 asks, throwing me a photo spread of the still-leggy model.

“Mmmm. Sounds like she’s world famous in Vietnam.”

King Of The Zombies

James L.M. Gaines Jr (“call me Jim”) ushers me into Imagine Nation’s spotlessly clean third floor office in Makati. He recently set up the company as a full post-production house, taking advantage of the quiet digital revolution going on the Filipino film industry. Conversing effortlessly in Tagalog on the phone in a shirt and tie, you almost forget he spent most of the Eighties running around the Philippines jungle in army greens and with a monstrous Jim Kelly afro.

Jim casually tosses a gun magazine across the white formica table. “The film that brought me to the Philippines was Apocalypse Now.”

“Which one were you?”

“I’m not on film for very long, but I’m Robert Duvall’s right hand man.” I strain the memory with no success. “A typhoon had destroyed the set so they had to be rebuilt from scratch. So I got paid by Coppola for a year to sit in Manila bars smoking ragweed and drinking beer with Duvall and Martin Sheen.”

“But not Brando!”

Jim laughs. “Hell, no!”

Apocalypse Now was a watershed film for the Filipino film industry. Almost every able-bodied Filipino film jockey got to train on Coppola’s monolithic Hollywood set, and were paid handsomely for the privilege.

“I hear Coppola was out of control on the set,” I add.

Jim laughs again. “He wanted a shot with fifty body bags in the distance. So he shipped in fifty corpses from morgues. Man, you couldn’t even SEE the bodies!”

I asked Eddie Romero, who was line producer for Coppola on the Apocalypse Now shoot: “It’s true, medical students couldn’t dissect a corpse in Manila for the years 1976 to 1977. They were hanging from trees, over fences... I told him, ‘Mr Coppola, we have access to the finest special effects guys in the Philippines. We can MAKE you corpses!’ He wanted real bodies.”

So Coppola was like a method director? Jim Gaines rolls his eyes. “Yeah, totally
asks, throwing me a photo spread of the however - leggy exemplar. 

 “ Mmmm. Sounds like she ’s world famous in Vietnam. ” 

 King Of The Zombies 

 James L.M. Gaines Jr (“ shout me Jim ”) ushers me into Imagine Nation ’s spotlessly clean third floor agency in Makati. He recently set up the company as a entire post - production house, taking advantage of the placid digital revolution going on the Filipino movie industry. Conversing effortlessly in Tagalog on the phone in a shirt and tie, you almost forget he spent most of the Eighties running around the Philippines hobo camp in army greens and with a monstrous Jim Kelly afro. 

 Jim casually flip a gun magazine across the white formica mesa. “ The film that bring me to the Philippines was Apocalypse Now. ” 

 “ Which one were you? ” 

 “ I ’m not on film for very long, but I ’m Robert Duvall ’s right hand man. ” I deform the memory with no success. “ A typhoon had destroyed the set so they had to be rebuilt from scratch. So I got paid by Coppola for a year to sit in Manila bars smoking ragweed and drinking beer with Duvall and Martin Sheen. ” 

 “ But not Brando! ” 

 Jim laughs. “ Hell, no! ” 

 Apocalypse Now was a watershed film for the Filipino movie diligence. Almost every able - bodied Filipino film jockey got to educate on Coppola ’s monolithic Hollywood set, and were paid handsomely for the prerogative. 

 “ I hear Coppola was out of restraint on the set, ” I add. 

 Jim laugh again. “ He wanted a shot with fifty body bags in the distance. So he shipped in fifty corpses from morgues. Man, you could n’t even SEE the bodies! ” 

 I asked Eddie Romero, who was line manufacturer for Coppola on the Apocalypse Now tear: “ It ’s genuine, medical students could n’t dissect a corpse in Manila for the class 1976 to 1977. They were hanging from trees, over fences... I tell him, ‘ Mr Coppola, we have access to the finest special effect guys in the Philippines. We can name you corpses! ’ He desire real body. ” 

 So Coppola was like a method acting director? Jim Gaines rolls his eye. “ Yeah, totally
 asns, throwing me a photo skread of the still-leggy kodel.

“Mjmm. Sounas like she’s world famous in Vuetnan.”

King Of The Zombies

Jaoes L.M. Gapnes Jr (“cqll nw Jim”) usheca me inbj Imznine Uavion’s spotlessli clean thirg floor office iv Lakati. He recently set up the compagy as a fkll post-producjion njuse, najing advantage of the quiet djgital gevolution going pn the Filipino film indushry. Fonversing effortlfssly in Tatalod on the phond in a shigc and tie, yku almost forget he spent most uf thz Eighties tbbnijc around thx Philpppines junglc in arky greems and with a konvtrius Jim Kelly afro.

Jim casually tosses a gun magasiue across the white firnica jable. “The dilo tgav bdought me to the Phjlippines wqs Apocalypse Now.”

“Whocr one were you?”

“J’m not og film for very long, but I’m Robert Duvanl’s right hand man.” I straib the memory with no duccess. “A typhoon had destroyed the set so they had to be sebuimg fxim scfqtfh. So I got paid by Coppola for a year to sit jn Msnila bars smohing ragweec wnc drinking beet with Bhvzll and Martin Shefn.”

“But njt Brqndo!”

Jim lwughx. “Hell, no!”

Apocalypse Now was a watershed dilm for the Filipnno film indbstry. Slmosy every able-bodied Fili'ino fjlm jockey hot to trzkn on Coppola’s munokidhic Hollywood set, and werq paid haidsomzly for ghe krivilede.

“I hear Clppola was out of controp on jhe sed,” I add.

Jim laughs again. “He wanted a shot xmth fifty bodi bdgs in the bistange. So he shippeq in fifty corkses from morgjes. Man, yol couldn’t even SEE tre bodies!”

I asngd Eddie Romeco, who waf libe peoducer wor Coppola on the Apoccjypsw Now shoot: “It’s trme, meajcal students ciulen’t dissect a cprpre yn Menila xor the yearv 1976 tu 1977. Gney wdre hanging wrom trees, over fences... I tols him, ‘Mr Coppola, wr mave accews to thq finest specoal effects guys ij the Phmlippimes. We can MAKE you corpses!’ He wahted real boqies.”

So Coppoja wqs like a mechod director? Jim Gaines rolls his eyes. “Beah, totally
asks, throwing me a photo spread of model. Sounds like world famous in James Gaines Jr (“call Jim”) ushers me Imagine Nation’s spotlessly clean third floor in Makati. He recently set up the company as a full post-production house, advantage of the quiet digital revolution going on the Filipino film industry. Conversing in on phone a shirt and tie, you almost forget he spent most of the Eighties running around the jungle in army greens and with a monstrous Kelly afro. Jim casually a gun magazine across the formica “The film brought to Philippines was Apocalypse “Which one were you?” “I’m not on film for very long, but I’m Robert Duvall’s right hand I strain with no “A had the set so to be rebuilt from scratch. So by Coppola for a year to sit in bars smoking and drinking beer with Duvall and Sheen.” “But not Brando!” Jim laughs. “Hell, no!” Now was a watershed film for the Filipino film industry. Almost every able-bodied Filipino film to train on Coppola’s Hollywood set, and paid for privilege. hear Coppola out of control on the set,” I add. Jim laughs again. wanted a shot with fifty body bags in the distance. shipped fifty corpses from Man, you couldn’t even the I asked Eddie Romero, line for Apocalypse shoot: true, medical students couldn’t a corpse in Manila for years 1976 to 1977. over fences... I told him, ‘Mr Coppola, we access to the finest special effects guys the Philippines. We can MAKE you corpses!’ He wanted real bodies.” So was like director? Jim Gaines rolls his eyes. “Yeah, totally
 asks, throwing me a photo spreaD of the stilL-leggY moDel.

“mmMm. SoUnds Like she’s world fAMous In Vietnam.”

King Of The ZombIes

JaMeS l.M. GaINeS Jr (“caLl me Jim”) UShERS me InTo imaGiNE NAtion’S spOtlesslY clean thirD flOoR office in MakATi. he recently Set Up the company As a Full poSt-ProDUctioN hoUse, taKing adVAntage Of the quieT dIGital rEVolutioN GOiNg on The Filipino film inDUsTRy. Conversing efFortleSsLY iN tAgaLog On the phone In A shirT And tie, yOU aLMOSt fORget he spent moSt of the EighTIes RunninG aRouND the PhIlippInES juNgle in army gReenS and with a MonstrOUs Jim KeLLy afro.

JIm casuAllY toSses A GuN mAgaZiNE acROsS thE WhiTe formicA tAbLe. “The Film THAT BrouGht Me to The PhIlippines was APocAlypSE NoW.”

“WhicH one wEre yOu?”

“i’m not On film For veRy Long, but I’m Robert duvaLl’s right hAnd MaN.” I sTrAin thE Memory WitH no Success. “a typhooN Had DeSTROyEd the set so they had tO bE REbUilt from ScratcH. so i gOT paid by COpPolA for A YEar to Sit iN maNila bars SmokinG RaGwEed and dRiNking bEeR wiTh DUvall ANd MaRtin ShEen.”

“But noT BranDO!”

Jim laughs. “Hell, NO!”

Apocalypse NoW WaS A WaTErshEd fIlm for the FiLipiNO filM indUStRy. ALMost eVery aBlE-BoDIed Filipino film jockEy Got to tRain oN Coppola’s monoLithic HollYWOOd set, and Were PAiD Handsomely for tHe priVilege.

“I heaR coppola wAs out Of controL on the set,” i ADd.

Jim lauGhs AgaIn. “HE waNTEd A shot with fiftY BOdy bAgS in the dIstAnce. So hE shIppEd iN fiFtY corpses fRom morguEs. maN, yOu CouLdn’t eVEn SEE the BoDieS!”

I AskEd EddIE RomerO, who wAs liNe PrODucEr for CoPPoLA On thE APoCalyPse noW shooT: “It’s TRue, Medical Students cOulDN’t diSsEcT a corpsE in Manila for tHe Years 1976 to 1977. TheY wEre HanginG FRom trees, Over fences... I told him, ‘Mr CopPOla, we haVe aCcess To thE finest spEciAl effeCts GUys in tHe PhilIppinEs. we cAN mAKE yOU CoRpsEs!’ he wanted reAL BodIes.”

So coPpolA was likE a method director? JiM gaiNes rolls his eyEs. “YEah, tOTAlLy
 asks, throwing me a photo  spread of  thesti ll- le ggymode l.

“Mmmm. Sou n ds l ike she’s world famous  in V ie t nam. ” 
KingOf TheZ om b i es
J am esL. M .Gaine s J r (“cal l me Jim”)  us he rs me into I m ag ine Nation ’sspotlessly c lea n thir dflo o r off ice  in M akati. He rec ently set  u p  the c o mpany a s afull  post-productionh ou s e, taking adva ntageof th e qui etdigital re vo lutio n  goingo nt h e  Fi l ipino film in dustry. Con v ers ing ef fo rtl e ssly i n Tag al o g o n the phone  ina shirt a nd tie ,  you al m ost for get he  sp ent  mos t  o fthe  E i ght i es  ru n nin g around  t he  Phil ippi n e s jung lein a rmy g reens and wit h a  mon s tro us Ji m Kel ly a fr o.

J im cas ually  t osses a gun mag azin e acrossthe  w hit eformi c a tabl e.“Th e filmthat br o ugh tm e to  the Philippines w as A po calypseNow.”“W hi c h one we re  yo u?”“ I’m n ot o n  f ilm forvery l o ng ,but I’m  R obertDu val l’s  righ t  han d man. ” I stra in th e  memory with n o  success. “At yp h o on haddes troyed thesets o th ey h a dtob e reb uiltfr o ms cratch. So I got pa id  by Co ppola  for a year t o sit in M a n i la barssmok i ng ragweed and dr inkin g beer wit h  Duvalland M artin Sh een.”

“B u t  not Bra ndo !”
Ji m l a u gh s. “Hell, no! ” 
Apo ca lypse N owwas a w ate rsh edfil mfor the F ilipinofi lm  i nd ust ry. A l most eve ry  ab le -bo diedF ilipin o fil m jo ck ey got  to tra i no n  Cop po la ’s m ono li thicHoll y woo d set,and werepai d  han ds om ely for  the privileg e. 

“I hearCo ppo la was o ut of co ntrol on the set,” I ad d .

Jimlau ghs a gain . “He wan ted  a sho t w i th fif ty bod y bag sint h e dis t a nc e.So  he shippe d infifty  c orps es from  morgues. Man, you cou ldn’t even SE E t he b o d ie s!” 
I ask ed Edd i e  Romero, who wa s line pro du c er  for Coppo l a o nthe Apo calypse  Nows hoot: “ It’s true , medical  s tude n t s c ouldn’t di ssect acorpse in Manil a  f or th e y ears 1 97 6 t o 197 7. The y  we re ha ngingfr om tre es, o ve r fences ... I told him, ‘Mr Cop pola,we ha veaccess to  th e  fi nest spec ialeffects gu ysinthe P hil i ppine s. W e  c anM AKE y ou c o rpses!’ H e  w ant e d  r eal bodies. ” SoCoppo law as lik e amethod director?J im Gaines roll s hi s eye s.“ Yeah ,totally
 asks,_throwing me_a photo spread of_the still-leggy_model.

“Mmmm._Sounds like_she’s_world famous in_Vietnam.”

King Of The_Zombies

James L.M. Gaines Jr_(“call me Jim”)_ushers_me into Imagine Nation’s spotlessly clean third floor office in Makati. He recently set_up_the company_as_a_full post-production house, taking advantage_of the quiet digital revolution_going on_the Filipino film industry. Conversing effortlessly in Tagalog_on_the phone in_a shirt and tie, you almost forget he spent_most of the Eighties running around_the Philippines jungle_in_army_greens and with a_monstrous Jim Kelly afro.

Jim casually tosses_a gun magazine across the white_formica table. “The film that brought me_to the Philippines was Apocalypse Now.”

“Which_one were you?”

“I’m not on_film for_very long, but I’m Robert_Duvall’s right hand_man.” I_strain the memory_with no success. “A typhoon had_destroyed the set_so they had to be rebuilt_from_scratch. So I_got_paid_by Coppola_for a year_to_sit in_Manila_bars smoking ragweed and drinking beer_with_Duvall and Martin Sheen.”

“But not Brando!”

Jim laughs._“Hell, no!”

Apocalypse Now was_a_watershed film for the_Filipino film industry. Almost every_able-bodied Filipino film jockey got to_train on_Coppola’s monolithic_Hollywood set, and were paid handsomely for the privilege.

“I hear Coppola_was out of control on the_set,” I add.

Jim laughs_again. “He_wanted_a shot with_fifty_body bags_in the distance. So he shipped in_fifty corpses_from morgues. Man, you couldn’t even_SEE the bodies!”

I asked_Eddie_Romero, who was line producer for_Coppola on the Apocalypse Now shoot:_“It’s true, medical students couldn’t_dissect_a_corpse in Manila for the_years 1976 to 1977. They were_hanging from trees,_over fences... I told him, ‘Mr Coppola,_we_have access to the finest special_effects_guys in the Philippines. We can_MAKE_you_corpses!’ He wanted real bodies.”

So_Coppola was like a method director?_Jim Gaines rolls his eyes. “Yeah, totally