More than 15 years ago, I decided to focus on the “heavier” and perhaps, the grittier side of social commentary in my work.
On documentaries and narrative dramas in tv and films, I want to explore these topics with specific visual artistic aesthetics - not just the cookie-cutter, straightforward coverage.
I call it explorative (you may call it “experimental”) but hey, you need to be experimental to find your own voice as a filmmaker. You don’t grow if you do the same things year in year out.
I discover I can actually approach “difficult” social commentary through layers of sound, visual and language that the visual medium affords. These 3 elements combined, create a tapestry that articulates the human condition. They say good scriptwriting is when there is less dialogue and well-written screen direction, among other things.
However the 3 elements need not be the star all at once, because human emotions are like that. More can be told when at least 2 of these 3 are selectively used to bring forward the essence of the scene or conversation.
The visual language is empowering, because you can show things without showing things. Less is more. No need to dumb it down. You just have to think with more sophistication (and work with the best language writers).
But, importantly through these exploration, one thing remains - you make tv programmes and films for the audience - your biggest customer. You make these things not for your Self.
On documentaries and narrative dramas in tv and films, I want to explore these topics with specific visual artistic aesthetics - not just the cookie-cutter, straightforward coverage.
I call it explorative (you may call it “experimental”) but hey, you need to be experimental to find your own voice as a filmmaker. You don’t grow if you do the same things year in year out.
I discover I can actually approach “difficult” social commentary through layers of sound, visual and language that the visual medium affords. These 3 elements combined, create a tapestry that articulates the human condition. They say good scriptwriting is when there is less dialogue and well-written screen direction, among other things.
However the 3 elements need not be the star all at once, because human emotions are like that. More can be told when at least 2 of these 3 are selectively used to bring forward the essence of the scene or conversation.
The visual language is empowering, because you can show things without showing things. Less is more. No need to dumb it down. You just have to think with more sophistication (and work with the best language writers).
But, importantly through these exploration, one thing remains - you make tv programmes and films for the audience - your biggest customer. You make these things not for your Self.
When the chance to do Haikal Nak Jadi Cef arised, I grabbed the opportunity. Because it is something of a throwback to the more “fun” things that I have done previously.
Not many may know this but I did 5 series of hybrid food / cooking/ cuisine programmes previously. I did several fun travel and cultural series around Asia. I did “serious” current affairs too.
Haikal Nak Jadi Cef is a mix of all these previous creative explorations and influences.
I would not call it a “kid’s show” because when you watch it, you may discover something else that adults may need to explain to the kids.
Watch it and let me know.
The 13-episode series debuts on 5 April, Friday 8:30pm. Malay with English subtitles.
So is it really a “kids show” when its on the prime time belt, immediately after the national news? (It is officially an info-ed programme).
Directed by yours truly. #sanifdirects
#HaikalNakJadiCef #mediacorpHaikalNakJadiCef
@mediacorp.untukmu
Catch it on mewatch and Suria channel. English subtitled.
Series synopsis
Haikal Nak Jadi Cef is a whimsical coming-of-age series told from the eyes of Haikal, a precocious 11 year old boy who lost his mother recently from an illness. Haikal still misses Mama Haikal’s cooking. Haikal food adventure begins as he tries to replicate his mother’s favourite dishes - from memory. Haikal’s quest is accompanied by an erratic sidekick, Zaidi, and a world surrounded by offbeat characters that reflect the different spectrum of adulthood such as Raian, Cikgu Alin, Mariah, Rahmat, Uncle Ravi and Chef Mel. While on a mission to accomplish something for himself in the most charming yet imaginatively complicated way possible, Haikal discovers that the journey to uncovering Mama Haikal’s secret recipe is a kaleidoscope of the unpredictable and colourful throwback to life itself.
