Directors, producers keep conflict aflame<\/p>\n
JAKARTA (JP): Film distribution is the most delicate aspect of
\nthe Indonesian movie business.<\/p>\n
Producers often have to bow to distributors' will to get their
\nmovies distributed and screened so that they can recoup their
\nspending.<\/p>\n
By and large, theater owners will also do anything to please
\ndistributors to get movies on a regular basis and keep their
\nbusinesses afloat.<\/p>\n
Over the past few years, the movie business has been further
\ncomplicated by the unfair business practice by which people who
\ncontrol distribution also control a powerful chain of movie
\ntheaters.<\/p>\n
The Subentra Group, controlled by tycoon Sudwikadmono -- a
\nrelative of former president Soeharto -- monopolizes film
\nimportation and also runs the theaters under the banner of the 21
\nGroup.<\/p>\n
Some film directors say the practice hurts the development of
\nthe national film industry because the \"cartel\" prefers
\ndistributing and screening imported films, which promise more
\nprofit than locally made ones.<\/p>\n
One of the victims is Slamet Rahardjo. His 1991 production
\nLangitku Rumahku (My Sky is My Home) was successful at
\ninternational festivals but a flop at home.<\/p>\n
The 21 Group of movie theaters showed his film for only one
\nday on the pretext that ticket sales were intolerably low.<\/p>\n
Slamet and other critics believe the monopolistic practices
\nhave allowed the theaters to refuse locally made movies in favor
\nof imported ones for the sake of money.<\/p>\n
Slamet took the case to court but lost.<\/p>\n
\"We have no chance to get our movies distributed. We are
\ngambling (when we make them),\" Slamet says.<\/p>\n
\"The question should not be whether we can still make movies
\nor not, but what should we make them for? There is nothing that
\ncan motivate one to make a film in this country. Only crazy
\npeople like me want to make movies.\"<\/p>\n
Noted director Garin Nugroho, says that movie theaters think
\nof nothing but money and they do not bother about developing
\ninfrastructure for the national film industry.<\/p>\n
Garin says it is important that local film directors know they
\nhave a long way to go before local movies can be on a par with
\nthe imports.<\/p>\n
\"The system cannot be fought with rhetoric but with our work,\"
\nhe says.<\/p>\n
Johan Tjasmadi, who has ruled the Association of Movie Theater
\nOwners (GPBSI) unchallenged for 32 years, has come out in defense
\nof the 21 Group cinemas. He charged that directors are not well-
\nversed in the movie business.<\/p>\n
\"It is all a matter of management. To succeed, any movie
\ntheater has to have good management which knows how to take care
\nof their audience,\" he says.<\/p>\n
\"These directors who are also artists do not know about the
\neconomic aspects. It's crazy to expect theater owners to screen
\nmovies that do not attract audiences, or movies that will make
\npeople bored.\"<\/p>\n
To make a good, saleable movie, Johan advises that directors
\nshould know the market segment they want to address.<\/p>\n
He points out that local directors lack a \"pleasant state of
\nmind\" when making a film.<\/p>\n
\"For instance, when Slamet made Langitku Rumahku, he was
\napparently in a bad mood. He will not say this, of course. Any
\nmovie that conveys its director's anger won't sell.\"<\/p>\n
The problem actually lies with the people involved in films'
\nproduction, Johan says. Many movie theaters have closed down
\nbecause they cannot get enough to screen. The number of locally
\nproduced movies have been decreasing at the same time as a
\nfalling supply of imported films.<\/p>\n
Jimmy Harianto, director at the 21 group of cinemas,
\nunderlines Johan's opinions.<\/p>\n
\"How can we screen local films when they (producers) cannot
\nafford to make copies?\" he says.<\/p>\n
Another executive at the 21 Group says some local producers
\nintentionally limit the number of copies of their films.<\/p>\n
Garin, for instance, only made two copies of his famous Daun
\nDi Atas Bantal (A Leaf on a Pillow), which cost around Rp 700
\nmillion (US$60,000).<\/p>\n
\"The response from the public is extraordinary. We have
\nalready sold more than 31,000 tickets for Daun at Pondok Indah
\nand Plaza Senayan theaters only. I don't know why Garin does not
\nproduce more copies,\" he said.<\/p>\n
Quality, however, seems to be more important for Garin than
\nthe number of copies available. \"Local film laboratories are
\nunable to process film with excellent quality. Meanwhile,
\nmoviegoers demand local films have picture and sound quality
\ncomparable to Hollywood movies,\" said Garin.<\/p>\n
To anticipate this, the producer of Daun Di Atas Bantal sent
\nthe movie to be processed in Australia, even though this means
\nthat they could only afford two copies for the local market. For
\nthe international market, the film's distributors from Japan and
\nFrance supported the film by prepaying the processing fee for
\ntheir own copies.<\/p>\n
Another director, Marselli Sumarno, also has limited copies of
\nhis debut, Sri, which cost almost Rp 800 million.<\/p>\n
\"Ideally, a film needs 20 copies for one city. But I made only
\nsix. Three for the domestic market and three for the
\ninternational market,\" Marselli said. (rid\/ylt)<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/directors-producers-keep-conflict-aflame-1447893297",
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