MANILA – Not even the torrential rain initially dumped on the city by Typhoon Ineng could put a damper on the Singapore Dialogue: Media and Digital Content at Discovery Primea last August 18. Moderated by Ms. Angel Jacob, the discussions on creating television and film content for a global audience proved to be fruitful as several industry players based in the Philippines and Singapore, high-ranking content executives among them, came to listen in and participate in the conversation. Here are 10 tidbits gleaned from the day’s discussion.
1. 22 of 147 films in the 2014 Singapore International Film Festival were from the Philippines. It’s a strong showing, we have a vibrant market. –Joachim Ng, Director, Industry Operations, Media Development Authority of Singapore.
2. “We are so much more [than poverty gimmickry]” –Bianca Balbuena of Epicmedia Productions, Inc.
With hits like “That Thing Called Tadhana” and “Engkwentro” under her belt, Balbuena encourages filmmakers to ask: “what is this film for?” Films are a seven-year marriage from conceptualization to distribution. Content gives you the emotional pull. Philippine cinema—without creating a distinction between mainstream or indie films—is watched by Filipinos (or the global audience). Producers must always protect the artist/director, in Balbuena’s opinion, while being able to recoup investments plus 10% for those who hope to get back their money. Currently at work on a miniseries for Cinema 1.
Balbuena is challenged with her team to write/finalize a 22-minute script in two weeks. Other projects in the works include a Lav Diaz film and Pepe Diokno’s third film. For her, a production earns her interest through gut feel, sparks, being a fan of the director, if it provokes discourse or promotes history.
For “Above the Clouds,” she raised financing for three years from different countries: Korea, Germany, and France. Why the need for foreign collaborations? Her answer: To get grants, and benefit from the creative collaboration, which shapes the film into a complete package.
3. Lines aren’t as clear as before –even young kids can watch whatever they want on the Internet. So how do you make films that can compete against all other content? – Gin Kai Chan, Silver Media Group and Southeast Asian Audio-Visual Association (SAAVA)
Chan espouses the crafting of work that’s so real it hits home—for instance “3.50” (a co-production about human trafficking in Cambodia) –was deemed too real that it got banned in Cambodia, which could possibly be considered a badge of honor. When the discussion turned to getting one’s fair share in regional co-productions in the region, Chan encourages filmmakers to be braver about speaking out and getting a better deal. With the global film industry produces 10,000 films a year on average, those with better budgets are generally better made. And for those seeking to make their fortune, he shares this tip: There are more distributors looking for Asian horror and action movies nowadays.
4. “The lesson I learned was, if Coppola asks for a pink elephant, say ‘coming!'” Filmmaker Jun Juban of PFSI
Philippine Film Studios, Inc. or PFSI has been dubbed Oliver Stone’s “Far Eastern Secret.” Juban started out at age 15 with “Apocalypse Now” helping his older brother supply military hardware for the film’s requirements. Stone hired the company for “Platoon” and “Born on the Fourth of July” –and PFSI was behind the successful filming of “The Bourne Legacy”, as well as several reality TV shows based in the country. Now, a production company affiliated with Ang Lee is tapping them for the filming of a story based on Muhammad Ali’s “Thrilla in Manila.” Juban’s opinion on what makes Pinoys stand out from other locations and crews: The Philippine tech crew has a strong backbone and can-do attitude different from others.
5. The Singapore International Film Fest (SGIFF) is all about championing indie cinema. –Wei Jie Lai, film producer.
Ken Kwek’s work, “Unlucky Plaza” (which headlined the SGIFF), features a Singaporean director, Filipino lead actor (Epy Quizon), and a Burmese DOP –reflecting the different ways cross-cultural collaboration can create a film that may have a different twist but often affect audiences the same way. Having always admired the rigor and innovations of Philippine cinema, Lai cites Sherad Anthony Sanchez, Raya Martin and John Torres as directors whose works he has enjoyed.
6. “[Be careful on how you use branded content.] The audience is too smart.” –Jessel Monteverde, director, Abracadabra Inc.
7. “We are inspired by what we see…there’s a lot to be done here.” — Sonia Fleck, Bomanbridge Media Pte. Ltd. CEO
Likening the availability of content in the Asian market to a lemon that keeps giving juice, but still requires squeezing, Fleck emphasizes creating an appetite for content, representing all genres and working with every market, and distributing it well—finding the right partners to create synergy. Being on the lookout for interesting characters is part of their mission—and “Haute & Saucy”, starring Kelly Randall Sia, illustrates this case, as the beautiful and fashion-forward gourmet entrances viewers with food and flair. “It’s a long hard upward climb, it’s a very exciting time,” she says.
8. “The world is your oyster, but you have to make pearls. Asians are very good at creating content.” — Peter Bithos, CEO, HOOQ
“We love to tell great stories to a billion people in Asia and beyond.” The audience has changed more than we think, in Bithos’ opinion, as he points out how “Game of Thrones” and “Breaking Bad” changed how audiences enjoy their stories –and it’s paved the way for a lot of other content being built. “Tell edgier stories,” he encourages “Because the audience is here, and it’s changed. We try to get good stories in terms of quality and quantity. We’re spoiled for choice, so we have to find the right stories that cut through. Think more broadly beyond geography.”
9. “The line of separation between local and international [content] isn’t that wide.”– Galen Yeo, The Moving Visuals Company.
It’s about collaborating and finding content that rings true to your audience. “Beauty detective” was a popular series because we discovered that audiences liked seeing the host being authentic, instead of portraying a dramatic role that they’re often used to seeing her do onscreen. “[BBC-era] cameramen are a dying breed. [I’d like to] open a camera school at some point. It’s about asking questions.” Audiences are different, yet the same, everywhere. Put different thinking hats on. If you know how to pitch it right, sell it right, why not?
10. Evelyn Raymundo, ABS-CBN: now is a good time to be a content creator & be an entertainment consumer.
27 of the top 30 shows dominating the airwaves are from ABS-CBN. “We are attuned to changing and evolving tastes, catering to a demand for quirkier and edgier shows—telling stories with a different lens.” Going away from the stereotype isn’t without risk, Raymundo points out, but the storytellers at ABS-CBN are flexible enough to shift the story and the characters’ story when the ratings dip—and they know that a good cliffhanger is essential in keeping audiences hooked.
Neverthless, it’s essential for them to also to capture authenticity, being mindful to collaborate with the right creative people. Filipinos are exposed to global content, and are digital savvy, as 8.5 M Filipinos living overseas create exposure and connections. Because of this, the company constantly upgrades their equipment to keep production values up. Free TV means feeding a voracious appetite for content, meaning longer stories to tell (coming from a generation used to radio serials). While the Philippines is still predominantly a one-TV household, smartphones will soon change the game, and the company is ready for that wave.
