In the Director's Chair: Arcade Film Factory's Richard Ang

​m25, the global premium network, as part of its series on today's production and business leaders, spoke with network partner and co-founder Richard Ang from the award-winning Arcade Film Factory in Manila. In an age of growing AI influence in creative fields, understanding the journeys of today's leaders is crucial for inspiring the next generation of filmmakers and entrepreneurs. Richards's story as one of the founders of Arcade Film factory offers insights into how dedication, innovation, vision and a bit of luck built this successful Manila-based production house.

It all began back in the '90s when I was an architecture student, one of the first in my class to use computers with AutoCAD. I found a passion in creating 3D renderings for houses, and my early clients were architects and real estate developers who needed animations and walkthroughs. In those days, I didn’t quite know the business side. I'd work on revisions for free, sometimes for years. It burned me out quickly, even though I did get the opportunity to work with Autodesk, supplying models for newer versions of 3D Studio MAX and 3D Studio VIZ.

Then came a turning point. A friend asked if I could create CG animations for a shampoo bottle. I wrapped up the project in less than a week and earned about four times my usual rate. Back then, CG was so new that I simply followed the money, and that success set me on a new path.

There was also a pivotal moment when I was tasked with an animated TV commercial, albeit on a tiny budget. I ended up being credited as the director, and that opened the door for more directing opportunities. At this point, I knew that knowing CG wasn’t going to be enough if I wanted a career in directing. So I took a filmmaking course in UCLA. Around that time, I was also hired by a large gaming studio in the States and worked on small CG jobs for Hollywood films. Ultimately, I found myself at a crossroads and made the decision to stay in Manila.

In Manila, I worked for major networks like ABS-CBN and GMA, dabbling in sitcoms and teleseryes. But I truly found my stride when directing station IDs. Those seasonal, music video like projects to promote the network’s biggest stars were pure creative joy.

Naturally, I gravitated toward advertising. Over the years, I directed in-house for various production companies, steadily building relationships. It was during this phase that my friend Jeorge and I started talking about launching our own production house. With colleagues like Mike, Nick, and Marius joining us, we founded Arcade. And then the pandemic hit and I thought our journey might come to an abrupt halt. Instead, we hit the ground running, and the work just kept on coming.

What inspired me from the start was my deep love for storytelling, a passion that dates back to my childhood. I grew up listening to the fascinating folklore my uncle shared when I stayed at their house in Dasol, Pangasinan. Tales of superstitions and of monsters, ghosts and fairies sparked my imagination early on. In grade school, while my classmates fuelled their imaginations with Marvel comics, I began drawing and writing my own comics, even selling photocopies at school. That creative fire was destined to shape my career.

I’ll never forget my math teacher’s words when I was struggling: 'Don’t worry, I’m sure you’re very good at other things.' Her encouragement, along with the support from mentors like the person who urged me to animate that shampoo bottle, friends who blazed the trail before me, and bosses who believed in me kept me pushing forward.

Establishing Arcade wasn’t without challenges. Launching a company right before a global pandemic was daunting, and building the right team was critical. Many of us came from different production houses, and we were determined to create a culture that embodied all the best parts of those environments: fun, youthful, and inclusive. Seeing our team thrive and enjoy their work every day has been incredibly rewarding.

One project that truly stands out is a Cadbury commercial we shot during the pandemic. We had planned to shoot in an LRT train, but when the line shut down, we built a replica of the train interior in a studio. With strict COVID protocols and wearing PPE hazmat suits, the experience was surreal yet a testament to our resilience and creativity.

I entered the industry just as film was transitioning into digital. Back then, the high cost of film meant mistakes were expensive, demanding careful planning and pre-visualisation. Today, filmmaking is more accessible, with cutting-edge technology like motion control, tracking systems, energy-efficient LEDs, and affordable high-speed cameras. However, this accessibility sometimes means a compromise on a unified vision, overshooting and then ‘finding the film’ in editing. Yet, the potential is enormous, and the tools at our disposal are incredible.

Looking ahead to 2025, the evolution of AI in the production pipeline is both exciting and challenging. AI is making parts of production faster and more accessible, which could flood the market with low-budget, low-effort content. I believe there will be a renewed demand for beautifully crafted, emotionally resonant work. The most successful creators will be those who enhance human storytelling with AI rather than letting it replace the creative process.

This is my journey from a young architecture student experimenting with computer graphics to becoming a director who built a powerhouse production studio. Every challenge, every pivot, has prepared me for today. I'm grateful for every opportunity, and I'm excited about what the future holds for storytelling in the Philippines and beyond.

Thank you for joining me on this journey."