Joji Alonso: Mastering film production with vision and purpose

Josabeth “Joji” Alonso, the powerhouse producer behind Quantum Films, shares her insights on bringing the horror film Espantaho to life, which is competing in this year’s Metro Manila Film Festival and opens on 25 December.

In this candid interview, she shares insights into the challenges of overseeing intense scenes, her work with the incomparable Judy Ann Santos, and her personal journey in the industry.

From unexpected moments on set to her emotional connections with past projects, Alonso reflects on the highs and lows of producing films that leave a lasting impact. Through it all, her unwavering dedication to creating films with strong narratives and social relevance remains at the heart of her work.

DAILY TRIBUNE (dt): So, what would you say was the toughest scene for you to oversee in Espantaho from a production standpoint?

JOJI ALONSO (JA): The death scenes were definitely the hardest. Direk Chito’s attention to detail is incredible, especially for those key moments. His coverage is literally 360 degrees, so we spent a lot of time on blocking and shooting those. One death scene took a full three days to shoot.

DT: Working with Judy Ann Santos must’ve been an unforgettable experience. Can you share a standout moment on set with her? What makes her such a pro?

JA: Judy Ann’s generosity is something else. She’s so respectful of everyone’s time, always comes prepared, and when she performs, it’s always a tour de force. She rarely needs a second take, and when she does, she gives a completely fresh delivery. And, she’s the best when it comes to sharing food — once, she even paid for the fishball cart so the cast and crew could order whatever they wanted, free of charge!

DT: As a producer, what part of bringing Espantaho to life was the most rewarding?

JA: Espantaho started as a simple horror film, but as we went along, Direk Chito’s touch really brought it to life in unexpected ways. His direction added elements that made it creepier. Plus, having such talented actors made everything smooth. One actor mentioned how it was so different working with veterans compared to younger stars, where everything feels more coached. That’s the beauty of experience.

DT: Have you ever had a film pitch that was so out there, it made you laugh?

JA: The material being too bizarre, yes. But I didn’t laugh. I felt bad that the filmmaker actually thought that someone would throw away money to produce such a material.

DT: What’s the most unexpected item you’ve had to find for a production?

JA: A bonsai plant. It was for my first narrative film with the late Ishmael Bernal. There were no instructions for it, but he wanted the bonsai to symbolize the character’s stunted growth. It was for Karugtong ng Bukas, starring Aga Muhlach and Pinky de Leon.

DT: Is there a film you’ve produced that always hits you in the feels?

JA: Kubrador. That one scene where Gina Pareño walks away after a child is shot instead of her — it still gets to me. It really mirrors the struggles of the character. It’s one of those moments where you can’t help but wonder, would it have been better if she were the one who got hit, just to end her suffering?

DT: When one of your films becomes a huge success, how do you celebrate?

JA: We throw a thanksgiving party, and then we give envelopes to the whole team to thank them. If the film does exceptionally well, even the service drivers get a share of the blessings.

DT: What’s that one film you’ve watched over and over again, and why?

JA: The Shawshank Redemption. I love how it shows how justice can be twisted and how a person seeks revenge and freedom, even if it’s in a questionable way. I love the bond that the characters of Tim Robbins and Morgan Freeman developed, coming from very different walks of life. And how, in the end, the friendship was given a chance to grow even further.

DT: Has being a grandmother changed how you approach the films you choose to produce?

JA: Yes and no. I always want my grandkids to be proud of what I do. But no, I don’t let my family interfere with my creative decisions —that’s strictly between me, the director, writer, and producer. Becoming a grandmother hasn’t changed anything; I still produce films that deliver a strong message, whether it’s social realism, family values, or political themes.

DT: From the initial idea to the big premiere, what part of producing do you find the most exciting?

JA: It’s definitely the gala night. Watching the film on the big screen with an audience, especially strangers, and seeing how they react — that’s when you know if your work is hitting the mark. It’s also the moment where you can sense the potential for box office success or awards.

DT: Is there a genre you haven’t explored yet but would love to?

JA: I’ve done drama, comedy and horror, but I’ve always wanted to tackle hardcore action films. They’re just so expensive to produce, so it’s probably never going to happen for me.

DT: What’s one thing about you that most people would be surprised to know?

JA: People always think of me as a nerd, but I actually know more inside stories about showbiz than most people in the industry. To de-stress, I love watching action movies and violent scenes on streaming or in the theater.

DT: Looking back at your journey as a producer, what pivotal moments shaped who you are today?

JA: It’s been a rollercoaster. Losing my mother at 15 was one of the hardest things, but it also motivated me to work even harder to make her proud. Then, having a son at 19 was another turning point. It pushed me to finish school and even go to law school so I could provide for him. Both experiences shaped my drive and determination.