Film-goers have followed with interest the merger of leading multiplex operators Major Cineplex and EGV, creating a new cinema superpower with combined screens accounting for about 70 per cent of the total cinema screens in the country. Public enthusiasm is certainly not about how big or powerful the new entertainment giant will be. What concerns movie buffs is simply whether the merger will make us rely on our DVD players less or more.
Thai audiences have in recent years complained about the lack of variety on offer at multiplexes, as the number of screens doesn't guarantee the number of movies. Obviously, the operators allocate most of their screens to blockbusters. The remaining screens are then allocated to what they consider "secondary" films. The benefit of this method is that film-goers can find a smash hit movie at any multiplex, at a showing time to suit them. For operators, the method means the more screens they show a blockbuster on, the higher ticket revenues they receive.
Yet the very idea of cashing in on blockbusters has gradually killed the concept of the multiplex theatre in Thailand, which is designed to offer a greater variety of films at one property.
When EGV opened the first multiplex in Bang Khae in 1995, film-goers were overwhelmed by the choice of films each weekend. The initial period was like a dream, as we could enjoy the concept of multiplexes developed by the West. A 14-screen multiplex theatre showed between six and eight films. Now that spirit has gone and film-goers aren't surprised if a 10-plus screen multiplex shows three to four films on weekends.
Fierce competition between operators is the reason for this sad state of affairs, but now that the two biggest have merged, we can hope for better. Optimistically, Major and EGV are no longer engaged in cut-throat competition and should be able to embark on a new business direction that responds to consumer demand.
Some film fans have developed a habit of watching movies on DVD. A pirate DVD costs between Bt100 and Bt180, providing home entertainment for the entire family. Why leave home to face the traffic and fight for a parking space when you can relax, arrange your own show time, and have food and drinks while watching your favourite films?
DVD is an ideal medium for alternative film-lovers. Many critically acclaimed films that never reach Thai theatres are available in DVD format.
Cinema operators should also realise that pricing is a sensitive issue too. A veteran movie critic voiced concern that multiplexes shouldn't emphasise luxury seats, which carry with them a considerable hike in ticket price.
"After all, movies are cheap entertainment and aren't supposed to be a luxury." Although ticket pricing in Thailand is fairly inexpensive compared to many countries, it is the not figures that rule, but how consumers feel. Support will certainly follow if multiplex operators encourage discounts for young children and seniors.
United International Pictures general manager Anthony Vogels told The Nation how surprised he was to learn that there were no discounts for children in Thai cinemas. To this newly-arrived executive, such a pricing policy doesn't encourage families to go to the movies.
A small yet influential group of film buffs wants to know whether the merger will bring more alternative and art films. It is obvious that Thailand's cinemas are second to none in the region for screening mainstream Hollywood blockbusters, but it seems alternative film fans feel neglected. Their sole hope lies in the film festivals run by various embassies and organisations.
Following the recent merger, this group of consumers - arguably the fastest growing group - certainly expects better movie line-ups. It has been the challenge of marketing people everywhere to make a profit on these kinds of movies. But now that the spell has been broken with the box-office success of Michael Moore's "Fahrenheit 9/11", marketing people should be aware that alternative movies can be profitable. And if they observe the film festivals, which have been well received here, they should be able to defy their target audiences.
The good news is that SF Cinema City Co, operator of the SFX chain, announced it would open an indie film theatre at RCA. Major also plans to unveil alternative theatres at various venues, including Central World Plaza and Major Ratchayothin.
Film-goers also hope the merged chain does its bit to help promote Thai films. With the likes of "Satree Lek" and "Ong Bak" doing so well in international market, Thai films should be given special privileges in their home market.
Sad but true, while Cannes jury prize-winner "Sud Pralad" ("Tropical Malady") opened on more than 50 screens in many European countries, it was screened here in only three theatres - Major Sukhumvit, Major Ratchayothin and Siam. That says something about how we celebrate a successful Thai film.
Certainly, movie lovers have more desires, but let's start realistically: Let's hope that we have eight movies to choose from at one multiplex and that we don't have to wait for the next film festival to view an art film.
Published on Jul 3, 2004
Showing posts with label film. Show all posts
Showing posts with label film. Show all posts
Sunday, December 31, 2006
A golden opportunity for Thai filmmakers
So how would you explain this? A Thai director Wych Kaosayananda created "Fah", a Thai film which suffered faced a tragic demise quietly at the box office several years ago. Now he is striking back with his second film. "Ballistic: Ecks vs Sever" is his debut under the "Hollywood director" establishment.
Should we feel proud of our fellow Thai who has made it big in Hollywood or should we regret that we've lost yet another resource to the superpower of the celluloid world?
Wych is just another example of the increasing Asian flavours that Hollywood studios have recently injected into their films.
We've heard familiar names before. John Woo has already established himself as a Hollywood director, while Jackie Chan has made kung-fu home entertainment in the West.
The acclaimed director of "The Sixth Sense", "Unbreakable" and "Signs" is M Night Shyamalan who was born in the south of India and grew up in the States.
The recruitment of stars from the Asian cinema industry is not a new phenomenon, but it has become more conspicuous over the past several years.
It's not that Hollywood is afraid of losing its predominance in the entertainment industry (because it will never reach that point), but it shows clearly how the big studios handle the situation when they realise that Asian arts are "in" for their audience. In this way Hollywood has turned "threat" into "treat".
Instead of sitting back and watching the renaissance of Asian films, the major studios have incorporated Asian elements into their own industry, responding to movie buffs' demand for characters of "other" cultures.
This also provides an even better chance to penetrate the market outside the US when you display the household names of Chow Yun-fat, Gong Li, and Jackie Chan.
Cutting back to Asian filmmakers, they have nothing to worry about nowadays. It's their golden chance as the world is more than willing to accept their creative work.
Hollywood's acceptance by default has given them more opportunities to explore new ideas and enjoy a much bigger production budget for each film project.
The Thai film industry is no exception as the industry has gained the advantage of being indirectly driven by the international community.
Thai filmmakers have received both money and awards for such Thai films as "Nang Nak", "Tears of the Black Tiger", and "Satree Lek". The hype has increased to the level that some Thai films have even been booked by foreign distributors even before they are wrapped.
Rising from the drought of the past few years, more than 10 titles were released during the first half of this year.
The changing situation in Thailand alone shows why Hollywood has had to adapt itself.
The fact that "Nang Nak" grossed Bt150 million in 1999, while many Hollywood flicks struggled to earn Bt100 million says something about the whole phenomenon. Revenues from "Satree Lek" and "Bang Rajan" also exceeded most American blockbusters.
If more and more locally-made films -with quality equal to the big Thai blockbusters - fill the theatre slots, Hollywood film profits will certainly be challenged from both the variety of Thai films and the shorter screening periods in local theatres.
To filmmakers: the cake is big enough and it's right on your plate.
It's up to you to produce good work and take your fair share. You no longer need to travel to Hollywood to do a great job.
Stay here, do your job well and you'll be handsomely rewarded. But beware, Hollywood is watching over you guys.
Published on Sep 28, 2002
Should we feel proud of our fellow Thai who has made it big in Hollywood or should we regret that we've lost yet another resource to the superpower of the celluloid world?
Wych is just another example of the increasing Asian flavours that Hollywood studios have recently injected into their films.
We've heard familiar names before. John Woo has already established himself as a Hollywood director, while Jackie Chan has made kung-fu home entertainment in the West.
The acclaimed director of "The Sixth Sense", "Unbreakable" and "Signs" is M Night Shyamalan who was born in the south of India and grew up in the States.
The recruitment of stars from the Asian cinema industry is not a new phenomenon, but it has become more conspicuous over the past several years.
It's not that Hollywood is afraid of losing its predominance in the entertainment industry (because it will never reach that point), but it shows clearly how the big studios handle the situation when they realise that Asian arts are "in" for their audience. In this way Hollywood has turned "threat" into "treat".
Instead of sitting back and watching the renaissance of Asian films, the major studios have incorporated Asian elements into their own industry, responding to movie buffs' demand for characters of "other" cultures.
This also provides an even better chance to penetrate the market outside the US when you display the household names of Chow Yun-fat, Gong Li, and Jackie Chan.
Cutting back to Asian filmmakers, they have nothing to worry about nowadays. It's their golden chance as the world is more than willing to accept their creative work.
Hollywood's acceptance by default has given them more opportunities to explore new ideas and enjoy a much bigger production budget for each film project.
The Thai film industry is no exception as the industry has gained the advantage of being indirectly driven by the international community.
Thai filmmakers have received both money and awards for such Thai films as "Nang Nak", "Tears of the Black Tiger", and "Satree Lek". The hype has increased to the level that some Thai films have even been booked by foreign distributors even before they are wrapped.
Rising from the drought of the past few years, more than 10 titles were released during the first half of this year.
The changing situation in Thailand alone shows why Hollywood has had to adapt itself.
The fact that "Nang Nak" grossed Bt150 million in 1999, while many Hollywood flicks struggled to earn Bt100 million says something about the whole phenomenon. Revenues from "Satree Lek" and "Bang Rajan" also exceeded most American blockbusters.
If more and more locally-made films -with quality equal to the big Thai blockbusters - fill the theatre slots, Hollywood film profits will certainly be challenged from both the variety of Thai films and the shorter screening periods in local theatres.
To filmmakers: the cake is big enough and it's right on your plate.
It's up to you to produce good work and take your fair share. You no longer need to travel to Hollywood to do a great job.
Stay here, do your job well and you'll be handsomely rewarded. But beware, Hollywood is watching over you guys.
Published on Sep 28, 2002
Making AF/WM movies more sophisticated
Shortly after I wrote about a movie by Thai director Wych Kaosayananda, “Ballistic: Ecks vs Sever”, my cousin in the United States wrote me an e-mail. He said he doesn’t know anything about this Thai director and he hasn’t seen the film.
“I probably would not see it because it’s just another Asian female and white male pairing,” he commented
Well, there is always a good reason not to see a film. He also said that there is a growing gripe inside the Asian American community about the pairing of Asian female and white males (hereafter called AF/WM) portrayed in the media.
The Hollywood AF/WM formula includes “Tuxedo”, “Rush Hour I and II”, “Shanghai Noon”, “Shanghai Knights”, “Romeo Must Die”, “Wayne’s World”, “Year of the Dragon” and “The Touch”, to name just a few.
Another thing the Asian American community doesn’t feel comfortable about is the unrealistic nature of those films compared to white male and female stars. Think about it:
In “Rush Hour I & II”, Jackie Chan never gets the girl. In short, there is no romantic female lead character for him at all.
In another Jackie Chan flick, “Shanghai Noon”, Jackie Chan never has a love scene with his heroine, Lucy Liu.In a sequel, “Shanghai Knights”, his sidekick Owen Wilson is romantically involved with Jackie Chan’s sister in the film. And Wilson is a white man. In “Romeo Must Die”, a Jet Li movie, there is a lead female Aaliyah, an African-American girl. They flirted but there was no kissing in the story.
In most films, the lead characters are always blessed with virtue: they get rid of the bad guys or they save the world, so shouldn’t they get some love?
Take another example: Chow Yun Fat, who was once (and for some, still is) a darling, has never had a romantic love interest after entering the Hollywood studios.
In his Hollywood debut “The Replacement Killer”, his role was absolutely free of romantic moments. Perhaps the closest was in “Anna and The King” with Jodie Foster.
On the other side of the coin, the movie and the book “Joy Luck Club” portrays Asian males as materialistic and chauvinistic unlike the white males whom Asian female characters consider as ideal mates.
So why does Hollywood always match white males (or non-Asians) with Asian females? It’s interesting to study this phenomenon. One simple assumption we would take is that Hollywood is trying to expand its viewer base.
When Jackie Chan’s movie premiered here, Thai people – especially old fans of his kung-fu movies – didn’t really care if he brought along farang characters but they’d say: “Hey! Let’s go see Cheng Long’s film (the name Thai people call him).”
Before his Hollywood days, only Jackie Chan’s films dominated the box-office in Thailand during Chinese New Year.
Having Asian characters in films should help Hollywood maintain its grip over the celluloid world especially when Asian cultures have been rising in the film industry.
The arrival of Asian superstars like Jackie Chan, Chow Yun Fat, or Michelle Yeoh can open a new chapter for Hollywood, paving the way for the big studios to offer some new faces in the films – if not new plots or story lines.
Hollywood may have to work harder and offer more quality for multinational audiences. First and foremost, it is the studio’s task to make the characters played by Asian stars more rounded rather than flat.
What has been portrayed in Hollywood flicks are mostly updated versions of similarly themes in movies made a decade ago.
The difference is only the later works are being advanced with more sophisticated pre-and post production techniques.
The big studios have also done their best to avoid stereotyping Asian characters. If their aim is to broaden their audience base, they do have to bear in mind that the audience knows best when it comes to their own people.
Featuring flat characters and stereotyped Asians will certainly make the films boring to non-Western audiences.
One last thing that may please the Asian American community in the US is that Hollywood must prove that the Asian-white pair formula films can be portrayed in all genres of films, including romance.
The Asian stars have to kiss and be engaged in some sex scenes just like their Hollywood counterparts.
The audience would love to watch some big action on the street and in the bedroom too
Published on Mar 15, 2003
“I probably would not see it because it’s just another Asian female and white male pairing,” he commented
Well, there is always a good reason not to see a film. He also said that there is a growing gripe inside the Asian American community about the pairing of Asian female and white males (hereafter called AF/WM) portrayed in the media.
The Hollywood AF/WM formula includes “Tuxedo”, “Rush Hour I and II”, “Shanghai Noon”, “Shanghai Knights”, “Romeo Must Die”, “Wayne’s World”, “Year of the Dragon” and “The Touch”, to name just a few.
Another thing the Asian American community doesn’t feel comfortable about is the unrealistic nature of those films compared to white male and female stars. Think about it:
In “Rush Hour I & II”, Jackie Chan never gets the girl. In short, there is no romantic female lead character for him at all.
In another Jackie Chan flick, “Shanghai Noon”, Jackie Chan never has a love scene with his heroine, Lucy Liu.In a sequel, “Shanghai Knights”, his sidekick Owen Wilson is romantically involved with Jackie Chan’s sister in the film. And Wilson is a white man. In “Romeo Must Die”, a Jet Li movie, there is a lead female Aaliyah, an African-American girl. They flirted but there was no kissing in the story.
In most films, the lead characters are always blessed with virtue: they get rid of the bad guys or they save the world, so shouldn’t they get some love?
Take another example: Chow Yun Fat, who was once (and for some, still is) a darling, has never had a romantic love interest after entering the Hollywood studios.
In his Hollywood debut “The Replacement Killer”, his role was absolutely free of romantic moments. Perhaps the closest was in “Anna and The King” with Jodie Foster.
On the other side of the coin, the movie and the book “Joy Luck Club” portrays Asian males as materialistic and chauvinistic unlike the white males whom Asian female characters consider as ideal mates.
So why does Hollywood always match white males (or non-Asians) with Asian females? It’s interesting to study this phenomenon. One simple assumption we would take is that Hollywood is trying to expand its viewer base.
When Jackie Chan’s movie premiered here, Thai people – especially old fans of his kung-fu movies – didn’t really care if he brought along farang characters but they’d say: “Hey! Let’s go see Cheng Long’s film (the name Thai people call him).”
Before his Hollywood days, only Jackie Chan’s films dominated the box-office in Thailand during Chinese New Year.
Having Asian characters in films should help Hollywood maintain its grip over the celluloid world especially when Asian cultures have been rising in the film industry.
The arrival of Asian superstars like Jackie Chan, Chow Yun Fat, or Michelle Yeoh can open a new chapter for Hollywood, paving the way for the big studios to offer some new faces in the films – if not new plots or story lines.
Hollywood may have to work harder and offer more quality for multinational audiences. First and foremost, it is the studio’s task to make the characters played by Asian stars more rounded rather than flat.
What has been portrayed in Hollywood flicks are mostly updated versions of similarly themes in movies made a decade ago.
The difference is only the later works are being advanced with more sophisticated pre-and post production techniques.
The big studios have also done their best to avoid stereotyping Asian characters. If their aim is to broaden their audience base, they do have to bear in mind that the audience knows best when it comes to their own people.
Featuring flat characters and stereotyped Asians will certainly make the films boring to non-Western audiences.
One last thing that may please the Asian American community in the US is that Hollywood must prove that the Asian-white pair formula films can be portrayed in all genres of films, including romance.
The Asian stars have to kiss and be engaged in some sex scenes just like their Hollywood counterparts.
The audience would love to watch some big action on the street and in the bedroom too
Published on Mar 15, 2003
Creativity cannot be legislated
Thanks in part to the groundwork laid during last year's "Fan Chan" phenomenon, Thailand's film industry is now riding a wave of momentum with "Hom Rong" (The Overture), which has received attention from both the public and the government. The prime minister went for a special screening recently, while diplomats saw it at the arrangement of the Foreign Affairs Ministry.
This is a very positive sign indeed for Thai film, which has long been overlooked by the country's policy-makers. However, promoting the local industry is a rather complicated issue, requiring more than the PM showing up for a movie screening. In fact, industry people and film buffs alike have been enthusiastically waiting for the government to replace the outdated laws that govern the industry with new ones that keep up with international standards.
Their demand is a simple one: They want the government to introduce a movie rating system and to revamp censorship standards. An effort was made over a decade ago, but there are still no signs of an approving nod from the policy-makers.
Why is a rating system so important, the government may ask. From the perspective of policy-makers, a rating system will improve two factors. The government can provide better protection to youngsters who may not be ready for some movie content. But more importantly, the rating system will allow filmmakers to enjoy the full rights and freedom to create, without concern over possible dangers to the young and society as a whole.
As for filmgoers, the rating system will provide them with greater freedom to enjoy the real art of filmmaking and at the same time more choice in terms of stories. The government may not consider film to be art, but for filmmakers and film lovers, one blurred sequence or a cut scene is like vandalising a piece of art.
Leading Thai director Nonzee Nimibutr expressed his bitterness about the effects of outdated legislation when his controversial film "Jan Dara" was subject to censorship. Although he could show his director's cut outside the country, he had no choice but to have a "mild" version with less explicit sex scenes for local audiences. Like his filmmaking friends, Nonzee hopes only to have local film buffs enjoy his work in full. "After all, I make films for Thai audiences, not international ones," he said.
Sadly, Thailand's famed film producer Duangkamol Limcharoen died without seeing the local film industry enjoy freedom of expression. Her very last words to the press showed that she had little hope that the government would support her craft. "I only hope they won't obstruct our industry if they won't support us."
Gone are days when Thai films are for Thai people alone. Our films now travel around the world, receiving attention from both festivals and distributors. But under the existing system of restrictions concerning content, we have to struggle hard to compete with filmmakers from "free" countries.
Duangkamol was a pioneer in marketing Thai films abroad, as well as managing the Asian filmmaker's alliance to produce bigger film projects. She had a vision and therefore a great concern regarding Thailand's outdated legislation.
Movie industry people who travel from one film festival to another realise how unfortunate they are when compared to their counterparts in countries where the government seriously promotes film as art. Yet local filmmakers don't dare to hope to enjoy the advantages of France or South Korea, where the industry is not only completely free to create cinematic art, but also receives generous assistance.
Now that Thaksin has seen "Hom Rong", which highlights the intriguing issues of art, liberty and state control, we hope he at least understands the film's most important message: Nobody, least of all the government, can say what is good art or how it should evolve. All artists need is freedom, just like we humans need air, and the rest will take care of itself.
Published on Mar 13, 2004
This is a very positive sign indeed for Thai film, which has long been overlooked by the country's policy-makers. However, promoting the local industry is a rather complicated issue, requiring more than the PM showing up for a movie screening. In fact, industry people and film buffs alike have been enthusiastically waiting for the government to replace the outdated laws that govern the industry with new ones that keep up with international standards.
Their demand is a simple one: They want the government to introduce a movie rating system and to revamp censorship standards. An effort was made over a decade ago, but there are still no signs of an approving nod from the policy-makers.
Why is a rating system so important, the government may ask. From the perspective of policy-makers, a rating system will improve two factors. The government can provide better protection to youngsters who may not be ready for some movie content. But more importantly, the rating system will allow filmmakers to enjoy the full rights and freedom to create, without concern over possible dangers to the young and society as a whole.
As for filmgoers, the rating system will provide them with greater freedom to enjoy the real art of filmmaking and at the same time more choice in terms of stories. The government may not consider film to be art, but for filmmakers and film lovers, one blurred sequence or a cut scene is like vandalising a piece of art.
Leading Thai director Nonzee Nimibutr expressed his bitterness about the effects of outdated legislation when his controversial film "Jan Dara" was subject to censorship. Although he could show his director's cut outside the country, he had no choice but to have a "mild" version with less explicit sex scenes for local audiences. Like his filmmaking friends, Nonzee hopes only to have local film buffs enjoy his work in full. "After all, I make films for Thai audiences, not international ones," he said.
Sadly, Thailand's famed film producer Duangkamol Limcharoen died without seeing the local film industry enjoy freedom of expression. Her very last words to the press showed that she had little hope that the government would support her craft. "I only hope they won't obstruct our industry if they won't support us."
Gone are days when Thai films are for Thai people alone. Our films now travel around the world, receiving attention from both festivals and distributors. But under the existing system of restrictions concerning content, we have to struggle hard to compete with filmmakers from "free" countries.
Duangkamol was a pioneer in marketing Thai films abroad, as well as managing the Asian filmmaker's alliance to produce bigger film projects. She had a vision and therefore a great concern regarding Thailand's outdated legislation.
Movie industry people who travel from one film festival to another realise how unfortunate they are when compared to their counterparts in countries where the government seriously promotes film as art. Yet local filmmakers don't dare to hope to enjoy the advantages of France or South Korea, where the industry is not only completely free to create cinematic art, but also receives generous assistance.
Now that Thaksin has seen "Hom Rong", which highlights the intriguing issues of art, liberty and state control, we hope he at least understands the film's most important message: Nobody, least of all the government, can say what is good art or how it should evolve. All artists need is freedom, just like we humans need air, and the rest will take care of itself.
Published on Mar 13, 2004
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