Term limits aside, Kamil Othman should continue on as director-general of FINAS
IT has been some exciting 24 months for the local film industry. Under the guidance of former DJ and MDEC-transferee Kamil Othman, Malaysian film development authority FINAS has been increasingly functional. In fact, we’ve had quality, commercial appeal and collaborations between different stakeholders in local and international cinema.
It could potentially get much better from here on. But we also know Kamil’s term as ketua pengarah at FINAS is coming to an end next month — it will soon be two years since his appointment in November 2014. We refuse to accept protocol for the sake of protocol: we want Kamil to stay so we may see the results of his realignments within the industry.
To help strengthen our case, we present to you five reasons Kamil Othman should stay on as director-general of FINAS.
1. Malaysian films, not ____-language films
Kamil is Malaysian. He cares for your work as a filmmaker, not your lineage. As director-general of FINAS, Kamil has gone on to support a diverse range of Malaysian projects, amplifying the voices of minorities and those sidelined as a result of the National Cultural Policy (NCP). When local cinemas tried to rid themselves off Shanjhey Kumar Perumal‘s Jagat, FINAS stepped in to ensure people could access the movie. Jagat went on to screen for 10 weeks in selected venues. Most importantly, it also took home Filem Terbaik at Festival Filem Malaysia (FFM). This is a milestone — after 36 years, our national film awards ceremony is finally ready to open its Filem Terbaik category to the rest of Malaysia. Meanwhile, East Malaysian projects FINAS has aided during his term include Festival Filem Malaysia-winner Nota and landmark storytelling project Big Stories Bongkud-Namaus. Noting the necessity of developing an industry in the other of Malaysia, Kamil has also expressed support for Sabah-based film screening initiative Cinebah.
2. #KamiSokongKamil
Remember Jurey Latiff Rosli, president of GAFIM? The guy who sent a letter to Communications Minister Salleh Said Keruak claiming that Kamil was leading FINAS to ruin? The social media furore that followed put Jurey back in his place and exposed the politics underlying Malaysia’s film industry. Fascinatingly, it also provoked a rare display of solidarity for a Malaysian civil servant. Using the social media hashtag #KamiSokongKamil, stakeholders in Malaysian cinema — we’re talking the likes of Nam Ron, Susan Lankester, Bront Palarae, Sharifah Amani, Zahiril Adzim, Vanidah Imran, Tengku Iesta and Afdlin Shauki — went on Twitter, Facebook and Instagram to express their support for Kamil. #KamiSokongKamil even managed to trend at one point, elevating it to public attention. Now tell us, which FINAS director-general has ever gotten that much love?
3. He is literally everywhere
The Daily Seni bumps into Kamil in public so many times, we swear he has a body double. We know Kamil is director-general of FINAS, but we didn’t expect him to show up at so many film-related events. Kamil was there to catch Malaysian-Indonesian co-production My Stupid Boss. Kamil was also there for the premiere of local Oscar submission Redha, long before it began qualifying for awards. Even when we were in Japan for a meet and greet with Filipino auteur Brillante Mendoza, we somehow managed to catch Kamil, twice! Perhaps resulting from his genuine enthusiasm in film, Kamil was recently reelected by the Asian Film Commissions Network (AFCNet) as Vice President for the second consecutive term. Yes, even Busan is keeping hold onto Kamil; let’s not make the embarrassing mistake of letting this one fly off.
4. Is there really a two-year term limit?
Regardless of what has been said about FINAS’s two-year terms for director-generals, let’s not forget that former FINAS director-general the late Mohd Shariff Ahmad held the position for ten years. Shariff led FINAS from 1995 to 2005 and then became CEO of the Creative Content Industries Association (CCIG) from 2012 to 2014. But there is one other director-general who lasted longer than a single term: , current CEO of the Creative Content Association Malaysia (CCAM) was director-general from 2006 to 2011. It seems to us that the two-year term limit is about as concrete as the “films should be 70% in the Malay language” rule Festival Filem Malaysia tried to tout repeatedly. Now are you beginning to see why there are no reasons to drop Kamil just yet?
5. Kamil should be allowed to finish what he started
Face it. Two years is a very short time to get anything done on a national level, especially in a film industry like ours. Kamil has struck up a number of initiatives during his time which should be maintained under his supervision. Why let someone else come on board and steer Kamil’s hand-built ship out of this mess? We don’t want someone new coming in and changing skim wajib tayang back to how it used to be. From co-production treaties to establishing a dedicated cinematheque in FINAS’s Content Malaysia Pitching Centre, Kamil’s judgement as director-general inspires confidence in the civil service. Which government entity has ever thought of something that puts their boss on the spot like TanyaFINAS? Bear in mind that TanyaFINAS also used to be called , which further verifies Kamil’s authority and intent.
Express your support for Kamil Othman by using the hashtag on social media, make your voice count and make some noise! In the meantime, follow and don’t forget to post on their timeline too if you have any concerns! Featured image sourced from Kr8tifexpress.
Salam. Kenyataan berikut tidak ada kaitan dengan kapasiti rasmi saya sebagai Presiden PENULIS, tetapi lebih sekadar pendapat peribadi sahaja. Memandangkan pentadbiran Ketua Pengarah FINAS Malaysia, Datuk Kamil Othman bakal berakhir tidak lama lagi, saya ingin bertanya beberapa soalan. Mungkin rakan-rakan lain yang lebih bijak boleh bantu berikan pencerahan:
1. Seperti yang diketahui, para penerbit TV dan filem di Malaysia masih punyai isu dengan stesen penyiar (broadcaster) seperti Astro Media Prima Berhad dan RTM – Radio Televisyen Malaysia. Biarpun bidang kuasa stesen penyiar jatuh bawah Kementerian Komunikasi dan Multimedia Malaysia, KKMM, namun FINAS Malaysia berada di dalam posisi (yang besar) untuk mempengaruhi polisi stesen penyiar khususnya di dalam bidang penerbitan drama, memandangkan lesen penerbitan drama TV juga dikeluarkan oleh Finas. Soalan saya, sepanjang pentadbiran Datuk Kamil selama dua tahun, apakah ‘progress’ yang telah dibuat oleh FINAS ke arah mengubah polisi stesen penyiar? Adakah banyak? Sedikit? Atau tidak ada langsung?
2. Pitching Centre FINAS telah membantu ramai penggiat filem, antaranya rakan-rakan saya sendiri. Namun begitu, ada juga syarikat yang tidak pernah ada latar belakang penerbitan yang turut memohon (‘grant-hunters’), dan diberi dana tersebut. Apakah kajian ke atas impak Content Malaysia Pitching Centre (CMPC) dari segi pulangan kepada Kerajaan Malaysia dan Rakyat Malaysia? Dari dana RM 100 juta yang disalurkan setakat ini, apakah:
a) Return-on-Investment (R.O.I) ke atas wang yang sudah dikeluarkan?
b) Apakah senarai syarikat yang berjaya mendapat dana tersebut?
c) Adakah ‘background check’ dibuat ke atas syarikat-syarikat ini?
d) Siapakah yang meluluskan permohonan?
e) Pernahkah FINAS memeriksa sama ada pekerja di bawah projek-projek yang menerima dana Pitching Centre bekerja dengan kontrak? Dibayar lumayan?
f) Di manakah ‘trailers’ untuk kesemua projek yang mendapat dana ‘script development’?
g) Berapa banyakkan projek yang skripnya diluluskan?
h) Apakah kriteria kelulusan?
3. Dari manakah datangnya idea untuk mewujudkan Pitching Centre? Dari Datuk Kamil Othman, atau MDec?
4. TanyaKP (sekarang di ‘rebrand’ sebagai TanyaFINAS, mengapa agaknya): adakah ini kali pertama sebuah perbadanan kerajaan membuat sesi soal jawab dengan Ketua Pengarah? Kerana setahu saya, JPJ ada TanyaJPJ dan PEMANDU pernah ada sesi soal jawab dengan Menteri.
5. Dari segi pemasaran filem antarabangsa, apakah status terkini? Apakah ROI ke atas filem-filem Malaysia yang dipasarkan di MIPCOM (atau lain-lain pasaran filem)?
6. Apakah status kemajuan FIMI (Film In Malaysia Incentive?). Selain drama bersiri Netflix, Marco Polo, apakah pulangan FIMI kepada pekerja filem Malaysia, rakyat Malaysia dan Kerajaan Malaysia? Selain Marco Polo, masih belum ada produksi filem Hollywood besar yang menggunakan ruang di Pinewood Studios Bandar Iskandar. Bukankah tugas mempromosi FIMI kepada ‘investor’ luar jatuh di bawah bidang kuasa FINAS? Atau adakah studio Hollywood tidak ada kepercayaan kepada FIMI dan FINAS?
7. Apakah status gaji minima pekerja industri filem dan TV Malaysia? Untuk makluman Datuk Kamil, sebuah industri filem bermula dengan kandungan kreatif. Tetapi yang mencipta kandungan kreatif tersebut adalah para pekerjanya. Sekiranya kebajikan pekerja tidak terjaga, siapa yang nak menjaga kualiti kandungan kreatif tersebut?
8. Mengapakah FINAS tidak memandatkan penggunaan kontrak antara Pekerja FIlem dan Syarikat Penerbitan? Dalam masa dua tahun Datuk Kamil Othman memegang jawatan sebagai Ketua Pengarah FINAS, masih belum berjaya selesaikan perkara ini.
9. Kadar kutipan tiket wayang filem tempatan makin merudum. Apakah langkah FINAS untuk menangani situasi ini?
Sekian. Sekadar pertanyaan. Pohon ribuan maaf atas segala yang khilaf.
kekal kamil sbg KP, terus maju filem tanah air
Ditto that!