A very special #Eid #telemovie

I’ve never considered myself a pro at making ole sappy sandiwara dramas, especially for Hari Raya. I have always wondered why most Hari Raya dramas telecast during the joyous season need to be all sad and filled with tears.

But hey there’s always a first time for everything.

The moment arrived when I was tasked to direct a telemovie for Eidul Fitri this year. Never one to turn down challenges, I grabbed the opportunity to do this special drama.

But perhaps before you jump to conclusions, this drama is indeed special.

If Christmas has It’s A Wonderful Life, a very special film about redemption, Eidul Fitri 2013 has a special treat.

The drama I was called to direct is called 'Raya Bersama...'. While studying the script, I reflect upon the essence of Hari Raya, especially among the Malays. Besides victory at self-restrain against all sinful activities during Ramadhan, it is tradition to seek forgiveness from one another. To an outsider, it might seem unconventional to literally seek forgiveness, ie, to go on one's knees et al, but it seems natural to do such during the festive season. For many, it would be an emotionally-charged occasion to observe among families, siblings and relatives. Hari Raya is also an opportunity to return to family values.

Thus I focused at those elements to make this Hari Raya telemovie special. Your tears will not be in vain.

'Raya Bersama...' was first telecast on 14 August 2013, 8.30pm on MediaCorp's Suria channel.

Please watch it. It's in the Malay language, no subtitles. It's not a difficult programme to follow after all it's television. Furthermore, I was taught in film school that a good film do not really need any dialogues. Let me know how many boxes of tissues you've dispensed by the end of the telemovie ☺

Dear... am I, really?

I’ve been pondering on this situation very much the last couple of years – in my capacity as “director for hire”, meeting many producers of production houses and being told I’m too expensive to hire.

Does my glorious portfolio accumulated since 1996 suggest that my rates should go the opposite way? Is this the state of the television creative industry in Singapore? Or perhaps many production houses out there are run by business managers more intent to beef up their bottomlines than pursuing high programme content with real production values? Hopefully many are not resorting to wide-eyed interns to justify their costs (as mentioned in my previous posts). To say that I’m disturbed is an understatement.

It irks me more that my "costs" are mentioned and circulated falsely within the industry. Where is the decency to pick up that phone and negotiate? Just in case you are not aware, I may do pro bono work if I feel strongly about the cause. 

Let’s think about ex·pen·sive /ikˈspensiv/

When does an item or product become expensive? Here is a very interesting article about products and the assignment of their respective prices from Harvard Business Review.

Now before I go further, here's my standard professional bio (mid 2013), albeit a brief one.

A graduate of Film & Media Studies dept (Film, Sound & Video) from Ngee Ann Polytechnic and Media & Communications from Murdoch University in Perth, Australia, Sanif Olek is one of the most accomplished and versatile Singaporean-based, television and film director. Since 1996 Sanif received multiple ‘Best Director’, ‘Best Drama Series’, ‘Best Magazine Series’ awards for his television work (ie, Kaki Borak, 1988...Segaris Sinar, Ayah @ Rumah, Soo Lazat, etc). His films have been screened internationally at major film festivals, won a NETPAC film award and showcased at international museums, ie the Museum of Modern Art (MoMA) New York, the Singapore Art Museum (SAM) and National Museum of Singapore (NAMoS). He works closely with the Singapore museums for commissioned works, residency and public outreach programmes. He is the head consultant at reeljuice, a collaborative creative agency actively promoting effective storytelling as means to enlighten the human condition. He is currently juggling between full-time commercial television work and lecturing. Sanif has just completed his debut feature film SAYANG DISAYANG, and completing another feature film, VOLUPTAS. 

It is odd to consider me expensive when television budgets have generally been raised. The programmes in the PSB funds have generally increased 3-5 fold within the last 5 years, yet I've quoted for a rather constant rate during the last 6 years for local television production. You might not be aware but most of the time, I'm responsible at improving on the original concepts, amending the scripts during filming day itself, repairing callsheets for APs during production and sitting-in during post-production (because many times the video editors these production houses have engaged are either overworked or creatively devoid of soul, or both).

…and oh, I should also add that I’m in this full time.

Furthermore I do not take up any other production on the side while being involved in an ongoing production. With all due respect to the other folks, kindly do not tag my rates to other directors who may be involved in filming as a sideline to their more lucrative 9 to 5 day jobs.

Also, may I add that it won't do any harm to the product if I choose to be hands-on. The results speak for itself.

Here's a thought - if you're gonna pay peanuts, you get monkeys.

The #sayangMovie completed.

In the morning of 30th May 2013, I posted the following tweets,

MasyaAllah! It is done. At Fajr. Remember this date 🙏
— sanif olek (@sanifoo) May 29, 2013

  

Remember this date. Remember this date. Ten years. Remember this day.
— sanif olek (@sanifoo) May 30, 2013

So yes, my first debut indie feature film, Sayang Disayang (previously called Ramuan Rahasia as its working title) is completed. Between the conception of the film in 2001, getting funding, yo-yo national film grant schemes, professional/personal learning curves, shifts in local film scene and 30th May 2013, it has been a long colourful *journey.

No additional filming was done, nor additional funding been received since the Konsert Ramuan fundraiser project in 2011 or efforts in online crowdfunding. My co-writer, Gene Sha Rudyn and myself relooked hard at the script and reworked a narrative outline without leaving out the magic we had set out to achieve when we first collaborated on the screenplay. But just before you jump to any conclusion, this exercise was more to refine the narrative, focussing on the characters and their human condition while keeping the essence of our story - than taking the easy way out to get it “over and done with”. Desperate times call for desperate measures.

In future when the opportunity permits itself, we shall share the journey of making the film itself.

The next phase of Sayang Disayang’s journey begins with getting this film - a voice from the center of the Nusantara - be seen by as many people as possible internationally. It will be another exciting journey.

For future updates, you might want to “Like” its page on facebook, follow it on twitter or search the web with the hashtag #sayangMovie.

*Kindly do “Ramuan Rahasia” in this blog’s search column to read all about this film’s bittersweet journey since 2009.

Thank you so much for your unequivocal support for this film, and for simply being there every step of the way. This means so much to everyone involved.

Perspectives updated

It's already coming to the second week of May and guess what?

I just realised I have not been working on any television projects since beginning of the year! There were the promising proposals and like many television projects in the past, these have either been postponed due to concept re-writing - could someone tell these know-all television executives to quit being clueless hesitant about what they think the audience really want to watch - or that the potential collaborators involved themselves been suddenly tied up in something else. I wouldn't call these hurdles but in my mind (after being in the industry for more than 15 years) consider these moments allow the ideas to mature.

Innovative series like LOST, GLEE or CSI wouldn't have seen the light of day if some gutsy television executives had not followed their winning instincts. And now you're getting television programmes (especially the local channels) which are either a copy or mutation of these. Furthermore, how long do you think your audience would buy into the so-called, reality/factual-formatted shows? Importantly, do popularity votes really translate into development of real talent?

And yet, you complain about falling ratings. You need to trust a writer for programme concepts that are more in tune with the ground. When your programmes start to look like the other programmes, something is wrong! One should innovate, not imitate. Before you programme your content, I would advise you put yourself as your own audience. Television audiences are becoming more discerning.

...Oh well, nothing's lost for me. I would rather focus my energy on ideas that appeal to the appreciative international audience.

So...

If you have been following my progress with two films, namely VOLUPTAS and RAMUAN RAHASIA, you might have wondered when I would eventually complete these.

My apologies but when it comes to my films, I have been a terrible, obnoxious perfectionist! You see, those of you who have worked with me would know that I would not do more than one television projects at one time, ie I would not undertake another television project while filming is still being done on another, or post-production is at its early stages for one. I truly respect my peers who can manage such multitasking but my priority and focus lies on one project at a time, most of the time.

Going back to my films - the self-imposed hibernation has allowed me to revisit these films. I have been watching a lot of films and stage plays. I have to admit it has not been easy to switch to the Cinematic Mode in between/after doing television for so long. VOLUPTAS was already shot and in the can since 2010 while RAMUAN RAHASIA was originally shot (and meant to be completed as a feature-length) in 2008. My last film, a short, was AMEEN and this was in 2010. And I've meant to release a film every 2 years - it is already 2013! I emphasize that I am very thankful to all the cast members (if you're reading this, you know who you are) who have been trusting in my vision and patient, for without them these films would not have been made.

But hey, perhaps it was a blessing that completion for these films are delayed. So much has passed since these films were shot. In the film VOLUPTAS, the cast members have gone on to win various industry awards and I should mention that they are now artistes at the pinnacle of their trades (and I'm very proud to have spotted them while no one was looking, so to speak), while in the film RAMUAN RAHASIA, I have gone through so much personal + professional awakenings and steep learning curves, among others. Heck, some ideas from the trailers were even erm, adapted! Nevertheless a good friend reminded me - they can take my ideas but they can never steal my soul - Ameen to that.

Getting creative gets better with age. These films deal with human relationships and I have to admit that returning to these films has been a sobering experience. These films would have been edited differently - I would have looked at human relationships in a different manner. The absence and then coming back has given me that third eye. At the moment I am looking at the footage as a creative editor than a filmmaker who would want to salvage all the footage shot. This might sound brutal - I know hehe!

In regards to RAMUAN RAHASIA, I have discussed with Gene Sha Rudyn, my co-writer, and we have decided to to rename the film SAYANG DISAYANG. Personally, this represents a new chapter, a fresh eye in storytelling, among other things. Furthermore SAYANG DISAYANG sounds rather, romantic and soulful. After all the hurdles, it gives me a chance to relook at the film in a new perspective.

At the moment I am giving myself deadlines - to finish VOLUPTAS and SAYANG DISAYANG in less than 2 weeks. Wish me luck!

A moving tale

A 24 year old boy seeing out from the train’s window shouted... 

“Dad, look the trees are going behind!”

Dad smiled and a young couple sitting nearby, looked at the 24 year old’s childish behaviour with pity, suddenly he again exclaimed...

“Dad, look the clouds are running with us!”

The couple couldn't resist and said to the old man...

“Why don’t you take your son to a good doctor?”

The old man smiled and said...

“I did and we are just coming from the hospital, my son was blind from birth, he just got his eyes today.”

ما شاء الله

A new chapter

Dear friends,

I would like to announce that the limited edition THE LOVE TRILOGY dvd compilation of my films has run out of stock. There are no plans for reprint in the immediate/near future. To those who have purchased a copy of this retrospective, please hold them dearly.

As the films journeyed from Singapore to Europe, the Americas, Africa and Australia, I'm pleased to be able to share with you an unflinching, cultural snapshot of my proud community at the centre of the Nusantara.

I'm grateful for the tremendous support that this first chapter of my personal storytelling journey has received. Your continued patience and love as I venture into the second chapter of my storytelling journey is much appreciated.

I'm humbled.

Pesta Perdana 12 (nominations)

So here it is again.

The premier event of the Malay television industry in Singapore. The awards to the prestigious PESTA PERDANA 12 will be presented on 1 March 2013 on MediaCorp's Suria channel 8.30 pm.

I am being nominated for directing in the drama series Anakku Sayang “My Dear Child”. Another programme that I directed, Delicatessen II – a food-dramedy-magazine series, is also being nominated.

Alhamdulillah


Nominations for Anakku Sayang are as follows,

1. Best Drama Series
2. Best Directing in Drama (that's moi)
3. Best Actor (Hasif Naser and Hasnul Rahmat)
4. Best Actress (Mastura Ahmad and Fauziah Nawi)
5. Best Supporting Actress (Nurulhuda Ramdzan and Siti Hajar Abdul Ghani)
6. Best Supporting Actor (Izzat Yusof)
7. Best Camerawork (Zamri Paimin)
8. Best Editing (Muhd Effandy Ismail)
9. Most Impactful Scene (audience vote)

Anakku Sayang receives the most number of nominations in the event with 12 nominations. The drama series was produced by DV Studio. (My other drama series 1988... Segaris Sinar holds unbeaten with a record 18 nominations at PESTA PERDANA 10)


Nominations for Delicatessen II are as follows,

1. Best Editing (Fa'in Syah Bahar)
2. Best Camerawork (Harrywanto & team)

Delicatessen II was produced by Fine Cut Media.

CONGRATS to fellow nominees in these and the other categories. As cliché as it may sound, getting nominated is already an honour. It is heartwarming to be celebrated for all the blood, sweat, tears and sacrifices we've put in to arrive here. We deserve the party! Thank you DV Studio and Fine Cut Media for the wonderful collaboration.

If you happened to have watched these nominated series, thank you so much for your unending support. You keep me going.

Regardless of the outcomes, I will be having fun at this prom night with the rest of the industry folks. It will be good to catch-up. :) 

ClubHEAL films artwork

Here they are, the complete set of artwork to tie in with the 4 films for ClubHEAL.

Click on the artworks for optimum size.

Concept, artwork & film direction: Sanif Olek

Healing.

Sometime in mid-2012, I attended a support group session for mentally-ill patients persons with mental health issues at Masjid Al-Khair. It was a rather moving experience for myself. I met with patients of different conditions.

Being with them reminded me of a deceased member in my family who was "incoherent" - which I learnt afterwards had extreme schizophrenia. I could only remember vaguely of that relative as it has been a long time ago when I was still a child. I recall my late father used to snap at any of us siblings every time gila ('mad' in Malay) was randomly used in a condescending manner in the house. I guess that early experience trained my siblings and I to be more mindful before we hurled insults (jokingly or otherwise) to one another. That mindfulness and tact got extended when we meet other similar persons outside the house or family circle.

There are other types of mental illness besides schizophrenia, ie extreme depression and bipolar disorder. Untreated, these conditions become detrimental to the sufferers and undue - in many cases, unnecessary - stress to the caregivers and loved ones. Professional help is available if one seeks it.

Thus when I was invited my conscience triggered my social responsibility to do something to highlight such health conditions. Also, I reckon this is a perfect outlet to give back to the community who has been supportive of my work. The visual medium can be effective to affect social awareness and commentary.

Stigma is the worse form of prejudice. It hinders rehabilitation.

Another hindrance to recovery is superstition. In the Malay community, open engagement to such condition is still considered tidak sopan or disrespectful. Asians are generally too steeped in "saving face" that conditions such as these are left locked at the back rooms of households. In this day and age, I'm disturbed that there are still factions in the community who are ignorant/do not have access to proper treatment in mental health issues.

Healing begins when we empower ourselves against the stigma at these mental patients. There is one person with mental health issues in every family and among our friends whether we like it or not. Healing begins when we accept our fractures and reach out to one another.

I took it upon myself to invite established actor friends (that were available during the filming) to be in the films - reason being that the cause would have better visibility by having established cast ensemble (ie Seriwahyuni Jaes, J Rosmini, Adrian Pang, Izzat Mohd Yusoff, Keatar HM, Era Farida, Nadiah Mohd Din, Zaleha Hamid, Siti Aishah Ahmad, Sani Hussin).

Alhamdulillah, I am very thankful that all the ensembled cast agreed to my call without hesitation. All the cast and crew came together with pure intention to propel our community forward. I'm truly humbled to be in the company of people to do Good, Ikhlas.

All four films were filmed in 2 days during the month of Ramadan 2012. These films were launched on 30 January 2013. They are 5 mins each.

           
           
           
           

The event was covered by the media channel ChannelnewsAsia.

The Hijab, Muslimah styling and Television

I have recently come across the blog OMGSIANZ and I'm particularly drawn to the pseudo television/film reviews that the writer posts. Although many of the posts tend to border on self-absorbed musings and irrelevance, I have to admit that the tongue-in-cheek posts are somewhat spot-on. Coming from the industry myself, I believe Singapore television needs such independent commentaries to keep our television in check. They keep us creatives on our toes.

(I can't speak for other directors' work process, but I listen to constructive inputs from my key creatives during production. After all, the creative process is a collaborative one. I need input from my scriptwriters, director of photography and casts, et al, to produce great, grounded works.)

In the spirit of the fasting month of Ramadan, Singapore's only Malay-language television station telecasts a number of Ramadan-themed programmes to get it's audience into the festive/religious spirit. One of the programmes is a family drama series, Pinggiran Ramadan "On the fringes of Ramadan" season 2. A review of one of the episodes was posted by OMGSIANZ.

It was typically hilarious. Yet some points were relevant, especially the commentaries on the hijab worn by the women cast in the programme. Here are some screenshots of the offending commentaries off the original blog. Click on the pictures to view the text.

I'm not going to elaborate the backlash the writer received for this particular post. I believe you can speculate easily the sort of reactions when such posts were perceived as attacks on personal fashion tastes, style and... blasphemy (!!), on the religion itself.

I want to categorically state that I emphatise with the respective female cast members that the posts oh-so "ridiculed". I've watched cast members on-set and I know how it feels like to be under the mercy of the fashion/wardrobe stylist. However I would have pointed to the respective stylist my concerns - upfront. Nevertheless, the blog's writer has highlighted a couple of things. Also how I feel about hijab-wearing television characters.

I'm no fashionista but when it comes to television, I think all the good stylist/wardrobe person on set should be aware that unless it's Cinderella at the ball, Willy Wonka or the motley Pirates of the Caribbean, the character's wardrobe should not distract from the actor him/herself. As a rule of thumb, I would have personally informed the stylist of my dramas that primary colours should not overwhelm the overall look of the respective characters. Any form of jewellery or glitters should not cloud the face. As an extension to this, the hijab should be understated in form and colour. I have experienced many situations where an actress, who originally wears the hijab off-camera, gets carried away by accessorising her hijab. (On many occasions the cast would have brought their own wardrobe to the set and it gets tricky. Regardless, the stylist/set wardrobe person/director/producer should have the final call to the "look".)

I also notice how some stylists would never make a distinction between "home clothes" and clothes worn outside the house. For example, a character who's about to go to bed - would an elaborate headgear be necessary? In fact for the woman at home, wouldn't the hijab be unnecessary when she is with her muhrim/mahram (immediate/close family members)?

Television has the ability to magnify. Thus, what might have looked good on-set overwhelms the respective cast on-screen. Thus, diminishing the actor's performance.

Perhaps, the very fact that the writer of OMGSIANZ blatantly pointed out many times on the hijabs was because the hijabs had indeed been too overwhelming onscreen that the performance of the cast took a backseat. 

I've read that the main purpose of the hijab is to protect the modesty of the woman, to draw unnecessary attention away from the wearer. I have nothing against the hijab, the veil or women with one of these. The women in my family wear one too. However let this occasion be food for thought to stylists/wardrobe persons, with all due respect. 

I would like to reiterate that Singapore (Malay) television needs independent commentaries like OMGSIANZ's to awaken the slumber - to keep us producers, writers, cast members, directors and stylists in check. The industry is too small that everyone tries to be nice to one another but being nice at times aggravates matter. I understand that the writer of the blog has since apologised and subsequently amended the original post.

We need to focus on the Good than trying to keep one another smug with false contentment. 

Actors enrich the screen, writers write. Producers ensure programmes get telecast. Directors execute concepts into artistically-compelling, yet enriching entertainment.

That's what we basically do. And there are the critics - their critiques sometimes entertain.

We need sharp-witted critiques to shake us from complacency. Let's pretend we are all comics and let's entertain one another.

After all, television is not about you and I. Television is about the audience. We need successful television.