Lester Pimentel Ong’s formula for a hit: a good script, smart shots, and a lot of heart

The action director talks streaming, storytelling, and staying sharp in the fight for Filipino action’s global comeback.

Fresh from the back-to-back success of his action TV series “Incognito” and “The Iron Heart,” director Lester Pimentel Ong is shifting gears with another adrenaline-charged project—the straight-to-streaming action-drama “The Delivery Rider.”

Expected to deliver the same pulse-pounding storytelling and audience draw that have made him one of Philippine television’s most in-demand action directors, Ong sat down with Radar Entertainment to share his insights on creating hits, both on TV and in film.

On making ‘The Delivery Rider’ for streaming

Lester Pimentel Ong:
When we created this film, we really wanted it to go straight to streaming. My mindset was to set modest goals and achieve them well—rather than dream too big and fall short. Times have changed; the industry has changed. You have to dance to the tune of the times.

Streaming guarantees a few important things: you get your money back, people get paid, and your film actually gets seen. That’s what matters most to me as a filmmaker—that everyone has work and that there’s an audience for what you make. Because no matter how good a film is, if nobody watches it, sayang.

Of course, we also have bigger goals. Someday, we want to create a film that gets released internationally—a Filipino action movie that earns, connects, and pushes our local films closer to the global stage.

On what makes a successful TV series

radar Entertainment:
You just came from two successful TV series, and now you’ve got a film. For filmmakers who look up to you, what’s the secret to a hit? What are the most important elements of a successful series like “Incognito”?

Ong:
Number one: a good script. You need a solid, unique story. “Incognito” was written by Henry Quitain and Jay Fernando—they delivered a great script.

Number two: it’s how you tell that story. Sometimes a script reads well, but if you don’t present it right, it can still come out boring.

radar:
Can you describe how you told the story of “Incognito”?

Ong:
Even though “Incognito” is a series, we shot it like a film. That’s very different from how TV used to be made. Before, a teleserye’s main purpose was to fill airtime. People would watch it at home while eating dinner or doing chores—it was background entertainment. That’s why older shows were mostly close-ups and fast-paced dialogue. As long as the story was intriguing, it worked.

But you can’t do that anymore. On streaming, people can rewatch episodes over and over. If your work looks sloppy, they’ll see it again and again.

radar:
Okay, so there’s the script and the way you shoot it. What else matters?

Ong:
Technically, your show now has to compete with international content. It’s just one thumbnail away from a Hollywood or Korean series.

Before, in prime time, your options were only ABS-CBN or GMA7. Now, for the same ₱200 monthly subscription, viewers can choose anything—Hollywood, Korean, or Filipino. If they don’t like your show’s first five minutes, lipat na sila. That’s terrifying, because the investment is huge.

Streaming platforms track everything—metrics are accurate. So you really have to compete, even if we can’t match their budgets. There are other ways to compete: storytelling, creativity, and heart.

On shifting from series to film

radar:
Let’s talk about films. The format is different, but do the same rules apply?

Ong:
Film is another beast. You only have around 90 to 100 minutes to tell your story, so your storytelling has to be tight.

For example, in a series, you have multiple episodes to build a father-son relationship. In a film, you have maybe two or three short scenes—five to six minutes total—to establish that bond. Everything on screen has to work for you: dialogue, gestures, set design, even the way they hold hands or look at each other.

That’s the adjustment from series to film—everything must be concise and meaningful.

A good film needs to be well-planned and disciplined. You stick to the schedule, hit your daily goals, and follow the plan. Creative ideas are great, but discipline brings them to life.

On film distribution

radar:
Lastly, what about film distribution? Any advice for new producers?

Ong:
Honestly, I’m still learning. I know how to make films and series, but distribution is a different skill set altogether. It’s its own world, with its own network. For new filmmakers like me, that’s the hard part. So, for now—I go straight to Netflix. Gano’n muna.

“The Delivery Rider” starts streaming on Netflix on Oct. 23. It also features. Baron Geisler, Jake Cuenca, Euwenn Mikaell, Jennica Garcia, JC Alcantara, Malou de Guzman, Christian Vasquez, Joem Bascon, Richard Quan, Soliman Cruz, Robbie Wachtel, and Chastity Dizon.

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