Last month, chief executive to the Country wide Film Development Corporation, Ahmad Puad Onah, said that the relationship would suggest that ticket prices for Hollywood-produced films be increased to RM20!
This is supposed to help the neighborhood film producers become more competitive. However it is sad these people really have they not learned anything from the Proton story yet. This recommendation is a really shallow idea and it'll not help local videos be more competitive against overseas movies. In fact, this will provide an opposite effect.
Local film suppliers should become more competitive. These days.
So the question is, why aren't Malaysians seeing local movies? Consider it. What are the demographics that show people who actually go watching films? Can a middle income family with 4-5 kids find the money for to watch films priced at RM8-12 per ticket?
Four kids plus father and mother will definitely cost the family (RM10 x 6) RM60. Add the car parking ticket, and goodies and it'll cost at least RM100 simply for an afternoon of movie-watching. So if these people want to watch a movie, what do they are doing? You guessed it. Buy an unlawful Dvd movie at RM7 per disk and the whole family can observe it over and over again.
So solution No. 1 is to enforce regulations against illegal Movie sales. This although it would put a dent in the coffers of those specialists and VIPs who are taking bribes out of this industry.
So, who then will go to the cine-plexes? I would have to state that it would be couples or teenagers out using their friends right?!? However these people have a limited budget as well. If they have to select from viewing 'Spiderman' and 'Cicakman' which show do you consider they'll watch?
So what would entice the younger era to watch local videos? Can local films ever match Hollywood in conditions of visual results, 'superstar' power or even in promotional marketing activities?
So how then can they compete keenly against Hollywood films? The answer is nearer than you think. Just look at our friends and neighbors. Both Thailand and Singapore have were able to produce local-made films that are incredibly successful, even on the international stage.
So why can't Malaysian film companies do the same? Associated with simply because they are too worried to offend the government bodies. There exists too much control, taboos, constraints and censorship on the market. They have come to a point where any movie that comes right out of the local industry will almost sure to be 'too safe' so this means dull and monotonous.
Also, the local movies that come out aren't controversial, provocative and have little to offer progressive Malaysians as a whole. Just check out our local news.
We have a thrilling by-election, the Jerit issue, the Hindraf issue, the ISA Concern, the hudud regulations issue, many corruption scandals, a murder of the Mongolian gal and a conspiracy regarding a top man, New 12 months sex functions with movie stars, the list continues on! Now why would I ever before pay money to view an area film when our local media in Malaysia is a whole lot more interesting?
Do you think any of our local film makers are courageous enough to carefully turn any of the issues above into a movie? If our local film industry produced a film related to some of those issues I mentioned previously, I am sure it'll get a whole lot of publicity and many people will watch it.
Why? Because all Malaysian can relate to it. It will be very provocative which will generate interest and publicity among many Malaysians. And on top of this, you won't have to remain competitive straight against any Hollywood movie (Blue Sea strategy).
Also, when was the last time we observed a movie that appealed to Malaysian audience all together? Local videos are usually categorised as either Malay films, Indian films or Chinese movies. Where will be the Malaysian movies? Let's be honest - how many Chinese is going watch a Malay movie?
Local providers must figure out how to makes videos that charm to a wide spectrum of contemporary society rather than segregate their movie's potential market by contest! What's wrong with movies which may have characters speaking Chinese, Malay, Tamil etc, in the same movie? We do this in our everyday activities. So why not in our local motion pictures as well?
I know it is not easy to produce videos that will appeal to the complete country. Thus, local film manufacturers must prepare yourself to handle the challenges of earning movies that would be very controversial politically and socially. We must no longer be afraid to makes films that are racially or religiously hypersensitive.
Now, I am not requesting producers to make motion pictures that insult other races or religious beliefs. Neither am I requesting suppliers to make politically-charged propaganda movies. But we can still make films that reflect the real picture in our country and show that the individual spirit can overcome many adversities.
With regards to the, I've a list of ideas that I believe will make great films which most Malaysian can pay to watch.
Police corruption (tales of a young police officer facing huge peer pressure to compromise his key points and succumb to taking bribes and the persecution he encountered by not offering in)
A Malaysian spoof movie on the neighborhood politicians (I wager you it'll be very funny with actors and actresses imitating our local politicians)
Who really wiped out Altantuya? A unknown movie with an 'open-ended stopping (allowing audiences to make their own decision)
Prostitution in Malaysia - Tale of a young local gal with little education being conned into prostitution
The Hindraf/Jerit issues (why, this could be a documentary movie)
May 13 (story of three friends - a Malay, an Indian and a Chinese - whose marriage is strained to breaking point throughout that era nevertheless they managed to conquer this adversity and remain friends till today)
I am sure a lot of individuals can think of many more ideas that will make great movies. I am certain many of these potential movies will make certain groups miserable. But that is the entire point isn't it?
A safe and nice movie that does not raise any eyebrows won't interest the Malaysian public at all (considering they get so much more entertainment from the local news).
Until local film companies are daring enough to issue the position quo of making 'proper' motion pictures, and make movies that are genuine and relevant to all walks of life in Malaysia besides challenging the brains of our population, they'll never have the ability to compete with Hollywood movies.
(http://www. malaysiakini. com/news/99234)
So here it is! The FFF "Guide to Writing an absolute Film Proposal". We tapped into the brains in our most favorite KOMAS creative consultants and pulling from them their a long time of experience to give you the following advice to help guarantee your proposal has what it takes.
ONE: Choosing your issue
Is it relevant - why is this issue important and why it is something that Malaysians need to find out about, acknowledge and discuss openly?
Is it daring - is the issue seldom mentioned and would researching it be difficult?
Does the issue fit in with the theme of "Democratic Space" and "Human Rights"?
Find a fascinating issue that folks regularly discuss or the ones that matters a great deal. We have to keep finding out the Malaysians needs, what they would love to see, discuss and recognize either meets with Democratic Space and Human being Privileges theme.
What new perspectives or different point of view are you demonstrating your viewers?
What are the important points that documentary will discuss?
How do you want to make those items i. e. give details of who you will profile/interview, what visuals or scenarios will you record at length.
Provide story range or outline if possible, however, not necessary. (If your proposal is chosen we can help you write the script). It is critical to show that you have a clear notion of how the video will be performed and appearance like in the long run.
Show that dialogue of the problem is well researched and deep.
Describe how you will treat the film using music, editing techniques, story - any creative way - to make your documentary interesting and attractive to your viewers.
Do research about your topic first. Speak to some source of information people or find interesting information that you can definitely use in your film. Understand your concern well before taking on the subject. You need to know more or have something more to say that your viewers do not know about or understand well.
What is your stand on the problem? Think of one or two details you want to make in the film. At the end of the film, this is the meaning you want your viewers to take home with them.
Something which may sound interesting for you at first might be difficult to execute in the long run - be careful and plan well.
A film is little or nothing without good music/interviews and visuals, which means you always need to have at heart what sound/visuals you will need to make your point.
Know your own talents and weakness. Have a team/staff that is officially proficient to help you in areas that you may be poor in.
Follow these three easy steps, while taking into account those techniques of the trade and voila! You're first documentary film proposal. Good luck!
(http://freedomfilmfest. komas. org/?cat=53)
Should Malay Films continue being Malay Movies?
One approach that should be sustained is the furthering of Malay movies as films made in Malaysia. This is because the Malay language is the countrywide language, the one that does not are present beyond the Malay Archipelago. It really is one which is easily acceptable as a language that shows Malaysia from any viewpoint. The non-Malay terminology can continually be used to indicate the position of the terms i. e. spoken in the community among people of the same terms culture, or in sharing with about some qualifications information, as long as it can enhance the cinematic impact required with a film.
To this end, your time and effort to produce Malaysian films should do this two-pronged way:
Increase the development of Malay movies.
Building the building blocks of distributing Malaysian film that deals with Malaysian issues from the perspective of other races.
The creation of Malay movies should be increased in number and quality. This is because Malaysia is the sole country whereby Malay films can be produced. Without Malay videos from Malaysia, it can be said that you will see no Malay videos on earth. Another reason is that there surely is still a whole lot of of other Malay and Malaysian issues from Malaysia, as well as from the Malay archipelago, that can be shown on film. Minimizing the production of Malay film and producing Malaysian movies on the excuse that Malaysian motion pictures have to be multi-racial and multi-lingual will marginalise a film source that is very cinematic and will also diminish the value of Malay background and culture. It really is a culture that may disappear.
At once, the development of Malaysian videos from the perspective of the non-Malays also needs to be encouraged. This will likely improve the standing up of film in contemporary society and film as a medium and way to obtain culture that is important to the country.
National Film Development Plan
An officially-organised approach to build the film industry in Malaysia started in 1980 when the government established the Country wide Film Development Body (FINAS). Since then, pursuits like as film development, encouragement, control and protection has been used towards three of the most important areas of the industry; that is, the development, distribution and screening process of motion pictures in Malaysia. From the aspect of control and protection, the precise activities to development such as training workshops and school funding can be said to have achieved their targets. The Production Aid Scheme and come back of entertainment duty, for example, can be incredibly significant to local film producers.
This paper will not intend to provide further commentaries on the success or inability of such programmes run by FINAS. 25 years worthy of of ideas and debates are available via other strategies. I'll, however, say that the programs have a long-term impact on the introduction of the film industry in the foreseeable future. The subject at hand is film insurance plan. FINAS, in order to advance the local film industry, has double pushed this problem forward. The first was at the years of 1989 and 1990, led by Tun Ghazali Shafiee. The next time occurred in 2004, when the procedures were assessed and improved to become more aligned to the new aims and ideas of Malaysian film development.
Even though insurance policies for a clear, national film agenda have been designed, along with the requisite targets and objectives, nevertheless it is difficult to see what form or form the Malaysian film industry will achieve by the year 2020. In my opinion, there must be a definite and concise 2020 target to aim for, offering it the same amount of attention and importance as other domains. The entire nation is gearing up to attain their respective objectives in these fields. To be a developed nation, the type of film industry will we have by then? It might be wise to ensure that people do no lag behind, and established practical objectives (e. g. local movies possessing a 30% talk about of the marketplace). The crucial thing is the setting of a timetable, timetable, or get better at plan for nationwide film development. If such an action plan ever before came into existence, all areas of the industry would have main 'idea' to refer to.
Until now, however, we've yet to see such a plan, whether it prevails or otherwise.
Increasing Appreciation Programmes for Local Films in a Structured and Holistic Approach
Another step that could be taken by all relevant get-togethers is to increase the number of gratitude programs in a set up and planned manner, so that the attention paid towards local videos could be increased. That is of critical importance, discovering how low the audience volumes for local videos are. From a countrywide society of 26 million people, we can rely a mere 200, 000 to 300, 000 people who regularly watch local videos. Compare this to the Czech Republic, who have around 10 million people, but can rely upon around 1 million of them to watch their own videos.
If we can raise the number of visitors even by 1 million people, it would certainly change the face of the neighborhood film industry. We're able to also check out other countries and consider how they develop their own motion pictures; South Korea, for example, imposes a quota system to safeguard their local filmmakers.
The current situation is a reason for matter, because the prior era of film audiences are actually at another type of stage of these life. Thus, they no more go to the cinemas regularly. The brand new era of film audience users have an alternative perception and vulnerability compared to the prior group, and with this comes a different viewing trend. When there is no program to encourage further understanding towards our own local movies, Malaysian motion pictures, Malay or elsewhere, won't have a chance. Only by way of a permanent, all natural, and well-planned procedure will the situation improve. We need not look to far for an example of what could be; the existing state of papers written in Arabic, when it was once the norm, is a sore perception for eyes. A lot more galling is the lack of thoughts that such circumstances arouses currently.
Increasing and Growing the Interest on the National Language
Apart from film appreciation programmes, other methods can also be taken. One particular example is to increase gratitude towards the vocabulary and culture of Malaysia, especially in the academic institutions. Ultimately, this can help to increase further interest and fluency in understanding the local films. This will also be completed in the same way to the above suggestion, so that the seed for such an interest can be planted and be allowed to mature. This may also increase the interest within society towards traditional/Malay arts and tales that may also help along Malay and Malaysian movies.
Training Programs, Technology Networking and 'Finance' for Young Artists
Other areas that may be looked at is further publicity and education about all aspects of filmmaking, including providing further training to those who currently mixed up in industry. We can also work to bolster relationships and networking, and providing sensible encouragement for filmmakers for taking Malaysian films beyond Malaysia. This networking will increase Malaysian film understanding not just within the country, but also without.
Another essential aspect is to create a fund for young artists. This account can be used for various activities, like script development, but with an especial concentrate on encouraging the number of young directors with quality. Through such initiatives will we only find the gemstones in the difficult.
This paper does not suggest anybody single bottom line, but invites further conversation and dialogue on the things that I have raised. The problems and problems of the film industry are constantly changing with the winds of your energy, therefore long as there is an effort to enhance the making and content of local videos, then the sky will truly be the limit as to what we can perform.
(http://thoughtsonfilms. wordpress. com/2009/04/01/the-malay-and-malaysian-film-where-are-we-part-2/)
In an earlier post on the film industry in Poland I viewed the range of countries to which the Polish film industry was connected through co-productions and incoming productions that did not involve a home partner (which I called autonomous productions). The info was extracted from the Internet Movie Database, and while it can't be said to provide a comprehensive overview of the globalisation of the film industry and its own relation to Poland it does allow us to make some inferences about the number of countries a specific film industry is linked to in conditions of an individual type of discussion (i. e. feature film development). Desire to behind this post, and today's follow-up, is to get a sense of the net of links that website link different film establishments by simply enumerating the number of associations between them. Further work must be done on the financial value of the connections to be able to comprehend how co-productions and autonomous productions donate to a film industry, and so the depth of penetration (call this the density) must be considered alongside the number of connections to be able to describe the extent to which a film industry is globalised. We're able to, for example, differentiate between film market sectors with a higher range and high thickness, those with a higher range but a low density, a minimal range but high density, and the ones with a low range and a low density. (This could be symbolized in similar conditions to the partnership between your transnationality and territoriality of UK productions I found in Redfern 2007). This might enable us to distinguish between different types of countrywide film industry in the global film industry, whilst also allowing us to identify regions of potential weakness. For example, a business with a minimal range of links but a higher thickness will be overly-dependent on creation finance from a small range of countries getting into the industry, and should anything annoyed this balance (better bonuses available somewhere else, changes in trade rates, global financial meltdown) this will have a disproportionately large influence on the number industry that could (potentially) be wiped out.
Quite how to gauge the denseness of global relationships to a film industry is an issue I have not yet fixed. We're able to use the percentage of the total production investment within an industry accounted for by co-productions and autonomous productions, but there could be better methods.
A first step must be to simply understand the amount of global interaction; and add to the data on Poland, this post applies the same method to three other film companies in Malaysia, Chile, and Morocco. (A key difference here is that the info for Poland protected the time 2002 to 2007, while the data for these three countries protects the time 2003 to 2007).
A total of 37 motion pictures produced in Malaysia were determined from the Internet Movie Database, accounting for a total 47 associations to 17 countries, and country by country summary is offered in Desk 1. Of this 37 motion pictures included here, only six are co-productions, so while Malaysia may be a filming location of preference for many providers this will not involve Malaysian production companies. The solitary largest quantity of cable connections is to India, but all of these are autonomous productions. After India, Singapore, with 5, has the second largest volume of connections (again all autonomous); but on the whole the amount of connections is very low fr each country across a 5 12 months time period. Cable connections to other Parts of asia account for 66% of the total, while Europe makes up about 23% and THE UNITED STATES just 11%. In simple numerical conditions, connections to business in the immediate vicinity are more important than the ones that stretch across the globe, although as known above it is difficult to examine the meaning of these relationships in the lack of specific of some knowledge of how deep each goes in to the Malaysian industry.
TABLE 1 Co-productions and autonomous productions to blast in Malaysia, 2003-2007
24 films stated in Chile were identified, accounting for a complete of 42 relationships to 12 countries. This data is summarised in Table 2. Of the videos, just over half were co-productions and so (unlike Malaysia) a substantial percentage of productions taking pictures in Chile will involve some sort of romantic relationship to producers and filmmakers located in that country. Southern American countries take into account only 21% of contacts and North America (i. e. the US and Mexico) take into account 31%, while seven different Europe account for slightly below half (48%). Unlike Malaysia (and Poland) it is not local links that are the most important to Chile, however the relationships that reach further throughout the world.
TABLE 2 Co-productions and autonomous productions to take in Chile, 2003-2007
For Morocco, a total of 69 films were discovered accounting for 111 associations to 23 different countries. of the three countries viewed here, Morocco gets the greatest volume of associations and the widest range of countries, but like Chile is dominated by North America and Europe. There are connections to only 1 African country (Algeria), one Asian country (Japan) and one South American country (Brazil); while 17 European countries take into account 78% of associations and three North American countries account for 27%. Interestingly, only Morocco out of the the three countries viewed in this article and Poland has cable connections to countries in all parts of the world. However, only 15 of the movies in this test were co-productions, therefore, like Malaysia, international creation in Morocco is normally non-Moroccan development. Only France is a substantial co-production spouse. That so many links to France should be visible is unsurprising, as their state was made of protectorate of France under the Treat of Fez (1912), and the Western influence here's strong (as it is in Algeria and Tunisia). The united states with the greatest single number of connections is the united states, and this is within large part due to the fact that Morocco can stand set for other parts of the Arab world without so many of the potential issues. Numerous Hollywood films have chosen to film in Morocco since 2003 for the desert locations, the architecture, the middle-eastern looking extras, and because Morocco can also go away for the traditional world. Thus Alexander (Oliver Rock, 2004), Troy (Wolfgang Petersen, 2004), and Kingdom of Heaven (Ridley Scott, 2005) have all been shot in Morocco (along with Arn - Tempelriddaren (Peter Flinth, 2007) and Arn - Riket vid vgens slut (Peter Flinth, 2008)). The Moroccan film industry appears to have benefited from the conflict in Iraq as the chosen location for Rendition (Gavin Hood, 2007), Within the Valley of Elah (Paul Haggis, 2007), United 93 (Paul Greengrass, 2006), and Home of the Daring (Irwin Winkler, 2006), along with Syriana (Stephen Gaghan, 2005), Charlie Wilson's Warfare (Mike Nichols, 2007), and Body of Lays (Ridley Scott, 2007).
TABLE 3 Co-productions and autonomous productions to take in Morocco, 2003-2007
Although this post is merely a brief study of three countries using limited data, you'll be able to see how the film industry in several countries can be linked to all of those other world. You'll be able to identify where local contacts are essential and where more the main element romantic relationships are over an extended distance. It is possible to compare where connections between countries bring about co-productions or where relationships are not formed with local makers. As more data becomes available it will hopefully be possible to compare the number of connections between countries as time passes to gain a knowledge of the energetic relationship, as opposed to the simply static picture we've here. In simply enumerating the connections in the global film industry this way we can little by little build up a picture of the mosaic of film companies.