Local film-maker slams plan to bring Hollywood to Bario without involving local film industry
Benny Zachariah, executive producer of BFG Media & Entertainment Production, is hopping mad.
After making two local Iban-language films along with the first Iban travel documentary, Jalai-Jalai 1Malaysia, scrounging, scraping and soliciting funding for his movies, the independent filmmaker wants to know why the local film industry is being passed over for the glitter of already-successful Hollywood moguls.
“We want to know what’s in it for us if Hollywood comes to film in Bario,” he asked referring to Datuk Seri Idris Jala’s plan to create a Hollywood blockbuster in the highland country.
“Are we from the local film industry going to be able to participate? Would they be hiring our local actors? How would Sarawak benefit in the long-term?”
It’s not a matter of injured personal pride for Benny but about professionalism and long-term planning.
Without proper mechanisms laid down to spur the growth of the local film industry and safeguard the state’s interests, Benny doubts that Bario, much less Sarawak, would benefit greatly from such a venture.
In Hollywood, Benny said, there are epic blockbusters, and then there are B movies.
“Just because you have foreign filmmakers come here, it isn’t a magic pill that your location will become famous. Look at movies like Farewell to the King and Sleeping Dictionary – how have these movies boosted our cultural identity or promoted the state as a tourist spot?”
Thailand, for example, has its own thriving local film industry. Thanks to an enterprising tourism authority and other factors like low production costs as well as a legion of local experienced crew members, Thailand is a popular destination for foreign filmmakers, including Hollywood, which has a long working history with the country, starting with Miss Suwanna of Siam in 1923.
The production saw King Vajiravudh giving them the free use of his 52 automobiles, 60 horses, use of the Royal Thai Navy, the Grand Palace and so much more. Since then, Thailand has become the go-to destination for foreign production houses.
In 2011 alone, the country has earned 769.71 million Bahts (RM77.170 million) in revenue from 350 films ranging from feature films, documentaries, advertising, music videos and TV series. Last year, it earned 1.8 billion Bahts (USD60 million) in revenue from foreign production companies alone. In comparison, Sarawak has become a haven for West Malaysian filmmakers as there is no charge for filming on location and there is no film commission agency here to protect or promote local Sarawakian talent.
“The state government needs to notch up its support for the film industry by setting up a separate film commission agency through such bodies as the Sarawak Economic Development Corporation (SEDC) to fix fees for shooting permits on properties, owned by the government such as national parks, beaches, monuments, Kuching Waterfront,” Benny suggested.
He believes that a symbiosis between foreign production houses and Sarawak has to exist to realise the state’s potential as a centre for films and filmmaking.
“Moreover, through the issuance of film-shooting permits, the state government can earn a generous income from foreign film-makers like Hollywood who can earn millions of dollars through ticket sales around the world. Why allow them to come to Sarawak to shoot for free?”
The regulation also has to be extended to KL-based production houses. With the set-up of the film commission in the state, Benny said one of its criteria for foreign filmmakers to shoot in the state is to engage the local filmmakers.
In Thailand, safeguards are put in place to protect the image and the country’s resources as well as cultivate their local talent.
Foreign filmmakers, for example, have to engage local coordinators first before they are granted filming permits.
The local co-ordinators then engage them with local crew members and general production support. It’s a win-win situation for all involved, something which Benny wants to see for Sarawak.
“Even though West Malaysian-based filmmakers may have permits from FINAS, the state government can still impose acceptable fees for them to shoot in Sarawak,” he said, reasoning that their crew should have a 40 per cent quota of Sarawakians which will help local film crews gain experience and confidence in their craft.
The creation of a One-Stop-Service centre pioneered by SEDC would also enable foreign and West Malaysian-based filmmakers to obtain necessary permits within three days to legally film in Sarawak. Another aspect being overlooked is commercial viability in the global market.
“I believe if we film an epic on James Brooke: The White Rajah, rather than Rentap, the former would get foreign buyers more easily,” he said.
“I’m not trying to promote ‘penjajah’ by doing that type of movie, but in terms of international recognition, this sort of historical film would appeal to the international market.”
At the end of the day, however, it does come back to the local film industry.
“Idris should give locals a chance to portray Sarawak as only we know how,” Benny said.
“Since I filmed Apai Saloi, I have been fighting alone over the last four years for recognition and funding. I trained and cultivated my own actors all across Sarawak but I’m not the only independent filmmaker in Sarawak. If you don’t give your own people the chance, then we can’t grow.”