Movie: “Trafficker.” Location: Mother Ignacia, Quezon City. Director: Roland Sanchez. Scene one. Sequence. Take one. Exterior shot. Day effect.
Street scene. Along a congested neighborhood the street surprisingly looks deserted in broad daylight.
Clapper enters frame. Assistant director calls “Quiet!” Director yells “Action!”
A slow moving car suddenly stops. The driver, after checking for people around, orders the two goons behind him to snatch the child playing by the sidewalk.
The driver says: “Sige, daliin n’yo. Dukutin n’yo na ang batang ‘yan” (Come on, quick! Snatch that child!)
As instructed, the driver quickly vacates his seat to give way for the camera to get an ECU or extreme close up of the two characters at the back of the car. In a couple of seconds, he was called back to his position for a long shot of the scene.
In that very instance, in a haste to be on cue, the driver lost his balance and fell side way on the concrete pavement. The director shouted “Cut!”
The scene was incredibly realistic. But the last portion was not part of the filming. It was an actual accident. Crew members and co-actors immediately rushed to assist the victim who was helplessly wriggling in excruciating pain. A first aid application seemed to alleviate the pain but just momentarily.
The poor victim who tackled the role of the boss-cum-driver was no other than award winning veteran actor Julio Diaz, who, during that time, was busy hopping between movie and television sets. While trying to ease the throbbing pain, there was debilitating anxiety crowding his mind, foremost of all was the continuity of his other on-going projects.
But professionalism still prevailed. Despite suggested hospitalization break and thorough medical check-up, Julio decided to stay on the set until 10:00 pm. He finished his three remaining scenes all shot in medium or tight angles to conceal his lower torso.
“My last scenes were all shot while seated.” Julio recalls, adding, “Amid aching hip and unrelenting pain all over, I still managed to muster enough strength and delivered the facial expressions that the scene called for.”
“I knew I had a very bad fall. I could hear my hip bones cracked each time I moved, but I didn’t want to be the cause of delay,” he said.
And bad it really was! After a series of examination, it was revealed that the pelvic region of his trunk was extremely damaged and only a hip replacement could restore the anatomical component of his lower torso.
On January 18, Julio underwent a titanium steel hip replacement at the National Orthopedic Hospital. The operation procedure and subsequent physical therapy cost more than what he expected. Thanks to the financial aid extended by his co-actors Dingdong Dantes (Pahiram ng Sandali) and Coco Martin (Serbis), his family and friends, and concerned showbiz pals, every single penny was settled and now, he’s on his path to full recovery.
The accidental actor
His foray into the business was fortuitously accidental. Born Mariano de Leon Regaliza on November 18, 1958 in Quiapo, Manila (Mendoza Street near Guzman Tech, to be exact), the original “Batang Quiapo” had his maiden limelight exposure when he did Ginebra San Miguel Beer print that earned for him his first ever trophy during the 1983 AdProm Awards.
From there, the new face never experienced the throes of building a name as slew of enterprising talent scouts came knocking on his door with tempting offers and promises of stardom. At the end, respected talent manager and acting workshop coach Ed Instrella finally earned his nod and took Julio under his management. Regal Film’s 1983 sexy movie, Shame, became his baptism of fire together with Close-up boy Patrick Dela Rosa and the outfit’s new sex siren, Claudia Zobel.
Gifted with a finely-chiseled face, a well-sculptured bone structure and a swarthy complexion that added even more to his irresistible animal magnetism, the new brown Adonis of Philippine showbusiness was cinematically christened Julio Diaz. With the unprecedented support from the indestructible troika of Oskee Salazar, Billy Balbastro, and Alfie Lorenzo. Also with the support of Miscellaneous Magazine editor Nena Z. Villanueva, Women’s Home companion Editor Erlinda Celestial, PR professional and columnist Norma Japitana, and the members of the Philippine Movie Press Club or PMPC, success instantly encapsulated the virile stud. Even sans the aura of the jeuness dorees like his colleagues, his striking masculine appeal coupled with an unmatched acting savvy were more than enough to keep him far different from the rest.
Launched as a lead actor in “Takaw-Tukso” he was paired opposite Jaclyn Jose under the helm of William Pascual with able support from Anna Marie Gutierrez and Gino Antonio. The 1986 movie became even more significant for him due to major awards it garnered from Gawad Urian that ultimately recognized him not only as a dramatic actor but established him as a bankable lead star, as well.
Among his more than fifty films, the following are worth-mentioning: Sinner or Saint (1984), Flesh Avenue (1986), Paano Tatakasan Ang Bukas (1988), Sakay (1993), Trudis Liit (1994), Flor Contemplacion Story (1995), Tirad Pass: The Gen. Gregorio Del Pilar Story (1997), Hubad sa Ilalim ng Buwan (1999), Lapu-Lapu (2002), Batanes (2007), Kinatay (2009), Halik sa Tubig (2010), and Pikit-Mata (2012).
The Diaz brand of acting has been consistently patterned on a naturalistic manner. The actor is effortlessly convincing and is innately armed with flexibility. Disciplined and controlled, he is at his best when reacting from any given situation. Julio’s subdued nuances at times only heightened the least integral part of the scene and effectively deliver strong justification to his performance.
Devoted to his craft, Julio sometimes immersed completely into the role he’s portraying. He forgets that he is merely pretending but convincingly transforms himself into the very character with necessary nuances and detailed visualization.
Like Hollywood greats Marlon Brando, Dustin Hoffman, Jack Nicholson, Robert de Niro and Al Pacino, who were all Method-trained actors under Russian actor-director Constantin Stanislavski, Julio Diaz draws upon his personal emotions and memorable experiences to come up with an effective performance. His voice, eyes, and body movements are elemental composites of his image as an actor.
It is just indisputable that he has to take a sudden breather after suffering from the dismal situation where he’s in. That was tantamount to pulling the rug out from under him while already wallowing in the mire of scarcity of good projects.
“I know there is nothing permanent in this world. I have had my time and I my heydays are over, I must admit,” Julio sentimentally said, adding, “The new change has offered opportunities to new faces of this generation so, there’s nothing wrong if the offers come scarce and be relegated to supporting roles. At least, I could say, I’ve been there!”
Last Monday, July 8, I received a call from Ana Marie Datuin, Julio’s sister, with exciting news that the latter is in town and he chose to have his interview with Don Tagala in my Jersey City office.
Having been incommunicado for years, imagine the heightened excitement upon our meeting. The room temperature became even higher than the sweltering heat outside during our initial encounter as we picked up the pieces from where we left. Feasting over halo-halo, dinuguan, and palabok, reminiscing the not-so-distant past became as smooth as if it was just yesterday when we last saw each other.
In the traditional way of interviewing celebrities, ably guided with my list of FAQs or Frequently Asked Questions, I got to know who the real Julio Diaz is:
Bobby T. Yalong (BTY): Was there a project that you turned down only to regret it later?
Julio Diaz (JD): Yes, there was and it landed on Cesar Montano’s lap. What was even regretful was I lost the chance to be directed by Marilou Diaz Abaya.
BTY: Among the directors who handled you, who “squeezed” the best out of you?
JD: That would be the late Lino Brocka when I did a telenovela, “Lambat,” under him in 1987. I discovered a lot of acting techniques and he honed my skills even more.
BTY: After portraying almost every character possible, are you still in want of a dream role?
JD: All the while, I thought I could be contented with what I have portrayed until I saw this religious pastor on TV. I wanted so much to do a movie where I would be like him.
BTY: Known as a professional actor, what could you not do in front of the cameras?
JD: Definitely, frontal nudity. I have done a lot of nude scenes but all shot from behind. I turned down several offers during my youth when I was at my best form. How much more now? And one more thing, I believe in leaving something to the imagination. That’s even more exciting, isn’t it?
BTY: Well, the director can easily use a double and make it appear to be you.
JD: No, no, no. I can’t stand “cheating” the audience by delivering a mediocre performance at the expense of somebody else. It’s got to be me at my best or never at all.
BTY: Having been used to nasty showbiz rumors and “hitting-below-the-belt” attacks, what negative publicity affected you immensely?
JD: The drug issue and that one that seemed to question my sexual preference. Definitely, these will always be part of being a public property but I tried not to be affected since I know myself and I know the truth.
BTY: Given the chance to relive your life, what profession could you have chosen?
JD: Easily, I could have ended being an architect. I love doodling and sketching even since I was young and I was already an architectural student prior my entry into the movies.
BTY: Who is Julio Diaz in private away from the cameras and the public’s prying eyes?
JD: Just a simple and naughty guy. Just being the real me! Sabi nga ni Bruno Mars in his Lazy Song: “I’ll just strut in my birthday suit and let everything hang loose”
BTY: Going back to the days when you’re the most in-demand sexy actor this side of showbiz, was there an occasion when you’re carried away in a love scene?
JD: Hmmm… of course! No matter how professionally you tackle that kind of role, the human aspect in you will still prevail, especially when you have a personal feeling for your partner. But that natural reaction added that much-needed “flavor” for the scene to come out convincingly real.
BTY: And who’s that (lucky) girl?
JD: Kailangan pa bang pangalanan? Huwag na lang. Readers might mistook that I’m using her. (After constant prodding, he gave in) Ok, initial na lang. CPP. That’s enough.
BTY: Do you think indie films could save the prevailing slump of the mainstream movie production?
JD: Without a doubt, indie films are paving the way to the recovery of the golden age of Philippine showbiz. Haven’t you noticed indie films have penetrated the international market and even brought honors to the country from global film competitions?
BTY: Now, that projects and offers are as dearth as summer rain, what do you do? Any plans?
JD: I believe there are still projects in the offing. I just have to wait and get fully recovered before I could go back and work again.
BTY: You’ve been here in the US for more than three weeks now, what’s the real purpose of your trip?
JD: Actually, I’m shooting two birds with one stone. I’m currently undergoing physical therapy and rehabilitation while SAKAY, my 1993 movie, is having a fundraiser screening on July 27 at 5:00 pm at the Calvary Bible Church along 144 Readington Rd., Whitehouse Station 08889. This special screening is for the benefit of the Philippine Medical Mission of the Vine’s Church of Raritan. I hope your readers will come and support this worthy project.
After more than forty television appearances, seven acting award nominations (with Sakay and Takaw-Tukso as dominant nominations), a little over fifty films, and a number of international citations (for Sakay and Serbis), the name Julio Diaz remains to this day as the epitome of a fully accomplished actor.
With respect to former Sampaguita Pictures most revered lead actor Leopoldo “The Great Profile” Salcedo, the same title could justifiably be bestowed onto Julio Diaz, for after a little more than two decades in the movies, he has lived up to that arresting profile that could still ignite an electrifying presence. It is the same degree of magnificence that undoubtedly established his moniker and catapulted him to the status where he’s now.
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