‘MALAYSIAN INDIES COME OF AGE’ Press Conference & Panel Discussion on 15 Jan 2004 at HELP INSTITUTE organized by KELAB SENI FILEM MALAYSIA – Report by Hassan Muthalib

Panel: Amir Muhamad, James Lee, Yasmin Ahmad, Ho Yuhang
Moderator: Wong Tuck Cheong

AMIR: My definition of Malaysian indie films – films that are eligible to participate in international film fests but not in the Malaysian Film Fest.

Funding? I’m using Japanese money at the moment.

Malaysian indies are different from other countries. All our films are digital or video. The Pakistanis & Bangladeshis who are working in Malaysia go back home & make their films on 35mm (Amir’s tongue in cheek!)!

In Japan, there are video shops that sell films from Asia (the Japs don’t consider themselves as Asian!). The distributors bring these films in. They carry films from almost every country, even Korea whom they hate. Works from every country except Malaysia. What will it take to get our films in their stores?

The gangsters in Thailand funded Thai films at one time. Thai films sell in Thailand. They have a big population & they love Thai films. Malaysian gangsters seem to have different priorities (more tongue incheek!).

At some festivals, the atmosphere is so business-like. The talk is all about marketing & distribution. We have to understand this in order to succeed internationally. We don’t know how to market our films. Recently at an international fest, a foreign producer was given a VCD of CINTA CHOLESTROL - & it had no English subtitles!

SANIBOEY (FINAS REP): FINAS provides a free booth for local producers to exhibit & sell their films. Indies can also participate.

The problem we face is that the decision makers are not knowledgeable about films. But changes are on the way.

YUHANG: There’s a filmmaker I met who’s never shot an urban film. It’s been all about his small hometown. Ultimately, films are about your own backyard.

Funding? Producer Lina Tan gave me money without even looking at my script! I have the pirates coming to me
to fund my films. They’ve got the distribution system all worked out. They told me they have outlets in Africa, India, etc. I just have to say yes.

We have gone beyond questions like how much did your film make. Now at festivals, I’m asked: What’s your next film? Time is crucial for us. You’re only as good as your next film. We can’t wait. The festivals ask: What’s your next film? We need funding now so that we can go on to our next film - & the next one. Festivals are as cruel as Holly-wood. If you don’t have a film in the works, they’ll stop contacting you.

KAMIL OTHMAN (MDC): Government bodies have noble intentions – the Ministry of Culture, Information & FINAS, etc. A body is required to represent the indies & it can’t be run by bureaucrats who no nothing about film. They have to have a love for film. They don’t see film as an artform yet. Indies have united here but this kind of unity does not yet have funding. At the moment, funding from MDC is only for students & lecturers, but we’re working on it.
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JAMES: In a population of 25 million, it is sad to see that we have only about 10 indie filmmakers. We are so slow. KAKI BAKAR made it overseas in 1995. It’s taken so long for us to get recognized overseas. We have Thai films being shown in our theatres. When can we have a Malaysian film showing in Thai theatres?

Indie filmmakers like SPIKE LEE managed to break into Hollywood. We have to go the same way. But here people like YUSOF HASLAM & METROWEALTH are holding ground. After seeing the crap from METROWEALTH, I’m cheesed off with the way they hype their films.

I get calls from all over the world in my house in the middle of the night. They think DOGHOUSE (my company), is a professional one! I’ve gotten calls from agents of Columbia, Miramax, etc. who saw our films at international fests. They are paid to do ajob & they do it.

We’re thankful to SIFF (Spore Int Film Fest), in supporting us. They have only a small office in Chinatown with only a staff of 5 people - and they program 300 to 400 films a year!

YASMIN: I was impressed with BUKAK API & it inspired me to do my own film. It broke rules, showing things as never before. This kind of film can inspire others to express themselves through their own films. Then our films can become bigger & bigger. Are films important in the bigger scheme of things? I don’t know. But the more our films are noticed, the more we will be recognized - & then perhaps get the necessary funding.

How can we bridge the gap between indie & mainstream filmmakers? TEOH has done both. From commercials, he has photographed SPINNING GASING, EMBUN & PALOH. Also MALAIKAT DI JENDELA. OSMAN ALI is a prolific writer who writes so well. He has done TV dramas & is so uncontroversial & so bankable. Why is he not being offered to do features by the mainstream producers?

PHILLIP CHEAH (S’PORE FILM FEST): Participation in international festivals are good as the films get recognition. Festivals all over the world know that the mainstream producers will not fund indies, so some fests do provide funding. But TEN ON TEN is a good example of producers willing to take a chance on indie filmmakers.

HASSAN MUTHALIB: Help is on the way for indie recognition at the Malaysian Film Festival even though they are not members of the various Associations. Discussions are underway to have a special category in the 17th Fest this year.

WONG TUCK CHEONG: Datuk Shariff Ahmad of FINAS is actively supporting the indies by getting local corporations to sponsor some awards in the 17th Fest this year.