Are you ready to see the faces behind your favorite anime and telenovela dubs? Meet Rose Barin, Neil Yu, Monty Repuyan, Dexter Doria, and Maricar De Mesa!
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00:00We walk hand in hand, we dream together. We giggle and laugh like kids forever.
00:12We're two different people, but we're having fun. We talk about anything under the sun.
00:19We are sisters, we are friends. We've got magic that never ends.
00:27I got you sis, you got me. Your best of friends we'll always, always be.
00:38We always have fun, being together. You know me the best, we're friends forever.
00:46Through good times and bad, I'm here for you sis, right by your side.
00:52Hit or miss, we are sisters, we are friends. We've got magic that never ends.
01:01I got you sis, you got me. Your best of friends, the best of friends.
01:09The best of friends we'll always, always be. We are sisters, we are sisters.
01:18Good morning mga sis! I'm sure you'll enjoy this episode and the kids as well.
01:24That's for sure because we'll be with their favorite telenovela and anime characters.
01:30You won't believe it. Watch this.
01:32I'm Vincent's voice in Ghostfighter.
01:35I have an idea.
01:38Detective Sinigata in Lupin.
01:41Big Bird Dr. Hook.
01:48My real name is Montreal Tuazon Ripuyan.
01:51Hello, I'm Fujiko's voice in Lupin.
02:11I'm Miyaka's voice in Fushigi Yugi.
02:14Wait, what am I saying?
02:16What if he's going to be my husband? He doesn't even know me as a girlfriend.
02:22I'm Rose Barin.
02:24I'm also one of the voices you know.
02:26I'm Alfred.
02:31My real name is Neil.
02:33The voices behind our favorite telenovela and anime characters.
02:38We'll be together for an hour just here in Sis!
02:43The voices behind our favorite telenovela, cartoons, and anime characters are here with us this morning.
02:49Let's start with our first guest.
02:52She's Fujiko's voice in Lupin.
02:54Miyaka's voice in Fushigi Yugi.
02:56She's also a voice in many telenovelas that we watch and listen to on the radio.
03:01Ms. Rose Barin.
03:02Good morning.
03:03Good morning.
03:05Okay, game.
03:07He's Alfred Taguro's voice in Ghostfighter.
03:09He's Richard's voice in Diamond.
03:10He's Mark's voice in Voltus 5.
03:12And there are many more characters in your favorite anime.
03:15Neil Yu.
03:17Good morning.
03:19He's Vincent's voice in Ghostfighter.
03:21Detective Seragata's voice in Lupin.
03:23Big Bird, Dr. Hook, and Dr. Smith's voice in Voltus 5.
03:27You're Big Bird in Voltus 5?
03:29Big Bird, I think.
03:30You can also hear his voice in radio dramas and telenovelas.
03:33Monty Repuya.
03:36One of our favorite actresses also dubs cartoons.
03:39Dexter Doria.
03:43She dubs cartoons and telenovelas.
03:46Marie Cardemesa.
03:48Okay, let's start.
03:50Let's begin.
03:51Is that hard?
03:53Because when you dub, just like Dexter did in the movie,
03:57we follow our mouth.
03:59We're conscious of our thinking.
04:03We did that already.
04:05Yes.
04:06It was hard for me.
04:07That's what you're saying.
04:08That's what you're dubbing.
04:10But this is a different language.
04:12It was hard for me.
04:13I started with cartoons.
04:15Starla.
04:16It's easy to sync cartoons.
04:18But you're Starla.
04:19I'm Starla, yes.
04:20After Starla, I did Agujetas de Color.
04:25Mexican.
04:26It was hard.
04:27Actually, it's easier to dub Dankara Susha because Mexican is slower.
04:31And the role that I dub is slow.
04:35Unlike Kara Susha, a Venezuelan,
04:38aside from being a tomboy, her role is fast.
04:42How about you?
04:43Only in Japanese.
04:45Actually, our script has an English interpretation,
04:51then it's translated into Tagalog.
04:53So, it's easier to dub cartoons than telenovelas.
04:58You're conscious of your thinking.
05:00Yes, we are, especially.
05:02But the translation,
05:05it's confusing because not everyone can translate.
05:08Monty actually wrote the script in Tagalog.
05:10It's easier to translate.
05:11In dubbing in movies,
05:13we didn't do anything different.
05:14Yes, you didn't do what you said.
05:16But it's easier to translate.
05:19There's a slight degree of difficulty in translating in Japanese.
05:25Like what Rose said,
05:26the English guide is sent to us.
05:28The work of the majority of our writers,
05:32in our pool of writers,
05:34is already pre-synced.
05:37Because in movies,
05:38you, ma'am, as artists,
05:40you direct what you say while shooting.
05:44In Tagalog, too.
05:45For us, the difference is,
05:47the bloodiest part is what we're looking for.
05:51That's why sometimes people make fun of us.
05:55Why is the dialogue unusual?
05:57Because our target is,
05:59while the audience is watching,
06:02we want them to believe that what they're watching is really in Tagalog.
06:07That's why sometimes,
06:08the construction of the sentence suffers.
06:11But for us,
06:12we want them to believe that it's really in Tagalog.
06:16Because given the Tisoy and the Castellanos.
06:19I have to fight to get what I want.
06:22Niel,
06:23isn't it like,
06:24dubbing is far from your job?
06:27What do you do aside from dubbing?
06:30My job is,
06:32I'm an air-conditioning refrigeration technician.
06:35That's a lot.
06:37I also go to construction sometimes.
06:41This dubbing is just a sideline.
06:45It just so happens that I got in here,
06:47it became a hobby,
06:49then it became a profession.
06:51It became a profession.
06:52It's a good thing.
06:53You know,
06:54while you're dubbing,
06:55you're fixing the air-conditioning.
06:57How did you start?
06:59Can I talk about the radio station?
07:01At RT back then.
07:03So,
07:04the dubbing director,
07:06he tried,
07:07I guess,
07:08he liked it.
07:09He made me persevere.
07:10But aside from that,
07:11do you still do radio?
07:12Yes.
07:13The two of us.
07:14Monty and I.
07:15You see it, right?
07:17That's why you have to exaggerate.
07:20You always have something to say.
07:22Yes.
07:23You can't...
07:24That's why you always have something to say.
07:25No reaction.
07:26You can't do that.
07:27No reaction.
07:28You even have to say the movement.
07:30Yes, right?
07:31Wait.
07:32I'll open the door first.
07:33I'll stab you.
07:34That's right.
07:35I'll stab you.
07:36That's how it should be.
07:37That's how it should be.
07:38That's how it should be.
07:39And you should have the same sound.
07:41What's the difference between a radio drama,
07:44an anime,
07:45and a telenovela?
07:46First of all,
07:47you have to be able to see what's happening.
07:49That's why you have to be a little O.A.
07:52Visual.
07:53Yes.
07:54And you have to say your actions
07:56so that the audience can imagine
07:58what's happening.
08:00In a telenovela,
08:02they can already see the actor's reaction.
08:05We just have to match the emotion.
08:08In an anime...
08:09It's the same.
08:10What's difficult in an anime is
08:12sometimes the movements of the characters
08:14are exaggerated.
08:16So, you have to internalize what they're doing.
08:18Really?
08:19Yes.
08:20Are you standing?
08:21Are you sitting?
08:22We're standing.
08:23We're standing.
08:24We're standing.
08:25We're standing.
08:26It's like dabbing.
08:27We're standing.
08:28We're standing.
08:29It's a small space.
08:30It's like that.
08:31Sometimes.
08:32Sometimes.
08:33That's why we're reading it.
08:35Because it's a script.
08:36You have to read it.
08:38And you have a headset.
08:39You just watch it at the same time.
08:41Because if you watch the screen
08:43and you read it,
08:44you'll get confused.
08:45If he's talking, you'll talk too.
08:47You'll read it too.
08:48If he's posing, you'll pose too.
08:50It's like...
08:51And there's nothing.
08:52It's like what Bolt is doing.
08:54Let's Bolt it.
08:56Let's Bolt it.
09:01It's easy to understand.
09:02It's easy to understand cartoons.
09:03Because the opening of the mouth of the cartoon...
09:05It's just like that.
09:06It's just like that.
09:07It's just like that.
09:08It's easy.
09:09It's like a telenovela.
09:10It's like a different language.
09:11It's difficult in an anime.
09:13And the dramas.
09:14Because sometimes in a script,
09:16if you're making a script,
09:18for him, that line is fast.
09:20When it comes to talent,
09:22it's slow.
09:23So you have to adjust.
09:25It's up to you to stretch.
09:26You have a talent to write a script.
09:29You're the one to stretch.
09:32You're the one to discard.
09:34You're the one to discard.
09:35You're the one to change the script
09:37to adjust.
09:38Because if he doesn't notice...
09:40Do you have a guide with you?
09:42Yes.
09:44I have a judge.
09:46That's okay.
09:47I have a supervisor.
09:50I'm like a director.
09:51Because sometimes we think it's okay.
09:53Maybe he misses his line.
09:55Because you're looking at the script.
09:56You can't see if the mouth is still opening.
09:58But with regards to the script,
10:00what Ma'am Mano said is right.
10:02The cartoon is difficult.
10:03It's easy.
10:04Because it's just easy.
10:06Compared to a telenovela.
10:07But on the side of what I do,
10:10I also write and translate.
10:12I'll just repeat the word again.
10:15It's difficult.
10:16On the part of the writer.
10:17The cartoon.
10:18We know that.
10:19Directly.
10:20Right, Ma'am?
10:21The writer,
10:22even in Japan,
10:23they're out of sync.
10:25If you'll listen,
10:27if they've tried the Japanese cartoons.
10:31The Japanese are out of sync.
10:33That's why in Tagalog,
10:34we're trying to catch up.
10:36But in Japan,
10:37you'll hear the guide talking.
10:39But we're trying to catch up.
10:40So with regards to the writer,
10:41we're still trying to catch up.
10:43Unlike in the telenovela,
10:44because it's a person talking,
10:45it's easier.
10:46Also,
10:47their mouth is more defined.
10:49The mouth of their mouth.
10:51But most importantly,
10:52let's not forget,
10:54we need a person with confidence
10:56for the launching of our new line.
10:59That's how it is.
11:00At first,
11:01don't you laugh at yourself?
11:02Especially when it's a telenovela.
11:03Because it's like.
11:04It's a bit.
11:05It's a bit funny.
11:06Especially for me,
11:08in my experience,
11:09I started with Mr. Lars Santiago.
11:11Actually,
11:12he was the one who invited me.
11:13Because in Agujetas,
11:15they offered me to dub as an artist.
11:19My partner there is Isko Moreno.
11:21Yes.
11:22She's the one who dubs there.
11:23So she's the one who teaches me.
11:25It was really hard for me.
11:26The technician.
11:27He's pitiful to me.
11:28Again and again.
11:30It's just in the beginning.
11:32In the beginning.
11:33But once you get used to it,
11:34even if you don't get used to it.
11:36I was embarrassed back then.
11:38Right?
11:39While I've been dubbing for 20 years.
11:42I'm an actress.
11:44When it comes to that,
11:45I look stupid.
11:47Really?
11:48That's why they don't talk to me.
11:51No, I'm just kidding.
11:53Again.
11:56I'm just kidding.
11:58Auntie Dex.
11:59Later,
12:00tell us about your experiences.
12:02How hard or easy is it to dub?
12:06Let's talk about that
12:07when Sis will be back.
12:09Of course, we're still with the dubbers
12:11of the telenovelas and animes we're watching.
12:15Yes.
12:16I want to know
12:17what are your unforgettable experiences
12:19in dubbing.
12:21Of course, it's hard,
12:22it's fun,
12:23it's confusing,
12:25it's confusing.
12:26What are the stories there?
12:28Okay, Auntie Dex.
12:29Auntie Dex, what do you have to say?
12:32Well,
12:33I was really embarrassed
12:35at first.
12:36Because,
12:37my friend, Ida Yaneza
12:40and Melly Tagasa,
12:41they're the supervisors.
12:43They said,
12:44this suits you.
12:45I said, okay.
12:46I thought it's easy.
12:47I thought it's just like that.
12:49They said,
12:50it's the same when you're dubbing.
12:51I said, I've been an actress for 20 years.
12:53I can do this.
12:54When it came to that,
12:55I was really embarrassed.
12:56Again and again.
12:57As in,
12:58you're voicing,
12:59suddenly,
13:00Dex,
13:01you're married.
13:02You're voicing,
13:03you're old.
13:04Ouch!
13:05Because the role is young
13:06and sexy,
13:07you're like,
13:08hi, J.
13:09It's kind of like that.
13:10You change your voice
13:11and your ambience.
13:12You know,
13:13I'm gay.
13:14Suddenly,
13:15it becomes sexy.
13:16Those kind of things,
13:17I was embarrassed.
13:18Is it continuous?
13:19It's the same with radio shows.
13:20It's like,
13:21it's continuous.
13:22No, no.
13:23Ah, there's a cut.
13:24Because,
13:25I remember,
13:26there's looping too.
13:27Right?
13:28On radio.
13:29Even on my birthday,
13:30while I'm dialoguing,
13:31the soundman.
13:34Here,
13:35boom!
13:36That's true.
13:37And I remember,
13:38I did a tag there.
13:39Our first taping,
13:40our first dubbing day.
13:42I thought,
13:43it's like a movie.
13:44Okay,
13:45let's do all of mine.
13:47No.
13:48I want to be there
13:49from 10am to 10pm.
13:51As in?
13:52As in,
13:53by,
13:54by sequence.
13:55By sequence.
13:56So you do it to yourself
13:57and to others.
13:58At the same time,
13:59sometimes,
14:00I get mad
14:01because you're waiting there.
14:02It's not comfortable.
14:04I don't know.
14:05So,
14:06my friend,
14:07Ida,
14:08I called her in the CR.
14:09We're fighting.
14:10I'm getting mad.
14:11It's a good thing I didn't
14:12follow Nelly.
14:13But really,
14:14I'm getting mad.
14:15She said,
14:16this is how it is, Dex.
14:17I said,
14:18I'm paid.
14:19Why not?
14:20You know that.
14:21But when it came,
14:22they did the paycheck
14:23at the same time.
14:24It was sudden.
14:25Ah, it's okay.
14:26Worth it.
14:27Worth it.
14:28Sometimes,
14:29you do 2 or 3 characters
14:31in a show.
14:322 or 3 characters.
14:33What if those characters
14:35are in the same scene?
14:36What do you do?
14:37That happens to me often.
14:39Because like in Ghostfighters,
14:41Alfred and Tagurong
14:42always fight.
14:43No, you're the same.
14:44They answer.
14:45So,
14:46it's like,
14:47I'm in a fight
14:48with myself.
14:49It's like that.
14:50It's a separate class.
14:51It's a separate class.
14:52It's a separate class.
14:53It's a separate class.
14:54It's a separate class.
14:56For example,
14:57Alfred said to him,
14:58Tagurong,
14:59be careful.
15:01You can't beat me.
15:03Tagurong said,
15:04you should be careful.
15:06Because I won't use
15:07100% of my strength
15:08for you.
15:13It's confusing, right?
15:14Confusing.
15:15But it's a separate class.
15:18So, you do first,
15:19one character.
15:20One character first.
15:21Sometimes, it's like that.
15:22I thought so.
15:25Sometimes,
15:26they call it
15:27a push.
15:28He did that to me.
15:29Sometimes,
15:30it's like that.
15:31When they fight,
15:32their lines are like,
15:33they fight.
15:34Their lines are like,
15:35they fight.
15:36It's a separate track.
15:37But when there's a pause,
15:38there's a gap.
15:39You can't leave it.
15:40It's a straight line.
15:41That's what he said.
15:42He's going crazy.
15:43So,
15:44what do you think,
15:45Detective Zenegata?
15:46I invented a bomb
15:47so fast,
15:48didn't I?
15:49Yes,
15:50but you shouldn't have
15:51tied them up.
15:52Ah,
15:53if that's the case,
15:54there's a new law
15:55here in Belibe,
15:56Detective.
15:57No,
15:58there isn't.
15:59And one more thing,
16:00they should have
16:01brought us back alive
16:02and not a cold body.
16:03Is that clear?
16:04But Detective Zenegata,
16:05they committed
16:06four crimes
16:07here in our town
16:08so they should be
16:09punished.
16:10If you do that,
16:11Warden,
16:12I'll be forced
16:13to ask for a response
16:14from our country
16:15and that will be
16:16a big problem.
16:17The most budget part
16:18is when you're
16:19in take 20
16:20and you can't
16:21direct your lines.
16:22That happened to me.
16:23It depends on the mood.
16:24Yes,
16:25it depends on the mood.
16:26The other day,
16:27I saw the technician
16:28and my head was hot.
16:29That's scary.
16:30Take 25,
16:31I couldn't
16:32stretch my lines.
16:33It depends on the mood.
16:34It's true.
16:35Sometimes,
16:36even if it's just
16:37three words,
16:38you can't say it
16:39over and over again.
16:40There are days like that.
16:41There are days like that.
16:42There are off days.
16:43There are days like that.
16:44It's just three words.
16:45If I get that,
16:46it'll be 15 takes.
16:47Yes.
16:48It's really embarrassing.
16:49It's embarrassing
16:50not just for myself
16:51but for those
16:52who are waiting.
16:53Yes.
16:54There are two types.
16:55I call it black dabbing.
16:56You do it at the same time.
16:57Yes, at the same time.
16:58You're waiting.
16:59I've been doing it for a long time.
17:00I've been doing it for a long time.
17:01I get distracted
17:02by the three or four words.
17:03Unlike the individual dabbing.
17:04You get distracted.
17:05You're only distracted
17:06by the technician.
17:07Yes,
17:08by the technician.
17:09No, actually,
17:10everyone gets victimized.
17:11Even the best ones,
17:12the senior ones.
17:13Yes.
17:14They do it over and over again
17:15because it's hard.
17:16It's not that easy.
17:17They'll say,
17:18you're doing it wrong.
17:19Just smile
17:20because later
17:21they'll do it.
17:22Yes.
17:23It's impossible
17:24for them
17:25to do it all
17:26in one take.
17:27Because there are a lot
17:28of people like that.
17:29Yes.
17:30Especially if you're new.
17:31They'll be good at it.
17:32They'll show it to you.
17:33No.
17:34Also,
17:35if they're not happy,
17:36they'll do it again.
17:37They know
17:38they'll do it again.
17:39They don't have
17:40a take 2 or take 3.
17:41You're not like the artist.
17:42If you get a take 2,
17:43it's like, wow.
17:44It's like that.
17:45It's natural.
17:46It's normal.
17:47That's enough!
17:48Can I continue this?
17:49Can I wait?
17:50Can I continue this?
17:51Can I continue this?
17:52Is this our meeting?
17:53Huh?
17:54Oh.
17:55Let's continue.
17:56Has it happened to you
17:57that some people
17:58use your voices?
17:59Yes.
18:00It happens.
18:01Sometimes,
18:02the character
18:03that appeared
18:04in that episode
18:05for a long time
18:06and was blocked,
18:07will appear again
18:08in episode 10.
18:09Yes.
18:10Then,
18:11he'll come back
18:12in episode 14.
18:13Now,
18:14even you
18:15and your supervisor
18:16will wonder,
18:17who did this?
18:18Sometimes,
18:19you'll look for
18:20the person
18:21who did the episode
18:22to find out
18:23the voice
18:24that was used.
18:25Something happened to us.
18:26It was aired.
18:27The tape
18:28came out.
18:29The finished product.
18:30It wasn't the voice.
18:31Oh.
18:32It happened.
18:33It happened.
18:34But,
18:35they didn't notice
18:36because it was too long.
18:37No.
18:38In the email,
18:39because we're together
18:40in the email,
18:41there was an answer like that.
18:42Why is it like this?
18:43Your voicing isn't consistent.
18:44There are really fans.
18:45There are fans.
18:46There are really fans.
18:47They think
18:48that since
18:49especially when it's a telenovela,
18:50or since
18:51the language is different
18:52and it's in Tagalog,
18:53that's why.
18:54Because,
18:55hold on.
18:56We thought
18:57it was like that at first.
18:58But,
18:59when we found out
19:00from our feedback,
19:01why?
19:02It's like the story
19:03came back to life.
19:04I said,
19:05why did it come back to life?
19:06Because,
19:07this character
19:08isn't like this.
19:09He watched
19:10the Japanese version.
19:11It's different.
19:12It's different.
19:13It's a different character.
19:14Because,
19:15it happened to us
19:16just like in
19:18Bababang Boses.
19:19It's the same.
19:20It's the same.
19:21It's the same.
19:22It's the same.
19:23It's the same.
19:24It's the same.
19:25It's the same.
19:26It's the same.
19:27It's the same.
19:28It's the same.
19:29It's the same.
19:30It's the same.
19:31It's the same.
19:32It's the same.
19:33It's the same.
19:34It's the same.
19:35It's the same.
19:36It's the same.
19:37It's the same.
19:38It's the same.
19:39It's the same.
19:40It's the same.
19:41It's the same.
19:42It's the same.
19:43It's the same.
19:44It's the same.
19:45It's the same.
19:46It's the same.
19:47It's the same.
19:48It's the same.
19:49It's the same.
19:50It's the same.
19:51It's the same.
19:52It's the same.
19:53It's the same.
19:54It's the same.
19:55It's the same.
19:56It's the same.
19:57It's the same.
19:58It's the same.
19:59It's the same.
20:00It's the same.
20:01It's the same.
20:02It's the same.
20:03It's the same.
20:04It's the same.
20:05It's the same.
20:06It's the same.
20:07It's the same.
20:08It's the same.
20:09It's the same.
20:10It's the same.
20:11It's the same.
20:12It's the same.
20:13It's the same.
20:14It's the same.
20:15It's the same.
20:16It's the same.
20:17It's the same.
20:18It's the same.
20:19It's the same.
20:20It's the same.
20:21It's the same.
20:22It's the same.
20:23It's the same.
20:24It's the same.
20:25It's the same.
20:26It's the same.
20:27It's the same.
20:28It's the same.
20:29It's the same.
20:30It's the same.
20:31It's the same.
20:32It's the same.
20:33It's the same.
20:34It's the same.
20:35It's the same.
20:36It's the same.
20:37It's the same.
20:38It's the same.
20:39It's the same.
20:40It's the same.
20:41It's the same.
20:42It's the same.
20:43It's the same.
20:44It's the same.
20:45It's the same.
20:46It's the same.
20:47It's the same.
20:48It's the same.
20:49It's the same.
20:50It's the same.
20:51It's the same.
20:52It's the same.
20:53It's the same.
20:54It's the same.
20:55It's the same.
20:56It's the same.
20:57It's the same.
20:58It's the same.
20:59It's the same.
21:00It's the same.
21:01It's the same.
21:02It's the same.
21:03It's the same.
21:04It's the same.
21:05It's the same.
21:06It's the same.
21:07It's the same.
21:08It's the same.
21:09It's the same.
21:10It's the same.
21:11It's the same.
21:12It's the same.
21:13It's the same.
21:14It's the same.
21:15It's the same.
21:16It's the same.
21:17It's the same.
21:18It's the same.
21:19It's the same.
21:20It's the same.
21:21It's the same.
21:22It's the same.
21:23It's the same.
21:24It's the same.
21:25It's the same.
21:26It's the same.
21:27It's the same.
21:28It's the same.
21:29It's the same.
21:30It's the same.
21:31It's the same.
21:32It's the same.
21:33It's the same.
21:34It's the same.
21:35It's the same.
21:36It's the same.
21:37It's the same.
21:38It's the same.
21:39It's the same.
21:40It's the same.
21:41It's the same.
21:42It's the same.
21:43It's the same.
21:44It's the same.
21:45It's the same.
21:46It's the same.
21:47It's the same.
21:48It's the same.
21:49It's the same.
21:50It's the same.
21:51It's the same.
21:52It's the same.
21:53It's the same.
21:54It's the same.
21:55It's the same.
21:56It's the same.
21:57It's the same.
21:58It's the same.
21:59It's the same.
22:00It's the same.
22:01It's the same.
22:02It's the same.
22:03It's the same.
22:04It's the same.
22:05It's the same.
22:06It's the same.
22:07It's the same.
22:08It's the same.
22:09It's the same.
22:10It's the same.
22:11It's the same.
22:12It's the same.
22:13It's the same.
22:14It's the same.
22:15It's the same.
22:16It's the same.
22:17It's the same.
22:18It's the same.
22:19It's the same.
22:20It's the same.
22:21It's the same.
22:22It's the same.
22:23It's the same.
22:24It's the same.
22:25It's the same.
22:26It's the same.
22:27It's the same.
22:28It's the same.
22:29It's the same.
22:30It's the same.
22:31It's the same.
22:32It's the same.
22:33It's the same.
22:34It's the same.
22:35It's the same.
22:36It's the same.
22:37It's the same.
22:38It's the same.
22:39It's the same.
22:40It's the same.
22:41It's the same.
22:42It's the same.
22:43It's the same.
22:44It's the same.
22:45It's the same.
22:46It's the same.
22:47It's the same.
22:48It's the same.
22:49It's the same.
22:50It's the same.
22:51It's the same.
22:52It's the same.
22:53It's the same.
22:54It's the same.
22:55It's the same.
22:56It's the same.
22:57It's the same.
22:58It's the same.
22:59It's the same.
23:00It's the same.
23:01It's the same.
23:02It's the same.
23:03It's the same.
23:04It's the same.
23:05It's the same.
23:06It's the same.
23:07It's the same.
23:08It's the same.
23:09It's the same.
23:10It's the same.
23:11It's the same.
23:12It's the same.
23:13It's the same.
23:14It's the same.
23:15It's the same.
23:16It's the same.
23:17It's the same.
23:18It's the same.
23:19It's the same.
23:20It's the same.
23:21It's the same.
23:22It's the same.
23:23It's the same.
23:24It's the same.
23:25It's the same.
23:26It's the same.
23:27It's the same.
23:28It's the same.
23:29It's the same.
23:30It's the same.
23:31It's the same.
23:32It's the same.
23:33It's the same.
23:34It's the same.
23:35It's the same.
23:36It's the same.
23:37It's the same.
23:38He should've listened to you.
23:39You've been watching TV for so long.
23:40Why?
23:41It's different.
23:42I like watching soap operas and cartoons.
23:43Why?
23:45What I really like watching is
23:47Kelly Jennies and Jelly's channel.
23:49Channel 7.
23:50After 10 a.m.
23:52It seems that's the name of that channel.
23:54Sis.
23:56Is that channel called, Where Do You Belong?
23:58That channel.
23:59I know.
24:01Yes.
24:03That's a very good recommendation.
24:05If that's what you like,
24:06From the movie Little Rascals,
24:35I'm a woman, sort of. Let me tell you something, Darla. I'm not like those guys. I'm a sensitive
24:49male. I'm into sharing, caring, feeling and healing. I'm in touch with my feminine side.
24:57How nice. It's worse than I thought.
25:00Okay, go.
25:28That was hard.
25:31It was hard, Paesia. Actually.
25:35I was approving when I was fighting.
25:38It's different. The language is different. When you speak in Tagalog, it's different.
25:45Your voice is different.
25:47Your voice is different.
25:49In Mexican films, it's really hard because their faces are exaggerated.
25:55Their mouths are also different.
25:57Ms. Maricar also said that in Mexican and Venezuelan voice talents, there's a difference.
26:04In Mexican, their voice is softer. In Venezuelan, it's different.
26:11It's like a machine.
26:14The role I'm portraying, Tom Boyish, it's hard for him to catch up because he's moving.
26:18I'm also like that when I'm acting. I can't not be in the mood.
26:21You know how hard it is.
26:23When there are people spoofing you, you get offended, right?
26:29It's hard.
26:30But you don't know how hard it is.
26:34For me, I don't think about it.
26:36It's my experience. I made a mistake.
26:40Maybe if they go there, they'll know why.
26:45I'm proud. At least they know that it's my voice.
26:48They know my voice.
26:50Do you have a warm-up before the dubbing?
26:54No.
26:55It's hard to do the dubbing in the morning.
26:58It's like waking up your voice.
27:00Sometimes, it's hard to sleep.
27:02Sometimes, the director won't let you sleep.
27:05Do you have vocalizations?
27:08No, we don't.
27:09Actually, our call time is around this time.
27:12When it's complete, it's done.
27:14It's hard when you have a message.
27:16Yes.
27:17It's like, sorry.
27:19It happened to me.
27:21I had a message.
27:23I was still sleeping.
27:25Were you sleeping?
27:26No, I wasn't.
27:27I was awake.
27:28Then what happened?
27:30My character started to scream.
27:32Yes.
27:33Draco in Voltex 5.
27:35He kept screaming.
27:37He kept screaming.
27:38When I got home, I was in a coma.
27:41Was it painful?
27:42Yes, it was painful.
27:43Can you do it?
27:44If you don't have a voice,
27:45can you do it?
27:48I don't have a voice.
27:49I don't have a voice.
27:50I just have a small voice.
27:51Ma'am Janice has a good point.
27:54In movies, there's a voice talent.
28:00You know, it's part of the industry.
28:03In dubbing, sometimes,
28:06there's a mistake.
28:07Yes, there's a mistake.
28:08The technician made a mistake.
28:09He made a mistake.
28:10He can't do it again.
28:11For example, he made a mistake on one line.
28:13Sometimes, he can't do it again.
28:15We'll cure him.
28:17In movies, sometimes,
28:19there's a mistake.
28:20Oh, I didn't notice it.
28:22I didn't notice it.
28:23So, it's dubbed in dubbing.
28:26Sometimes, there are actors.
28:28For example,
28:29let's say,
28:30an actor is abroad.
28:33He suddenly shows a movie.
28:35So, he needs to dub.
28:36Sometimes, you do that.
28:38How do you do that?
28:39You study the voice.
28:41Do you look for a voice supervisor?
28:43Actually, the supervisor will look for a voice.
28:46So, it's not obvious.
28:47Yes, it's not obvious.
28:48He'll say that.
28:49If it's possible in his group,
28:51he'll ask.
28:52But, there are actors that you can't dub.
28:54The ones whose voices are well-known.
28:56Right?
28:57Like Eddie Garcia's voice.
28:58Oh, how do you dub?
29:00I feel like I'm the only one
29:02who can dub your voice.
29:04You're the only one who can dub my voice.
29:05Yes, actually.
29:06We did it.
29:07I dubbed his voice.
29:09What did I say?
29:10I dubbed his movie.
29:11Because he's not here.
29:12Anyway,
29:13Why are telenovelas and animes
29:15so popular among Filipinos?
29:17We'll talk about that later.
29:19What I want to know is,
29:21what's your input?
29:23What's your opinion?
29:24Why are Filipinos so fond of
29:26telenovelas and animes?
29:28For me,
29:30especially Mexicans and Venezuelans,
29:33Filipinos are more relatable.
29:36Why?
29:37It's more real to them.
29:39Because it happens to them.
29:40It affects their lives.
29:42Yes, it affects their lives.
29:44Their stories.
29:45And our stories.
29:47Unlike the English movies
29:49that we translate,
29:51they can't relate.
29:53The scenes are different.
29:55It's too far.
29:56It's too real.
29:57It's dramatic.
29:58It's dramatic.
29:59There's an attack.
30:00There's a contradiction.
30:01It's like a fight.
30:02There's a fight.
30:03That's what we want.
30:04Actually, in short form.
30:06That's what we want.
30:07And the colonial mentality of Filipinos
30:09until now,
30:10it's beautiful.
30:11It's beautiful.
30:12It's beautiful.
30:13It's stylish.
30:14The nose is straight.
30:15The hair is brown.
30:16Yes.
30:17Blondes.
30:18That's what we want.
30:19It's different.
30:20It's white.
30:37What about animes?
30:38Actually, they also pursue stories.
30:40Because our stories are catchy.
30:42It's melodramatic.
30:43In anime,
30:44it's melodramatic.
30:45In the Philippines,
30:48although there are animators,
30:51it's not that...
30:52It's not that high-tech.
30:54It's not that refined.
30:56And the anime in Japan
30:58is more popular than American cartoons.
31:02Because the anime in Japan
31:04is watched by teenagers.
31:05Teenagers can relate.
31:07Whereas, if you watch Daffy Duck,
31:10they can't relate to the Popeye.
31:12But since childhood until now,
31:15they still want to watch cartoons.
31:17But the stories of Popeye,
31:20they outgrow them.
31:21But the fights,
31:23it's okay.
31:24It's a story.
31:25It's an aged man.
31:26It's a push.
31:27It's an aged man.
31:28That's what our translator said before.
31:31He said that the cartoons that are made here,
31:34that are released here,
31:35are for 14 years old and above in Japan.
31:38At the same time,
31:39they are not censored.
31:41But sometimes,
31:42Japanese cartoons are too violent, right?
31:44Actually, we reverse it.
31:45We reverse it.
31:46We reverse it.
31:47That's what Ms. Marigam said.
31:49It's like a samplized version
31:51of what's being released.
31:52Like in Lupin,
31:53in Fujiko,
31:54and Lupin's character,
31:56this is his love team,
31:58there are scenes like that.
31:59But it doesn't appear anymore.
32:01We're happy with the dubbing.
32:04But on TV,
32:05it's already cut.
32:06We cut it.
32:07We missed it.
32:08Plus, their dialogues,
32:09there are some that are not really good.
32:11So, we just reverse it
32:13to make it look funny.
32:15To make it look funny.
32:16Because Lupin is a comedy.
32:17So, it's like you're also providing humor to him.
32:19Yes.
32:20Humor and also,
32:21to adjust.
32:22He's adjusting to the Filipino audience.
32:25Yes.
32:26Before we submit for review to MTRCB,
32:29it's already sanitized.
32:30We already edited the violence.
32:32Because if it's really illiterate,
32:34it's not good for the audience.
32:35You won't be able to watch it.
32:37It's all green jokes
32:38and bad words.
32:39They're all cheap.
32:40Yes.
32:41In Japan,
32:42it's not censored.
32:43It's not censored.
32:44It's for older,
32:4614 and above.
32:4714 and above.
32:48Yes.
32:49For us,
32:502 years old.
32:512 years old,
32:52it's okay.
32:53Usually,
32:54before they show a cartoon,
32:55parental guidance is announced.
32:57Here, it's like this.
32:58Here.
32:59Really?
33:00That's when I thought
33:01cartoons are cartoons.
33:02Sometimes,
33:03when you watch the dubbing
33:05of Japanese anime,
33:07you'll really laugh
33:08at the dubbing.
33:10Do you think
33:11we can do anime
33:12with our salary?
33:13We can,
33:14but it's too expensive.
33:15It's expensive.
33:16The technology.
33:17There are a lot of good jobs.
33:18Actually,
33:19we have a lot of cartoonists here.
33:20Other cartoonists
33:21don't do it for us.
33:22That's true.
33:23I have a lot of friends like that.
33:24They say,
33:25they process it here,
33:27to WB,
33:28Warner Brothers.
33:29They do it here.
33:30But the Filipinos
33:31can't produce it
33:32because it's too expensive.
33:33It's expensive.
33:34They just process it here.
33:36Yes.
33:37It's cheaper to buy
33:38the material abroad
33:39than WB.
33:40It's expensive
33:41because a movement
33:42of a finger like that,
33:43it's just one frame.
33:45Think about it.
33:46The artist will trace it first,
33:48then they'll paint it.
33:50Then, they'll get a negative.
33:52The process is too long.
33:54That's why the Filipinos
33:55will run out
33:56before they can make it.
33:57And our market
33:58is too small.
33:59Yes.
34:00We don't have
34:01a worldwide culture.
34:03Our culture
34:04can't be accepted
34:05by a country like Venezuela.
34:08You think you can do it?
34:10That's true.
34:11We can't provide
34:13a cultural originality.
34:27But I agree, ma'am.
34:28That's why it's so popular now.
34:30Telenovelas,
34:31anime,
34:32cartoons,
34:33because
34:34it's internal
34:35to our industry.
34:36It's like
34:37it's cheaper
34:38to produce
34:39an anime
34:40or a cartoon
34:41or a telenovela.
34:42Because you'll just
34:43dub it.
34:44You'll just buy it.
34:45You'll just buy it.
34:46Buy it candle-ready.
34:47Yes.
34:48Then, you'll dub it.
34:49The production cost.
34:50You'll just dub it.
34:51Script writer
34:52and dubbing supervisor.
34:53Technician.
34:54Unlike
34:55if you'll produce
34:56a local
34:58soap opera.
34:59It's not just
35:00the financial cost
35:01that's cheaper.
35:02Even the time-consuming
35:04work.
35:05This is done.
35:06So, whether we like it
35:07or not Filipinos,
35:08it's really
35:09more profitable
35:10for the producers.
35:11So, that's what we're watching.
35:13So, our role
35:15as talents is
35:17to make it look good
35:19or to make them
35:20appreciate it more.
35:21Like what I said earlier,
35:22we're chasing their faces.
35:24Plus,
35:26we're trying to
35:27make our soap operas
35:29popular.
35:31We're trying to insert them.
35:33But what's happening now,
35:35the local actors
35:37are losing their jobs
35:39because of this.
35:41That's true.
35:42Our character is a victim.
35:44So, this is for a fact.
35:46So, the actors
35:47are talking
35:48that it's really up to the guild
35:49to act on this
35:50on an equity basis.
35:52To put a limit
35:54or to put it on a cable.
35:56We're not telling them to leave.
35:58It's entertaining.
36:00Yes, it's entertaining.
36:01The local actors
36:02are losing their jobs
36:04because of them.
36:05Because what's happening is
36:06there are a lot of talent operas.
36:08It's like they lost their jobs.
36:10It's like they lost their jobs.
36:11It's like they lost their jobs.
36:12They're in other stations.
36:14They're losing their jobs.
36:15Regulation.
36:16What if this is just
36:17a trend that's
36:19lasting for a long time?
36:21That's a good trend.
36:22That can be a challenge.
36:23That can be a challenge.
36:24It should be a challenge
36:25for the producers,
36:26the actors,
36:27and the directors
36:28to improve their local jobs
36:30so that these
36:32telenovelas will die.
36:34We need to overcome that
36:35or else,
36:36what will we say?
36:37We don't want that.
36:38What if it's better?
36:39It should be a challenge
36:40to us.
36:41We're upgrading.
36:43Okay.
36:44Message to the viewers.
36:46One by one,
36:47message in your favorite voice.
36:49There.
36:50But tell me who the actor is.
36:51So that at least,
36:52they know.
36:53There.
36:54They're thinking.
36:55All of them.
36:59Okay.
37:00Is this a sexy voice?
37:02I'm Elle
37:03from Men in Black.
37:04Okay.
37:05Men in Black.
37:06What do you want?
37:07The message.
37:08Message to the viewers.
37:09Merry Christmas
37:11and a Happy New Year.
37:13I'll play Maeve
37:14in Mystic Nights of Tirnanog.
37:17Hey, you.
37:18Hey, you.
37:20Watch Sis everyday
37:22or else,
37:23you'll lose to me.
37:26Like that.
37:30No.
37:31This is Tomboyish
37:32from Kara Susha.
37:36Oh, I suddenly disappeared.
37:37I suddenly disappeared.
37:40Here it is.
37:42Always watch
37:44the telenovelas I make.
37:45Or else,
37:46I'll punch you in the face.
37:49Thank you.
37:55Maybe,
37:59in Vault S5,
38:00Big Bird.
38:01Big Bird.
38:03Big Bird.
38:04Okay.
38:07So kids,
38:08always watch the animes.
38:10Don't be stingy with us.
38:12I'm still being air-rapped.
38:15Don't be stingy with us.
38:17Especially,
38:18take care of yourselves.
38:20Don't...
38:21That's it.
38:25My favorite character is
38:27Alfred from Ghostfighter.
38:29Because he's different.
38:31He's too hyper.
38:32I see.
38:33My message to them is this.
38:36If you really want real entertainment,
38:39watch animes.
38:40That's for sure.
38:41You won't get tired.
38:44For me,
38:45my favorite is Fujiko.
38:47Because she's sexy.
38:48I dream of being sexy.
38:49Yes.
38:51Anyway,
38:52my message is,
38:54to the viewers,
38:56don't forget us, Lupin.
38:59Every...
39:00What time is it now?
39:01Every 7 o'clock,
39:02here at Where You Belong.
39:04Because we are anime.
39:06Thank you.
39:08Thank you.
39:09Thank you for having us.
39:11Thank you.
39:12I'll be back, sis.
39:14Me too, I don't want to.
39:15It's hard.
39:16I don't want to.
39:17It hurts my head what they're doing.
39:19Yes, and again and again.
39:20It's like you need a lot of coffee.
39:22I don't want to moderate.
39:26Especially me.
39:27Yes, really.
39:28Isn't it?
39:29They're doing it so early.
39:31My voice is so high.
39:33Well,
39:34I really can't do it.
39:36But we really shouldn't be shy.
39:38Because we do not know also,
39:40we don't really know
39:42how hard it is what they're doing.
39:44How much work and effort
39:46they put in dubbing
39:48the telenovelas and anime.
39:51It's not a joke.
39:53That's why,
39:54let's watch the anime.
39:56Appreciate.
39:57Let's appreciate it.
39:58And enjoy it.
39:59But let's not forget
40:00that our own is also beautiful.
40:02Of course.
40:03We enjoy watching
40:04the Mexican telenovelas.
40:06But of course,
40:07we still watch the Filipino ones.
40:09Correct.
40:10So, I hope you enjoyed
40:12and we were really intrigued
40:13in our episode today.
40:15Yes, correct.
40:16And of course,
40:17in the next episode,
40:18it will be even more beautiful.
40:19Correct.
40:20I just want to thank
40:21FNH for my clothes.
40:23Okay,
40:24Uman for my clothes.
40:25London, Manila for my hair.
40:27Chloe for my eyewear,
40:28optical works.
40:29Bambi Fuentes for our hair and makeup.
40:32Wade for our shoes.
40:34And thank you very much.
40:35Thank you very much.
40:36Oh, Joel Mendez.
40:38Wayless Center.
40:39Okay.
40:40Bye!
41:08Dominic's Flowers,
41:09Kid Cakes,
41:10Party Details for our balloons,
41:12and Union Square.
41:38The name of the kid is...
41:41Sis?
41:42Do you know Torcuata?
41:46I love you so much.
41:48Why do you always stand like that?
41:50Huh?
41:51Huh?
41:52What?
41:53Do you lower it sometimes?
41:55Right?
41:56What are you talking about?
41:58I'm handsome, Torcuata.
42:00I'm not gay.
42:02Differentiate me.
42:04Merry Christmas
42:05and a Happy New Year.
42:07I always watch the telenovelas I make.
42:11To the viewers,
42:13don't forget us, Lupin, okay?
42:16Every...
42:17What time is it now?
42:18Every 7 o'clock,
42:19here at Where You Belong
42:21because we are anime.
42:23Thank you.
42:37You