I have been busy writing these past weeks. So much so I haven't had the time to update my blog. Not much has happened since my last posting. Watched a few movies - Merantau and Ju On White Ghost Black Ghost and Imaginarium of Dr Parnassus. Enjoyed the latter very much. Merantau was fun too. Ju On's creators on the other hand seem like they want to out-Tarantino Quentin himself.
However, there were of course non film events that caught my attention - the sad Church bombings on our homeland. The deadly earthquake in Haiti.
Not a good start to the new year isn't it?
Anyway, I am thinking of writing a piece about the Malays - from my own perspective. Why? I don't know. Just need to I guess.
I am no anthropologist, so I might not sound like much of an authority on this. My justification for writing this forthcoming piece is that I am a Malay, and am damn proud of it. Proud of being a Malay however does not make me a racist nor a bigot. Being defensive of my roots, culture and race, also does not make me one.
However, I really need to get some things of my chest. I may ramble a bit, sound crazy and chauvinistic, but nevertheless I hope I make sense. I welcome feedback. I welcome debate.
I will leave you with this statement - Malays are a disappearing breed. And we, the Malays, are letting it happen.
Saturday, January 16, 2010
Monday, January 4, 2010
AKU TUMPANG GLAMOR BAPAK AKU?
On Facebook, there's a group called FDAM - Film Directors' Association Malaysia, that has been the battleground for various groups and individuals prior and after the recent Annual General Meeting held on the last day of 2009. Everyone was taking potshots at everyone. I plead guilty too. Harsh words were exchanged, some bordering on libel but all is fair in love and war.
I have been having a running battle with the President of PROFIMA Encik Khir Mohd Noor. But let's leave this relationship out of the picture, because apart from name calling, there's nothing much to be said. He knows who I am, and I know who he is.
Out of the blue, there's this guy who used the pseudonym Bujang Senang, who entered the fray and posted this statement:
I have been having a running battle with the President of PROFIMA Encik Khir Mohd Noor. But let's leave this relationship out of the picture, because apart from name calling, there's nothing much to be said. He knows who I am, and I know who he is.
Out of the blue, there's this guy who used the pseudonym Bujang Senang, who entered the fray and posted this statement:
Sunday, January 3, 2010
NEW YEAR, NEW IDEAS, NEW HOPES, OLD WORRIES.
I'm not one to hide my ideas when it comes to me. I love to tell others about it, no matter how raw or how polished the ideas are. For example, I am excited about developing a Suatu Ketika project with Astro - one based on the Selangor Civil Wars of 1867-1874. So most of my friends know about it - because to me film making is a concerted effort of talented invididuals - the producer, the writer, the director, the cinematographer, the art director, the costumers, the music director, the editor and the actors.
And everyone who takes part in it should be excited about it, about being in it and contributing to its success. It is not about WORK. It is about passion.
Whilst I am looking for to 1870, if and when it happens, I am also looking forward to translating Tan Sri Herman Luping's novel Pangazou into a TV series.
I bought his book in some small bookstore some time ago, and was lucky to have interviewed him for my documentary of the creation of Malaysia. During the interview I asked him about the novel and whether he had envisioned it as a movie. To my surprise, he said he had already received and paid for two attempts at turning it into a feature film. It seems he was so excited at the prospect then that he had spent money to build a long house as a set for the movie.
Unfortunately, both attempts didn't come to fruition and he actually had the long house torn down.
I was sad and disappointed to hear him say that, as I found the novel an interesting insight into Kadazan culture and folklore. So, out of the blue, I asked if he would allow me to option it into a TV series for RTM. Instead of a feature film.
I believe that the Malaysian public would really like to see Pangazou - not as a feature film but as a long TV series, because even though the novel is short, it had many ideas that can be developed further and be made into at least 26 one hour episodes.
The story is about two brothers journey into manhood - Bihangan and Somboi Dansip - and how they achieved the status of Pangazou - warriors. It was an ideal story about a hero's journey - a writing concept and philosophy 'invented' by Joseph Campbell - that is based on an aspect of Malaysia a few have witnessed or knew about.
So when he agreed, I quickly developed the novel into a TV series for RTM and proposed it officially during its last pitching session in September last year.
I was hoping that YB Dato Seri Utama Rais Yatim, as the Minister of Information and Culture, would somehow hear of the proposal and because his ministry has been harping about the lack of dramatic programmes on RTM about Sabah and Sarawak may find this proposal interesting.
Furthermore, it is based on a novel by tan Sri Herman Luping, a much respected senior politican of Sabah politics and once its Deputy Chief Minister.
It is now 2010. And there is no word yet of whether they found the proposal acceptable or not.
Tan Sri Herman is still optimistic. So am I. So both of us wait and wait until RTM realise that it has a very different and interesting drama series on their hand. A series, when done well, has potential to be sold overseas and also promote Sabah as a tourist attraction.
So we wait and wait.
Meanwhile, I am creating a new sitcom called Melaka FM 1400. About the first entertainment initiative in Melaka in the year 1400. Its like WKRP in Cincinnati meets Melaka history.
FM stands for Fasal Melaka and the 1400 is of course the year. It's at first a live news service which was developed by its manager Belalang into a full blown entertainment programme with news, music and commercials.
I plan to add in some zany homour, the kind I had in my Gado Gado comedy series way back in the early 90s. However, such ideas will stay just ideas, until some TV executive finds this idea and proposal exciting and interesting.
So, let's see what the new year heralds in.
And everyone who takes part in it should be excited about it, about being in it and contributing to its success. It is not about WORK. It is about passion.
Whilst I am looking for to 1870, if and when it happens, I am also looking forward to translating Tan Sri Herman Luping's novel Pangazou into a TV series.
I bought his book in some small bookstore some time ago, and was lucky to have interviewed him for my documentary of the creation of Malaysia. During the interview I asked him about the novel and whether he had envisioned it as a movie. To my surprise, he said he had already received and paid for two attempts at turning it into a feature film. It seems he was so excited at the prospect then that he had spent money to build a long house as a set for the movie.
Unfortunately, both attempts didn't come to fruition and he actually had the long house torn down.
I was sad and disappointed to hear him say that, as I found the novel an interesting insight into Kadazan culture and folklore. So, out of the blue, I asked if he would allow me to option it into a TV series for RTM. Instead of a feature film.
I believe that the Malaysian public would really like to see Pangazou - not as a feature film but as a long TV series, because even though the novel is short, it had many ideas that can be developed further and be made into at least 26 one hour episodes.
The story is about two brothers journey into manhood - Bihangan and Somboi Dansip - and how they achieved the status of Pangazou - warriors. It was an ideal story about a hero's journey - a writing concept and philosophy 'invented' by Joseph Campbell - that is based on an aspect of Malaysia a few have witnessed or knew about.
So when he agreed, I quickly developed the novel into a TV series for RTM and proposed it officially during its last pitching session in September last year.
I was hoping that YB Dato Seri Utama Rais Yatim, as the Minister of Information and Culture, would somehow hear of the proposal and because his ministry has been harping about the lack of dramatic programmes on RTM about Sabah and Sarawak may find this proposal interesting.
Furthermore, it is based on a novel by tan Sri Herman Luping, a much respected senior politican of Sabah politics and once its Deputy Chief Minister.
It is now 2010. And there is no word yet of whether they found the proposal acceptable or not.
Tan Sri Herman is still optimistic. So am I. So both of us wait and wait until RTM realise that it has a very different and interesting drama series on their hand. A series, when done well, has potential to be sold overseas and also promote Sabah as a tourist attraction.
So we wait and wait.
Meanwhile, I am creating a new sitcom called Melaka FM 1400. About the first entertainment initiative in Melaka in the year 1400. Its like WKRP in Cincinnati meets Melaka history.
FM stands for Fasal Melaka and the 1400 is of course the year. It's at first a live news service which was developed by its manager Belalang into a full blown entertainment programme with news, music and commercials.
I plan to add in some zany homour, the kind I had in my Gado Gado comedy series way back in the early 90s. However, such ideas will stay just ideas, until some TV executive finds this idea and proposal exciting and interesting.
So, let's see what the new year heralds in.
Sunday, December 27, 2009
FADE OUT 2009: FADE IN 2010
Another year comes to an end.
2009 will become another calendar thrown into the dustbins of history.
For most producers, 2009 was a year to forget. Another annus horriblis.
It was the year that RTM pursued its flawed pitching/tender policies which destroyed many independent producers who suddenly found themselves with possible billings of less than a quarter million for the year. They floundered, they closed shop. Yet, companies like Gamma Taktik flourished whilst quality producers died by the wayside. And there seem to be no respite.
A few months back, another pitching session was called by RTM. Apart from the few Chinese New Year programmes that were offered to Chinese producers, Malay producers enter the new year wondering when they will get the call from RTM. Wondering if any of their ideas or proposals will be lucky enough to be accepted by RTM.
However, some producers were lucky as they can approach Astro and TV3. But these are far and few as each station has their own commissioning system and policies.
TV3's Primeworks, however, is aiming to become the country's number one content developer and this will be in direct competition with independant producers who do not have the financial and logistical clout that Primeworks (which has production company Grand Brilliance in their panel) has.
Astro is the best bet for innovative and creative producers.
Now with the new Malay channels, Astro is seeking to produce top quality content for local viewers. Their intent is clearly shown when they commissioned high quality mini-series from local producers for their Suatu Ketika slot. These 8-hour miniseries has been a boon to producers who have been lamenting with the miniscule budgets that other station offers.
Whilst not all producers are offered the chance to produce Suatu Ketika titles, those who have been given the opportunity eagerly went to produce some of the best local TV productions ever seen in recent years. This include titles like Rosly Dhobi, 10, Senoi Praaq and Korban 44.
There is talk that the project will be continued and that factual based stories like Botak Chin, Sybil Kartigesu, Tun Fatimah and the Selangor Civil War of 1870 will be produced by various invited producers and directors.
This bodes well for producers and directors with vision.
Meanwhile, in the feature film scene, not many memorable movies were produced and screened these year. Just trying to remember some of the titles that made it to the cinema would be a tough enough task. For those who can remember the following are some of the titles screened in 2009.
Scenario The Movie, Tsifu Tonga, Jin Notti, Jalang, Geng, Talentime, Papadom, Jangan Tegur, Bohsia, Sayang, My Spy, Wayang, Jin Hutan, Rasukan Ablasa, Maut, Santau, Lembing Awang Pulang ke Dayang, Sell Out, Karaoke, Sayang You Can Dance, Syurga Cinta, Skrip 7707, Setem, Jangan pandang Belakang Congkak, Pisau Cukur, Momok The Movie, Pulau Asmara and Muallaf.
Lowest box office performer goes to Pulau Asmara which according to FINAS website only garnered RM20,000 after one week's screening. Not sure if it could overtake Lembing Awang's RM90,000 box office take.
Biggest earner was of course the animated Geng which took in a whopping RM6.2 million beating the surprisingly popular Jangan Pandang Belakang Congkak which raked in RM6.1 million. However, the latter was more profitable since it only cost about RM1.5 million to produce unlike Geng which costs RM4 million. If these figures (acquired from FINAS's website) are true, it means Geng did not make a profit because the cinemas' take of 50% of total box office would have made its gross profit at only RM3.1 million which means that it is still RM900,000 in the black.
What is in store for 2010? More of the same unfortunately. Here are some of the titles lilsted:
Misteri Dendam Balan-balan, Estet, Shhhh Dia Datang, Janin, Eeeee Hantu, Kantoi, Duhai Si Pari Pari, Gentayangan, Lu Fikirlah Sendiri De Movie, Kapoww!!! Sereemmm! Jibam The Movie, Kecoh Betui and Syirik.
Sad isn't it? Any particular titles that catches your attention or fancy? Any of the above titles that cries out : Yes This Is The Movie That Malaysians Can Be Proud Of? Nope. None.
So I guess the mediocrity of 2009 will definitely flow into 2010 where we will be fed with more jaded horror movies and slapstick comedy. Imagine - most of the movies listed above were approved by FINAS and SME under the film loan scheme. As it is, there was a big hoohah over failed servicing of the loans on titles that failed at the box office. I guess more titles will join the queue of movies not getting enough at the box office to pay back the FINAS loans.
Once again, just by looking at most of the titles, how in the hell did these titles get approved and received loans by FINAS? Jibam The Movie? Kantoi? Kecuh Betui?
Maybe I should submit a comedy skrip called FINAS the Movie....maybe by just telling the nation the whole truth about FINAS, it'll be the comedy film of the year. Yes, true, actual fact is stranger and funnier than fiction.
2009 will become another calendar thrown into the dustbins of history.
For most producers, 2009 was a year to forget. Another annus horriblis.
It was the year that RTM pursued its flawed pitching/tender policies which destroyed many independent producers who suddenly found themselves with possible billings of less than a quarter million for the year. They floundered, they closed shop. Yet, companies like Gamma Taktik flourished whilst quality producers died by the wayside. And there seem to be no respite.
A few months back, another pitching session was called by RTM. Apart from the few Chinese New Year programmes that were offered to Chinese producers, Malay producers enter the new year wondering when they will get the call from RTM. Wondering if any of their ideas or proposals will be lucky enough to be accepted by RTM.
However, some producers were lucky as they can approach Astro and TV3. But these are far and few as each station has their own commissioning system and policies.
TV3's Primeworks, however, is aiming to become the country's number one content developer and this will be in direct competition with independant producers who do not have the financial and logistical clout that Primeworks (which has production company Grand Brilliance in their panel) has.
Astro is the best bet for innovative and creative producers.
Now with the new Malay channels, Astro is seeking to produce top quality content for local viewers. Their intent is clearly shown when they commissioned high quality mini-series from local producers for their Suatu Ketika slot. These 8-hour miniseries has been a boon to producers who have been lamenting with the miniscule budgets that other station offers.
Whilst not all producers are offered the chance to produce Suatu Ketika titles, those who have been given the opportunity eagerly went to produce some of the best local TV productions ever seen in recent years. This include titles like Rosly Dhobi, 10, Senoi Praaq and Korban 44.
There is talk that the project will be continued and that factual based stories like Botak Chin, Sybil Kartigesu, Tun Fatimah and the Selangor Civil War of 1870 will be produced by various invited producers and directors.
This bodes well for producers and directors with vision.
Meanwhile, in the feature film scene, not many memorable movies were produced and screened these year. Just trying to remember some of the titles that made it to the cinema would be a tough enough task. For those who can remember the following are some of the titles screened in 2009.
Scenario The Movie, Tsifu Tonga, Jin Notti, Jalang, Geng, Talentime, Papadom, Jangan Tegur, Bohsia, Sayang, My Spy, Wayang, Jin Hutan, Rasukan Ablasa, Maut, Santau, Lembing Awang Pulang ke Dayang, Sell Out, Karaoke, Sayang You Can Dance, Syurga Cinta, Skrip 7707, Setem, Jangan pandang Belakang Congkak, Pisau Cukur, Momok The Movie, Pulau Asmara and Muallaf.
Lowest box office performer goes to Pulau Asmara which according to FINAS website only garnered RM20,000 after one week's screening. Not sure if it could overtake Lembing Awang's RM90,000 box office take.
Biggest earner was of course the animated Geng which took in a whopping RM6.2 million beating the surprisingly popular Jangan Pandang Belakang Congkak which raked in RM6.1 million. However, the latter was more profitable since it only cost about RM1.5 million to produce unlike Geng which costs RM4 million. If these figures (acquired from FINAS's website) are true, it means Geng did not make a profit because the cinemas' take of 50% of total box office would have made its gross profit at only RM3.1 million which means that it is still RM900,000 in the black.
What is in store for 2010? More of the same unfortunately. Here are some of the titles lilsted:
Misteri Dendam Balan-balan, Estet, Shhhh Dia Datang, Janin, Eeeee Hantu, Kantoi, Duhai Si Pari Pari, Gentayangan, Lu Fikirlah Sendiri De Movie, Kapoww!!! Sereemmm! Jibam The Movie, Kecoh Betui and Syirik.
Sad isn't it? Any particular titles that catches your attention or fancy? Any of the above titles that cries out : Yes This Is The Movie That Malaysians Can Be Proud Of? Nope. None.
So I guess the mediocrity of 2009 will definitely flow into 2010 where we will be fed with more jaded horror movies and slapstick comedy. Imagine - most of the movies listed above were approved by FINAS and SME under the film loan scheme. As it is, there was a big hoohah over failed servicing of the loans on titles that failed at the box office. I guess more titles will join the queue of movies not getting enough at the box office to pay back the FINAS loans.
Once again, just by looking at most of the titles, how in the hell did these titles get approved and received loans by FINAS? Jibam The Movie? Kantoi? Kecuh Betui?
Maybe I should submit a comedy skrip called FINAS the Movie....maybe by just telling the nation the whole truth about FINAS, it'll be the comedy film of the year. Yes, true, actual fact is stranger and funnier than fiction.
Friday, December 25, 2009
FOOL'S GOLD - MAT VS MAMAT
The unprecedented clamor to covet the post of the President of the Malaysian Film Directors' Association (FDAM) is mind boggling to say the least.
The Association, which is the only association in the country that has as its members Malaysian film directors (including TV directors), will be having their Annual General Meeting this coming 30th December. This is after suddenly postponing (three days before) the previously announced date which was 20th December.
Most members who had cleared their schedules for the 20th of December suddenly find themselves not being able to attend the 30th December AGM. Those not able to change their plans and attend the AGM include Afdlin Shauki and Hans Isaac.
It is estimated at least 20 people who are supporting one particular opposing candidate will not be able to attend on the 30th.
In one fell blow, incumbent president Ahmad Ibrahim or more popularly known as Mat London, improved his chances of yet securing another victory as the association's president.
There seem to be no real challenge to Mat London's leadership, except maybe from Mamat Khalid, director of Kala Malam Bulan Mengambang and the upcoming Estet, who has announced that he will be offering his services as FDAM President at the AGM.
Whilst Mamat is trying to get his act together, rounding up the support of some impressive members in the industry, Mat London has been securing endorsements from his own fan base quietly and without much fanfare.
What is sad to me is that the members of the association, who are film and tv directors, who claim to be intellectuals and thinkers, can't seem to realise that the association has not been functioning like it should or could be.
Most too seem to be oblivious about the lack of proper management of their own association. The members' lack of understanding of the association's constitution and the rules and regulations of running as association under the Registrar of Societies Act is also disconcerting.
Such a core understanding of what an association should be, has led to what FDAM is today, a shadow of what it once hoped to be and the laughing stock of the industry.
Why? Well, for one, for an association of so-called elite filmmakers, it currently uses for their office an old container offered to them by FINAS.
Instead of rejecting the offer, FDAM has made it their office for the past 8 years. This is the image of the association if outsiders come to visit FDAM.
With the RM30,000 grant the association receive from FINAS annually, they could have done better by getting or renting a better address and space for its members to call 'home away from home'. So, it will be interesting to check the association's accounts and balance sheet to see where that RM30,000 went to.
However, what FDAM has also failed to do, under the current regime, is to set a path to make its members a respectable lot. As supposed leaders in the film industry, FDAM's voice is hardly heard nor considered eloquent or relevant.
The current leaders tenure is nearing its end, and I think it is a travesty if the members allow them to be re-elected once again.
Then again, those who should lead the community of directors don't seem to want to challenge Mat London and Co.
The members are in a messy quagmire and it will be interesting to see how they vote come next weekend.
I feel, and I hope to be proven wrong, that come this 30th December, members of FDAM will once again vote for mediocrity and self-mutilation by voting in again the incumbents.
The Association, which is the only association in the country that has as its members Malaysian film directors (including TV directors), will be having their Annual General Meeting this coming 30th December. This is after suddenly postponing (three days before) the previously announced date which was 20th December.
Most members who had cleared their schedules for the 20th of December suddenly find themselves not being able to attend the 30th December AGM. Those not able to change their plans and attend the AGM include Afdlin Shauki and Hans Isaac.
It is estimated at least 20 people who are supporting one particular opposing candidate will not be able to attend on the 30th.
In one fell blow, incumbent president Ahmad Ibrahim or more popularly known as Mat London, improved his chances of yet securing another victory as the association's president.
There seem to be no real challenge to Mat London's leadership, except maybe from Mamat Khalid, director of Kala Malam Bulan Mengambang and the upcoming Estet, who has announced that he will be offering his services as FDAM President at the AGM.
Whilst Mamat is trying to get his act together, rounding up the support of some impressive members in the industry, Mat London has been securing endorsements from his own fan base quietly and without much fanfare.
What is sad to me is that the members of the association, who are film and tv directors, who claim to be intellectuals and thinkers, can't seem to realise that the association has not been functioning like it should or could be.
Most too seem to be oblivious about the lack of proper management of their own association. The members' lack of understanding of the association's constitution and the rules and regulations of running as association under the Registrar of Societies Act is also disconcerting.
Such a core understanding of what an association should be, has led to what FDAM is today, a shadow of what it once hoped to be and the laughing stock of the industry.
Why? Well, for one, for an association of so-called elite filmmakers, it currently uses for their office an old container offered to them by FINAS.
Instead of rejecting the offer, FDAM has made it their office for the past 8 years. This is the image of the association if outsiders come to visit FDAM.
With the RM30,000 grant the association receive from FINAS annually, they could have done better by getting or renting a better address and space for its members to call 'home away from home'. So, it will be interesting to check the association's accounts and balance sheet to see where that RM30,000 went to.
However, what FDAM has also failed to do, under the current regime, is to set a path to make its members a respectable lot. As supposed leaders in the film industry, FDAM's voice is hardly heard nor considered eloquent or relevant.
The current leaders tenure is nearing its end, and I think it is a travesty if the members allow them to be re-elected once again.
Then again, those who should lead the community of directors don't seem to want to challenge Mat London and Co.
The members are in a messy quagmire and it will be interesting to see how they vote come next weekend.
I feel, and I hope to be proven wrong, that come this 30th December, members of FDAM will once again vote for mediocrity and self-mutilation by voting in again the incumbents.
Sunday, December 13, 2009
ASIA-PACIFIC FILM FESTIVAL COMES BACK FROM THE DEAD
Come 17th December, Kaohsiung Taiwan, will host the 53rd Asia-Pacific Film Festival. This is a surprise as most people have already thought the the festival had died an untimely death.
Only five years ago, the 50th APFF was held in Kuala Lumpur. The year after, the 51st edition was held in Taipei.
Hong Kong was supposed to host the 52nd edition but due to the global recession, the festival was cancelled. The next host - Jakarta, in 2008, also decided against organising it.
After two years of cancellations, most people in the industry have already assumed that the festival, the oldest film festival in Asia, had run its course.
However, Taiwan seemed to want to revive this festival, and next week, it will welcome one of the smallest numbers of entries ever recorded for the festival.
Malaysia is sending three films - Afdlin Shauki's Papadom, Hatta Azad Khan's Wayang and Yasmin Ahmad's Talentime.
Selection criteria? Papadom was best film at the recent Malaysian Film Festival held in Sabah. Talentime won best director plaudits for the late Yasmin. And somehow, Wayang, which did not many awards at the recent Malaysian Film Festival, received accolades as the Best Film in TV3's annual Skrin Awards.
Not many Malaysian filmmakers will make the trip to Taiwan next week. Most in the industry knew nothing about the festival (until today's newspaper article in Berita Harian), but those who were informed realised that unless their producers pay for the trip or if FINAS picks up the tab, only then would they go.
The biggest surprise however is the sad omission of Karaoke, the first Malaysian movie to be shown in Cannes after 14 long years.
Malaysian filmmaker Chris Chong's internationally acclaimed Karaoke was screened at the Directors’ Fortnight of the 62nd Cannes Film Festival from May this year.
Karaoke (scene from the movie shown above) was nominated for the Camera d’Or (Golden Camera), the award for the best first feature film presented in any one of the Cannes’ selections (Official Selection, Directors’ Fortnight or International Critics’ Week). This distinction went unheralded in Malaysia and Karaoke's entry in Cannes this year was a bigger coup than Uwei Haji Shaari's Kaki Bakar which was screened under the Un Certain Regard category in 1995.
I guess a Malaysian movie which was selected to be screened in Cannes is not good enough to be selected by the Persatuan Pengeluar Filem Malaysia (PFM) as our country's representative to the 53rd APFF next week. I know the reason too. Firstly, the movie did not use Bahasa Malaysia as its main language (the filmmaker thought the most important language in his piece is film language) and the most glaring - the producer is not a member of PFM. Errmmm wait a minute, are Primeworks/Chilli Peppers and Uitm members of PFM?
Only five years ago, the 50th APFF was held in Kuala Lumpur. The year after, the 51st edition was held in Taipei.
Hong Kong was supposed to host the 52nd edition but due to the global recession, the festival was cancelled. The next host - Jakarta, in 2008, also decided against organising it.
After two years of cancellations, most people in the industry have already assumed that the festival, the oldest film festival in Asia, had run its course.
However, Taiwan seemed to want to revive this festival, and next week, it will welcome one of the smallest numbers of entries ever recorded for the festival.
Malaysia is sending three films - Afdlin Shauki's Papadom, Hatta Azad Khan's Wayang and Yasmin Ahmad's Talentime.
Selection criteria? Papadom was best film at the recent Malaysian Film Festival held in Sabah. Talentime won best director plaudits for the late Yasmin. And somehow, Wayang, which did not many awards at the recent Malaysian Film Festival, received accolades as the Best Film in TV3's annual Skrin Awards.
Not many Malaysian filmmakers will make the trip to Taiwan next week. Most in the industry knew nothing about the festival (until today's newspaper article in Berita Harian), but those who were informed realised that unless their producers pay for the trip or if FINAS picks up the tab, only then would they go.
The biggest surprise however is the sad omission of Karaoke, the first Malaysian movie to be shown in Cannes after 14 long years.
Malaysian filmmaker Chris Chong's internationally acclaimed Karaoke was screened at the Directors’ Fortnight of the 62nd Cannes Film Festival from May this year.
Karaoke (scene from the movie shown above) was nominated for the Camera d’Or (Golden Camera), the award for the best first feature film presented in any one of the Cannes’ selections (Official Selection, Directors’ Fortnight or International Critics’ Week). This distinction went unheralded in Malaysia and Karaoke's entry in Cannes this year was a bigger coup than Uwei Haji Shaari's Kaki Bakar which was screened under the Un Certain Regard category in 1995.I guess a Malaysian movie which was selected to be screened in Cannes is not good enough to be selected by the Persatuan Pengeluar Filem Malaysia (PFM) as our country's representative to the 53rd APFF next week. I know the reason too. Firstly, the movie did not use Bahasa Malaysia as its main language (the filmmaker thought the most important language in his piece is film language) and the most glaring - the producer is not a member of PFM. Errmmm wait a minute, are Primeworks/Chilli Peppers and Uitm members of PFM?
Friday, December 4, 2009
WORLD CLASS FILM STUDIES COME TO SINGAPORE
Once again we get bypassed for quality film education or production opportunities. Previously, I personally felt sad that Lucasfilms decided to start a facility in Singapore some years ago, allowing direct intake of talented animation graduates in Singapore to find work on international animation projects.
At that time, we were expounding the virtues of our Multimedia Super Corridor and other spin off projects from the initiative. But all that is now water under the bridge, just like our expensive multi-million dollar Saladin The Movie Trailer.
Now, New York University, one of the best places any filmmaker could have to learn about filmmaking has set up a center in Singapore.
This is the link to their website : TISCHAsia
Now, here's the kicker, the resident Artistic Director for the campus in Singapore is non-other than multi-Academy Award winner Oliver Stone. Serious! No kidding.
The institution offers Degree and Post Graduate course in Film Production, Writing and Digital Animation.
A quick look at the Masters in Fine Arts course, which has a two-year duration, will take you back about US$41,000.00. (Just about RM150,000).
Now if FINAS knew about this, or even MOSTI, and if our Ministry of Communication, Culture and Arts are serious in producing world class filmmakers, they should think seriously about sending and sponsoring a batch of maybe 12 post graduate students to this school.
Once these pioneer batch graduates from NYU TischAsia, they can then teach ten students each in three years time. By 2015, we would then have at least 100 world class filmmakers in our midst.
Is this a dream? Maybe, but it's an achievable dream. FINAS is thinking of spending millions in doing co-production with South American companies, they spend millions financing film festivals and events, they spend millions sending their officers to film markets overseas, they lend millions to untested producers and filmmakers who either screw up the production or make movies that no one wants to see.
So why not just put aside about RM2 million to send 12 talented or young filmmakers who have shown potential to this NYU Tisch Asia Campus to do their post graduate Masters course and actually improve our dilapidated film industry within the next five years.
Please???
At that time, we were expounding the virtues of our Multimedia Super Corridor and other spin off projects from the initiative. But all that is now water under the bridge, just like our expensive multi-million dollar Saladin The Movie Trailer.
Now, New York University, one of the best places any filmmaker could have to learn about filmmaking has set up a center in Singapore.
This is the link to their website : TISCHAsia
Now, here's the kicker, the resident Artistic Director for the campus in Singapore is non-other than multi-Academy Award winner Oliver Stone. Serious! No kidding.
The institution offers Degree and Post Graduate course in Film Production, Writing and Digital Animation.
A quick look at the Masters in Fine Arts course, which has a two-year duration, will take you back about US$41,000.00. (Just about RM150,000).
Now if FINAS knew about this, or even MOSTI, and if our Ministry of Communication, Culture and Arts are serious in producing world class filmmakers, they should think seriously about sending and sponsoring a batch of maybe 12 post graduate students to this school.
Once these pioneer batch graduates from NYU TischAsia, they can then teach ten students each in three years time. By 2015, we would then have at least 100 world class filmmakers in our midst.
Is this a dream? Maybe, but it's an achievable dream. FINAS is thinking of spending millions in doing co-production with South American companies, they spend millions financing film festivals and events, they spend millions sending their officers to film markets overseas, they lend millions to untested producers and filmmakers who either screw up the production or make movies that no one wants to see.
So why not just put aside about RM2 million to send 12 talented or young filmmakers who have shown potential to this NYU Tisch Asia Campus to do their post graduate Masters course and actually improve our dilapidated film industry within the next five years.
Please???
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(Translation: Who is this anwardi jamil? so easy for him to comment. He actually is piggybacking his father's glamour...no one knows anwardi unlike muniandi..anwardi did nothing for the industry...he talks too much...his father ha contributed a lot as did his mother...but he? not even a spec of dust...don't be angry...just accept the truth.)
Thank you very Encik Bujang Senang whom I consider a coward who hides behind a stupid nickname or handle. Unlike me, and Khir, we don't hide behind anonymity. When I comment or criticise anything or anyone in the industry, especially in my blog, my name is clear for all to see. I am no coward unlike Bujang Senang.
But I am surprised that he dragged my parents into this non-issue.
Well, since he asked the question who I am, let me introduce myself to him and to others who thinks that I have not contributed to the industry. I do have to say that it is a pity that there are filmmakers or film commentators like him who don't know me or others of my generation. And for you readers out there, yes, I am going to isi and angkat my bakul for all to see.
I started life as a journalist and film critic and cartoonist with the New Straits Times in the late 70s. In the early 80s, I was seconded to TV3 as its first procurement officer and then to be part of its production department. There were two initial producers - the late Karim Mohd and myself. I was tasked to produce the station's first two tv series - Nona and Kuali - which became two of the most successful and longest running series in TV3's history until Majallah Tiga came into picture.
I left TV3 to pursue corporate communications work and helped organise the first Defence Show in the country in 1985 with a company called IMS.
However, when RTM started a programme to help local producers survive called Drama Swasta, I decided to try my luck at being an independant filmmaker. However, when my mother read a script I wrote called Karam Di Mata Karam Di Hari, she asked me if I wanted to direct it. Who wouldn't want to jump on such an opportunity? Of course I accepted. The drama starred the late Mahmud Jun and Marlia Musa and it was shot on 16mm.
After that, my mother's company RJ Filem offered to produce my first feature film Tuah starring Jamal Abdillah. The film when completed was invited to Montreal, Berlin, Fukuoka and Tokyo. It also won a Jury Award at the Asia Pacific Film Festival in Jakarta in 1989.
Before directing Tuah, I worked on the foreign movie Farewell to the King directed by John Milius and starred Nick Nolte. I was one of the two local assistant directors working on the shoot.
After Farewell To The King, a couple of friends decide to form a company with me, called Double Vision - a company geared to producing interesting dramas for television (at that point in time).
Amongst the titles I wrote, produced and directed in the early days of Double Vision included Gado Gado and Teater Seram. Tell me who doesn't know about Gado Gado?
As a producer, I have brought in many friends at that time to direct for me under Double Vision - amongst them (please don't be surprised) - Khir Mohd Noor, Harun Salim Bachik, Syed Mohamed, Ahmad Tarmimi Siregar, Meor Hashim Manap, Roslan Hussin and Ebby Saiful. A few other directors have worked with me during that time to but not as directors but as my assistants - they included Liza Ismail, Ebby Yus, Thorpe Ali.
As for actors and actresses who worked under my company, I don't think I will list them because I think it would be easier for me to list those who had never worked with me before. However, I do have to mention that I directed Rumah Kedai Jalan Seladang for RTM and Meor Hashim Manap won the best actor award for his role in that drama.
Apart from the first few early projects I did with my mother's company, all my work were done under my own companies - either Double Vision or other companies that I started after that. Under Double Vision I co-produced two video movies for Japan which starred Sheila Rusly and Sofia Jane and two sinetrons for Indosiar and RCTI. I directed Pak Amy Priyono and Pak Fritz. If you don't know who these two guys were in Indonesian cinema, than you don't know fuck-all about Indonesian cinema.
Over the past twenty over years that I have been involved in the industry I have never worked for any other company except companies that I owned or co-owned. This is unlike most of the FDAM members who live their lives earning director's fees from other producers. They don't appreciate the risk that producers take by offering them the director's jobs.
In 2005, the then information minister, Dato Sri Kadir Sheikh Fadhir invited me to start a new company to help 'sponsor' female veterans that RTM had pre-selected. Including my father and mother, there were ten other veteran actresses in the scheme.
In the two years that the special project was handled by my company, I forked out more than RM250,000 in cash to these 12 people. The project also helped finance my mother's 26-episode drama which she had a free-hand to develop and direct.
My company did not make much if any in profit during that time because all our profits went into the special fund for the veteran artistes. I was hoping that the project would be continued, but unfortunately, as with RTM, each new Minister that comes in have their own plans and ideas and therefore the project was scrapped. And therefore, I had to start again from zero to pitch for new productions.
That's okay, because making movies and TV dramas was my passion. Luckily, in the mid 90s I started a company called Mass Media Interactive which in turn helmed a consortium called Konsortium Multimedia Swasta that was awarded one of the first e-Government under the MSC initiative. In this project, the government did not fork out any funds. The private sector was going to fund the multi-million ringgit project for ten years.
At that time too, being the nobody that I am, I kept in touch with my love for culture and history. With the National Museum, I assisted in various exhibitions including the Asia Pacific film festival exhibition and the performing arts exhibition. I was also involved in the wildly successful and original Hantu exhibition in Muzium Negara and wrote and directed a standing room only play (for two weeks) entitled Hantu-hantu Yang Saya Kenali which M. Jamil acted in; and according to him influenced him in the VCD production Momok and later his successful Momok The Movie last year.
I also found time to research and write two books - the History of the Asia-Pacific Film Festival and Gamelan Nusantara. Both for Muzium Negara. I am sure Muniandi did not do any. And I am sure Khir Mohd Noor and Bujang Senang too did not have the opportunity to do so. I guess Muzium Negara only offered such jobs to nobodies. By the way, in last year's Senjata Nusantara exhibition, I also produced and directed the short video clips for the muzium.
Meanwhile, in the early years of the new millennium, I went a bit bonkers and produced and directed two movies - both were unsuccessful but both financed by companies I controlled with friends. I lost money and so did they. These movies were Ah Loke Kafe and Budak Lapok (which was invited to represent the country at last year's Korean Film Festival). But through failure we learn and move forward.
I also make it a point, that as and when I deemed it fit, I try to employ my 'uncles' from Jalan Ampas in my productions. Amongst others, they include Dato Aziz Sattar, Dato' Mustafa Maarof, S. Shamsuddin, Mahmud Jun and Kuswadinata.
During all these time, I have never tumpang-ed my parent's glamour because it is actually a burden to me as a filmmaker to have legends as parents. Others are luckier. I have said so many times publicly that I always shy away from my father's shadow because it would be stupid of me to try and piggyback on his success and his stature as one of the doyens of Malaysian cinema.
Now my eldest son is interested in becoming a film director and he has done so. Starting as an assistant director under my tutelage and some others, he has now directed on his own, more than ten dramas since last year. Many of you would in fact have seen his direction in the series Bilik No 13, which was amongst the three highest rated show on RTM in 2007 and 2008. He is now developing a new series called Detik 12 Malam. Like me once before, I am giving him the tools to survive in this dog-eat-dog world of filmmaking.
I have produced, written and directed more than 500 hundred hours of TV and feature films in my own lifetime. Best of all, at this point of writing, I don't owe SME Bank or FINAS a single sen.
What I am proud of really is that through my productions, thousands have earned a living at one point in time under my productions. The rezeki that I have been blessed with, I share with others.
And for your information, I have never relished being in the lime-light as a filmmaker. I do however relish the notoriety that I have created for myself as a troubleshooting blogger for the local film industry.
The above is just a snapshot of what I have done in my life. I don't think I have to go into detail about who I am as a son to my father and mother, right?
Bujang Senang, you have actually hit below the belt by bringing into the debate, that is between me and other individuals, my parents. You can call me names or you can criticise or condemn me. You're not the first nor the last. Hassan Mutalib amongst many others has beaten you to it by many years (and I hope you are not Hassan by the way).
But never ever bring into the fray my parents. Never ever say I tumpang glamor. If you knew them personally or even respected them, asked them if I have.
So my cowardly Bujang Senang, (and unless you post your comments under your real identity I will call you a coward), what have YOU contributed to the industry? Let's compare notes shall we?