap.
“It’s the Philippines’ Marlboro ad,” Diokno remarks matter-of-factly.
Fast forward to year 2004 and Amado “June” Diokno Jr. remains a dominant force in the advertising world.
It seems he could have easily worn the hat of a film director, and stood out in the field, but Diokno, who took up filmmaking techniques at the American Film Institute, passionately chose to tread the path of directing commercials. Having done so, he has filmed some of the best commercials this side of the planet.
At 52, he has been involved in the business for most of his professional career. Success did not come easy for this handsome director. For a big chunk of his life, he worked as a creative copywriter, creative copy group head, creative producer and publicist for most of the country’s top advertising agencies.
His decision to shift into directing did not sit well with his colleagues. “They can’t accept the fact that I can also make commercials that would later have a great impact on the lives of Filipino consumers,” he remembers.
But Diokno survived the prevailing cutthroat ethos in an industry where egos are inflated into unimaginable proportions and went on to become one of the most successful directors of his generation.
Today, Diokno is one commercial director who can rightfully claim to have made some of the biggest advertising agencies far richer, directing more than 200 commercials, which have earned countless awards and nominations.
In 1994, his “Hayop” commercial for Toyota Tamaraw FX bagged an award at the Worldfest Houston International Film and Video Festival. In the 11th and 12th Advertising Congress, his “Impersonation” campaign for Daily Globe Newspaper and “Domino” commercial for National Bookstore won plum awards, respectively.
Diokno’s foray into political campaign was likewise a huge success. His most unforgettable political campaign was the “Light-A-Candle” commercial he did for Namfrel (National Movement for Free Elections), which he shot before the People’s Power revolution in 1986.
“That ad sort of became the fire that all the more ignited the Filipinos,” he recalls.
Another impressive pro-environment campaign he did was “Basurang Itinapon Mo Babalik Sa Iyo” for the Philippine Charity Sweepstakes Office. To this day, the infomercial is still etched in the minds of televiewers.
Using every style, every tool and the angst and experiences of common people—Diokno’s seemingly boundless creativity has helped sell millions of soaps, cars, newspapers and many other products.
A true genius, critics can only heap praises on Diokno. They say Direk June instills color, mood and ebullience into his works. His success runs far and wide—and all the way to the bank.
Despite choosing to be a master of TVCs (television commercials), Diokno believes that the process in 30-seconders is no different from the movies.
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“It takes years to get a movie off the ground—you write a script, shop it around. It’s a painful process. Commercials are the same way. They’ll get written and taken to the client. The client will say, “Change this, change that.” It goes back and forth and back and forth—and by the time it gets approved, production people have it clutched to their bosom as if it’s this precious jewel. They can’t see the flaws in it. You say, “Well, it’s not a very good idea.” They say, “Well, the client bought it.” “I don’t care if the client bought it; it’s a bad idea.’”
He laments the fact that a lot of directors and copywriters remain anonymous, like much of their work.
“We should be getting royalties from ads that we made and that are still running until today,” he stresses.
He also observes that the advertising industry lacks originality, and is contented on being copycats. “It’s all noise and no content.”
Friends who know how Diokno works attest that the man is a slave driver. Diokno himself confirms. “I’m a pushover. If you have a deadline, you have to beat it. Directors are like journalists. If you have to work overnight then you work round-the-clock. You have to be professional.”
Diokno is neither the type who would be content with a script at first reading. As much as possible, he sees to it that he “puts more personality into it.”
“For better or for worse, I put my own stamp on the work. Although I respect the idea, I still want to do it a certain way. Lots of times I write my own commercials. I’ll write and rewrite.”
Diokno further says that he hates to reveal processes; enjoys the surprises that art directors and other creative crew members swing on him; and that a storyboard for him can even take the form of scrawls on any piece of paper handy.
“All work is painful,” he says. “Every day I work is painful. Every day before I go to shoot, even if I’ve done the same thing many times, there’s something unforeseen there. It’s like writing, starting out with the blank sheets of paper. I’ve really got to put myself out there.
“I love Akira Kurosawa’s work,” the ad man says of a Japanese contemporary. “It’s totally challenging to watch. You have to suspend some disbelief in terms of some of the techniques.”
Diokno feels strongly that modern advertising will be “divergent, with many different applications and platforms.” He also believes that a new generation of directors is vital to execute such campaigns.
“The modern director has to be savvy about new technology, the Internet, and how to brand products across multiple platforms,” he says. “Agencies need directors who can help them with this. In particular, they need directors who are strong in post. People don’t like to admit it, but there is a huge amount of creative work that goes on in post. The more traditional skills I have learned with help, advice, hard work, and relying on my artistic sensibilities.”
Advertising agencies live or die on their ability to generate fresh and interesting ideas, and Diokno has been able to succeed by capitalizing on his natural curiosity.
He’s never comfortable laying back—only moving forward. “You learn something new every day,” says Diokno of his love for advertising. “You’re not stuck on one product, or one brand. [Change] keeps it interesting.”
Ever since he made the decision to pursue an advertising career, the pace has been fast and furious; but Diokno wouldn’t have it any other way.
Like many successful creatives, Diokno draws inspiration from many sources: The world around him, as well as his insatiable curiosity about life and what makes people tick.
Diokno is not one to sit in a dark room waiting for an idea to come to him. He prefers a more engaging approach.
“Keeping up with the ever-evolving culture is crucial,” explains Diokno. “A lot comes through doing my own research.”
In other words, Direk June is not bound by preconceived notions regarding creativity. As far as he is concerned, information from any source can be valuable, if you are able to find the underlying truth. Diokno is currently chief executive officer and resident commercial director of Roaring Thunder Productions Inc., the production company he founded in 1996 whose philosophy is to put the “power of our creative people to work for our clients.”
“I’m open to listening to critiques from anybody, regardless of title or occupation,” he continues. “Some of the best inspirations, in fact, come from people who aren’t in advertising.”
These views, his styles, and his uncontested genius will forever make Amado “June” Diokno Jr. easily memorable in his beloved world of ads.
By Manny B. Marinay