Piolo Pascual on why the director shift in “Manila’s Finest” helped the film

The actor opens up about Rae Red’s exit, intense prep work, and preserving old Manila onscreen.

While Piolo Pascual is certain that director Rae Red would have done wonders for his latest film, “Manila’s Finest,” he believes everything unfolded exactly as it should. 

Rae exited the project even before principal photography, and her uncle—award-winning filmmaker Raymond Red, who was originally onboard as cinematographer—ultimately took over the director’s chair.

“I’d say it’s a blessing in disguise because a concept like this requires masculine sensibility,” Piolo told radar Entertainment during a set visit in Escolta.

He didn’t elaborate on Rae’s departure but noted that the film’s historical backdrop demanded a particular depth. “She’s still too young. Her understanding of the late ‘60s and Martial Law would be different. Even me, who was born in the late ‘70s and still had to research. So what more Rae, right?”

Prepping for Lt. Homer Magtibay

Piolo didn’t take the role lightly. “I really requested an acting workshop because the script is very specific,” he revealed. “Two days before the shoot, I was still working on ‘Meet, Greet & Bye.’ I was a mess. I had to do my homework.”

His late father became his emotional blueprint. “He was already in his 20s during the ‘60s, so I was trying to recall how he was as a person.” Aside from personal memory, Piolo binged on YouTube archives, documentaries, and vintage visuals. “I needed to see how Manila looked, how people moved, the language, the stance, and even the expressions.”

He also revisited his experience filming “Dekada ’70.” “I was young then. I watched how my mom, Vilma Santos, and Tito Boyet did it. That’s where I got my peg.”

To deepen authenticity, the squad—Piolo, Enrique Gil, Romnick Sarmenta, Ariel Rivera, and Joey Marquez—attended an acting workshop “so that we can be all closer. Our bonding was super. We had to build that rapport,” he said. They also spent a full day interviewing National Artist for Film Ricky Lee and a former Manila police officer. “From there, doon ako kumuha ng tips.”

Why the MMFF stake is high

For Piolo, securing a Metro Manila Film Festival slot isn’t just prestige—it’s part of keeping the industry alive. “People only really go to cinemas during festivals and during Christmas, unfortunately. But we’ll never give up. We’ll do everything to save Philippine cinema.”

Despite spending another holiday season working, he didn’t think twice. “It’s hard to pass up a concept like this. Maganda ‘yong production, maganda ang cast—so best foot forward.”

Piolo describes Raymond as initially reserved but a force once the cameras roll. “He’s very detailed. He was supposed to handle lighting, but when he became director, he handled everything. Hands-on, very humble, very collaborative. Nakakatuwa.”

The character

Piolo plays Lt. Homer Magtibay—a respected, principled cop who also grapples with moral complexity. “He’s a good cop—that’s why they’re called Manila’s Finest—but there’s also a darker side to the story. They’re human. He has kids from two relationships and just wants to provide.”

Tension eventually builds between Manila’s Finest and the Philippine Constabulary. “That’s where the story revolves—the cusp of Martial Law. We’re Manila’s Finest because we’re honest and trustworthy. People revered us.”

He also celebrated co-star Rica Peralejo’s on-screen return. “She said she missed it. I told her, ‘Babalik ka na?’ Once you enjoy the craft, you’ll always go back to your first love.”

The producer role and experience

Piolo confirmed that he is a line producer under Spring Films and Cornerstone Entertainment, with MQuest Films as a coproducer. “When Rae left, we took over.” He leaves logistics to the team but owns the post-production grind. “That’s the actual product.”

What excites him most is the visual world they’re recreating. “Direk Raymond transforms the entire street. When I saw the Post Office as our backdrop, I thought, ‘wow!’ You’ll really see the old glory of Manila.”

“We just want to come up with a beautiful film—and hopefully, it transcends,” he said.