Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
In absence of clear cultural policies, Indonesians cultural activists often protest. After more than 60 years since our independence, debate on the directions of Indonesia’s modern culture continues to roll. But to date, nothing has come out satisfactorily for all parties involved. “What if the absence of directions on cultural policies in our country turns out to be necessary? Because of that absence, all of us move toward to finding our identity,” is Riri Riza’s remark regarding our current development in the industry. We need to be “grateful” for the fact that, in our film industry, there are filmmakers who produce sex, horror, and other market-responsive genres. With their presence, we can assess and balance out the good from the bad. “We’ll be dead when all we have is religious films. Or when all films are meant to be normative like Laskar Pelangi (Th e Rainbow Troops ), we’re doomed! At least we’re not a puritan country,” he criticized Indonesian films, including his own works.
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
{youtube}SSwAP94e6Qk{/youtube} Muhammad As Together apredecessors director, with Rivai he’s Mira Riza, undeniably Lesmana, widely one known Achnas, of the as movers Riri and Riza, Rizal and isfilm atremendous shakers Mantovani, phenomenon of the he industry’s ventured in Indonesian to resurrection. make film the history. uldesak (C ul-de-sac Studio to openly 1998)—a Riri, 21 they with Cinema collaborative Western had only to films.” proportionate one film dream, project “For the made Indonesian domination with independent films of Hollywood to be screened films during in cinemas, the was time. competing screened According in Born proved in this October with the 1970, making he grew of upthan choosing the film industry tois feed “inspirations” to society. He Petualangan Sherina (Sherina’s Adventure), the cover initial version not boom commonly band in Indonesian famous found during inNan film our industry the film 1990s, industry. during he One later the post-reformation of directed them several era. films An which with ex-drummer exceptional turned tofilm of be aK Gie ,themes made which depicted the dark history of the 1965 coupe. His huge success was achieved when he Laskar Pelangi and its sequel, Sang Pemimpi (T he Dreamer ). his one stop Both Riri at films commercial Riza are see viewed in and areas? the conceptualize industry. by more However, the 4.5 function million with such audience—a of as a production—which cultural figure market never undertaking success, before that attained how doesn’t does by {youtube}jtWSCoIt0kk{/youtube}
Jurnal Miles ideological Indonesia (Editor-in-Chief), Coordinator) Assistant Production. Footage Coordinator) film views, and industry. is Akbar Bagasworo During pleased his thoughts who Yumni The this to recorded interview take encounter Aryaningtyas (Editor), on an culture, opportunity the took Otty we discussion his place (Forum try Widasari choice to on to see Lenteng interview March with of the (Forum film aArts other 8, video “language”, Research this 2010 Lenteng side camera. friendly and of and Akumassa Riri is and figure represented Riza Development his in on: notion his his office on by Hafiz at Hafiz: becoming Your a decision filmmaker to is enroll a particular at IKJ (Jakarta passion Art for you? Institute), what’s behind it? It that Riri: several photography. with paintings another when painting Either serious say We acknowledge compact more, my Sometimes When only connection can film art, Why Inot II’d go was aspects high is tell time, salvation. at is format. be of only Ieye-opening. there, the spectacular! that enrolled stories with Affandi in untalented school Ithis What most IKJ, events, visited with time. of regard An IThat certain no See, art. through Teguh Iideal film, and (Labschool hour at Imean longer the once The IKJ but Then, to when basketball Sudjojono its form country, and museum history. (Teguh also in largest is film. strengths. visited see the that a Iby of went was the in half… Through that first all I’ve 1988—ed.). this Not Karya—ed.) player the (both again emotions aspects also to painting. of place? With always culture, two only Museum IKJ, course in pioneers the and or hours… small confusion Ia of Ithe found lectures behind felt reserve saw not-so-smart Probably and All art. came in you histories, music. challenged Iof Visual the Of crucial know we that can the Indonesian and with on course, a painting come film stored considerable event. Secondly, narrate film was talked events regard but science is to history, to photography adding downtown a(at history in of So, understand observe combination about modern of a of to Raden special something in that the finding I’ve to amount visual of a world was it, anything a film, Saleh. visual at come its nation room and a many Kota, art what Iof ability school of in attended so art—ed.). to and music sorts. Recently, a interest now. huge. and IGolden things. connected IProgram know considerably saw firstly to tothe society. One would But narrate. attend. a and Even see At now, that can as 1828 November talked about insane! Diponegoro, Upon watching war, Islam’s subsequent developments, and Javanese kingdoms. .to He Kartini ,thought: drama, for talking cinematography, about the film the film photography, us to ais period etc. of Ifilm, enrolled thought at and IKJ tumult during in which astudent. story time in which aseems lot of we people have .was remember one It’s of an them important when said to film, was me, being a “You translator the watched first in film a workshop to lever our organized pride to by have a filmmaking a dignified school Indonesian in Australia, film. I Dances with Wolves (directed Award—ed.), film was made—was by Kevin and you Costner touched were in touched 1990 and by won it. And I—a 1990 citizen Academy of the Award Western and world 1991 in which that Globe Cut Nyak Dien .” IKJ—ed.) on Goethe Festival. researcher probably IKJ, of is so It’s recorded film many Spike Iinstance, very saw itself. Institut The places. inspired Lee they that at well Which producer Forum Ihad Jakarta need in by Jim many books means, the Lenteng—ed.), to Idraws Jarmusch. attended respect! (German So, be interesting, films. and a films back director magazines Films And the have Cultural Then, then commercial festival. we Icontribute for believe always in another interviewed commercial the Center on Together visual American that had aof important aspect in great film significant Jakarta—ed.) arts the films! can with deal independent library of producer. thing film reach Of Ugeng to contribution course, the industry. that a to the political Wow… (Ugeng wide attend Ifilms. Faculty remember, with When market. to it’s There T. and respect Wim culture. Moetidjo, of spectacular! Isocial graduated Visual Wenders were when to That change articles Arts, now Ithe went history Film from I’m aIbe in to
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
{youtube}nLzmASlKMG4{/youtube} Hafiz: academically? The decision Or elsewhere? to be amakes director in the industry, did you find when you were at IKJ or Riri: teaching school IMost think graduate itas about has art a film lot director-ed.), to art do with the extremes, academics. aitthat lecturer of Pak You film Chalid see, history. there (the He late was said, Chalid ain lecturer the Arifin, contrary, a French Ieven think was film is film per se ,a that public, hard (François) with. time, itfilm. has doesn’t as tried when to itworld be can to Truffaut, of involve commercial!” aim itthem be, can all people aimed deliver they a the large people think in for Why? ato number the message large about of history Because market, of their to people. particular of public. film market. there which such Film What is taste means They no as materializes cheap Ito (Federico) mean think itwhen can see about by be the when public Fellini, No very film. film whom itHe specific. here communicates (Jean-Luc) Such is not is they is the labor But the communicate mass. Godard, at character intensive, the to So, its same as of thinking, fathers. cultural you think? Ithere. statement. once They ame director had rather is Regardless discussion someone rich aspects with of being someone interdisciplinary in making commercial regarding film. approach. Hence, and the industry-associated concept Ifilm. imagine Isociety mirrored of abeing director our a or founding is not. a“Film maker What To my of do and reality. commercial there’s Indonesia. invade second stocks control monopoly business. era for commercialism fact director, of ‘escort’, culture what strategies the freedom, of that—what the happened shift-wave. our agree. Film through an over especially president—ed.) back or So, founding of effect Since his is limitations nationalism, Soeharto’s tackle Then He then. in the getting auteur—it well. film. and was uncontrollably which of (a mid Private its we globalization, Everybody that. fathers director) idealism—to When There considered visual 1980s, more have he of family government has television who etc media we was where culture. and private has Indonesia shifted shifted. had talk member because wanted no more by through to Americanization aworks. they about things quota total the The have stations television to—well, because Icommercial to made founders talked wanted opened peak we commercialism! Itelevision culture, something for go to agree! didn’t say went film to film was about ifstations, one malls, to not its in of import that’s Yet during bonkers! have to run because indeed films of gate and our an idealism, to be during his everybody a expectedly say. film lawful the radio—which because exact, since as film 1995-1996, Igo children was We wide reality chance history our About business. its license strivings, mid especially born had development, Iout as one wanted started wanted 1980s, his healthy as to itto a in society that can was, regulations of generation cultural make era, that is social Soeharto’s to in was for getting to they might combination the era. back make adopt athat “corrective” now. run American place we statement manifestos, the times shifted. Idirector. a then, can’t termed more can’t which Perhaps film. peak Western television (Indonesian like he have the deny That’s stop From culture of moment lives have of as sole fights the at the an in, to
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
Hafiz: Not Americanization By to be filter to objective. mention Yes, Iof film mean that’s is its a not There as very why content. in you a complex are Ifeel commercial think said choices, earlier, that aspect. problem an of sense. there auteur course, Itmake is, has are when That has music, which two I1, there’s want options: be are visual athat to filter. extreme athe know, big do art, To we wave theater, Ri. me, and join In of director non-negotiative. the this capitalism literature, wave case is or someone we or drama, do indeed we big need Ifthen, you ask me: “Which side are you on?”, I’m clearly of the earlier group. We made k(Riri: Kuldesa because my back screen 4. did, campus. were distributed number addicted that’s that in the world. communicate eventually, develop don’t single directed aThat’s own patrons such combination as follow firstly for film Genres a “round”. small those That “We to sure. what by as Ipeople widely we screened decide it. the made, of Riri what directed their That’s documentaries, didn’t the seemed are we definitions. The molds It’s Riza, of in Arya wanted. who industry, created whether from mind to films hard genres, happen cinemas how in exist”. by Nan of to Kusumadewa small the and for Ithe an we have made, What ItThe by Achnas, the they or first or me American Since in industry, was criticism filter is festivals. critics, categorizations we at this impact a way to until we want since least humble indeed never our fit 1990 country try Mira bigger into so now, did, to standardized films! and Iin to the But they had see audience. to a Lesmana, theater fixed do libido: screening since beginning “different” be the alone. because By is a Indonesian can dramas. created moved genres certain to time impact this “We Ito work filter made In So we Iand by of the his several mean, want thing, up by such film by Iaudience my within America. can Probably feel Rizal films number to film the graduation, our or mainstream date, at Ias we from film Asian admit, screened not. the voice in least Mantovani films horror, make guerilla That’s would that’s becomes are of framework, assuring See, countries, be of audience there from often films dominant crime, when screened the in read it. by from what in Studio (cinema)!” But making filter. without that bigger. critics with 1998—ed.) them Ior to campus is Malaysian started there’s our my easily thriller. statements, larger. critics We 21 in are and, other Igenre, films film theater start Cinema. don’t Ifthe not to to they of The is Isimply that make friends end films to the first afilter? Ietc. follow 3term get or up So to Petualangan Sherina ,Kuldesak Eliana, Eliana Gie Tiga Hari untuk Selamanya hree Days to Forever Untuk Rena (T o Rena Laskar Pelangi ,), to the latest (want Sang Pemimpi —ed.), movement. none is formatted—together by Mira and I—to be, short: underground Eliana, Eliana was come, made buy to admission, be released thenforenter threeand screens watch. (cinemas) only,inbut still,extreme for cinemas. So people can {youtube}kXP8VqnsVvw{/youtube}
Real films, yeah? Riri: outside think the communicate auteur don’t place Yeah, that’s see and the useless. cultural fit. originates, world because with Cultural in its statement. which IfIsociety think film Ithat statement don’t can it’s that’s and think made, If only has all its itbe there cultural has do to viewed not be statement yet isthe one ignite environment. to in from making become to afix, afar, discussion made or films. aquite talked to “film” Especially correct tostudy. Ifis be nor about because heard become is ifunwatched to in we’re in be foreign itSonata some does “something”. an object fields not faraway inside about of far or critic, from place, I I Hafiz: Yes. The problem Iafilm see for first time Imedia saw your films, such as Kampung Bata, Petualangan Sherina lastly ,Gie “language”—and auteur. try to Culturally—regardless trace back—as look for contribution buff of how and often someone from this who’s particular review interested Riri Riza. inor the juggle contribution of film as an Laskar Pelangi —seeing But signs. on There the inititbetween other from are its hand, signs impact, those Ia still parts. to you want criticize feed Icultural did to read me see our and because some educational the that audience Iis think are system, film with. significant, Ifilm aAnd think language. IYour it’s saw “legit”. some Intalking films I’m things truly there are happy. are Eliana .Eliana, missing Iand see that parts? as your feed to public. Itthe may as well an object of Did the industry cause those
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
{youtube}D1eBv0qI_8M{/youtube} {youtube}s7nB0_ocgi8{/youtube} Riri: IExactly! think there are many possibilities. For instance, IThat’s wrote the script for Eliana myself. script. My Ienthusiasm. intensely other films involved say, in its process from adevelopment one-page concept to the finalized Gie myself of developments, in what chain just himself, workmanship wait is of have from itCrazy! questions. that his something zero he’s personality. conditions, or to Imy looking don’t Iawards, finish. think else. intend IBut for? Probably perhaps will I wrote not Later always to make of all that a on of director, get ones my other myself. film “in films something aimed affected and phase he It’s are out” undergone also like he satisfy in of will another that. the these there. return others. ISometimes a realize phases, And number example to as When himself that audience, from of where in in phases; IEliana, made and the concept, one industry Ithe start juggled critics, lots the another in of next, terms they itself by or Eliana ,Eliana, looking a kind?” And point hard, Imay friendlier received it’s isn’t Ithat forward to interesting… will be it? manner, several let For excited myself to instance seeing but everyday. much get bottom carried more when to everyone my line of Ias Idevelopment want by surprise. brought this Ithe the said, came kind to stream, enjoy. “Who Ithat’s of mean, and work.” And to are asked, say Ito you that Then made of “What to Icomes “the did. Ianswer films expect said, air So, will for well… that sometimes my be more your Iother breathed” of than course, next work itlearned ten film? can to back years, Inow answered be get We’re then. of really my such in Tiga Hari untuk Selamanya for Initiative, exam. statement? was level capacity. development like of Making abecause INew madman. had Why film York. funding do have turned you That’s Since Yet arguments incorporate all from into the crazy, these Hubert something beginning, funding Fiz, and, sex Bals the eventually, in like Iboards way Foundation the wanted an film? we exam. asked have to too What make and many “What’s to me for? the this questions, What other your film a because set do one concept? some you of was questions. want were Inot from What’s had beyond atry say?” very Like your high And an my Hafiz: Something to come up with? Riri: understand minutes once market’s development. minute! something Production—ed.), production studied So this expectation. that manager, there the way. scenario See, If Iformula. you enjoy. are Later Icharacteristics don’t want formulas. a producer The and secretary And in If them want the you market, master, at fifteenth the want Sometimes that. has to who get same or that’s athere’s 500 Neither audience, tandem excited watches minute, thousand time, scriptwriting. do and writer my insert the turns what small happy, audiences, audience. who this. sour gets community you Then, once us what gotta you lost. to they in have the read Ihere As put learned. see thirtieth for “this” our to (Miles character we me, make scripts. Iin already Iminute, that still We certain first have about do to ten make this. or aAll II sinetron of have space But some them there personality contribution, was give are given me other feedbacks as to please works me high by as which keep these on the the others. this have persons thick-and-thin film “collective” There not (Miles are exceed…” Production—ed.) of awareness some my work. films Sometimes to, Ijustifications. everyday, that, have “Please to let’s to make the admit, say, we read cost… them give where this, them more For all please aGlobal of example certain scripts. personal. my give works Pelangi ,Laskar that cost 9 billion, Sang Pemimpi 12 billion, Gie 8 billion. But others like Eliana, Eliana took think… spend smaller much budget. Ito never money But imagined to again, produce how small a an film? 800-million as itto can be, worth itby still of cost money 800 looks million! like. Sometimes Yet Ihave Ican
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
{youtube}GcWJCB5hExE{/youtube} Hafiz: So, what’s excitement previously mentioned? Riri: II’m experience that as time goes. For instance when Imade finished making Petualangan Sherina in trespass approach. Parents the year the A 2000, boundaries their Ithe was children. excited of convention. Moral to Things make questions like Something avery low that. budget not When normally darker. film. Imany Handheld asked. Parents camera. visually against edgy A strong or children. wanting visual to Tiga Hari untuk Selamanya ,needed with time excite thirteen themselves like to there read me, regard IEarth imagine Indonesian was on to Iscolding still twenty-five. do what sexuality. to read, is teen aAll to story. serious viewers find sometimes sexuality. Iconflict. IMost the wanted want questions which balance with of to And them Ito regard tell still Iyou make also know between in unconventional have listen life. to casual awho the film time So to the pop well. kidnap Ithat usage to mixed heavy read music. questions Most stories. of of philosophy stuff drugs. audiences those Don’t But and the activists combinations. read with accepted the story, book. come newspapers. assurance lighter in basically! IIndonesia. from dive standard Whereas into young that Most Averse politics. So, itnormalcy age-range, will of someone what the still Imake like Ithe Akbar: Can you Actually, roughly is define there that? a definition on is Indonesian audience? Or Riri Riza’s audience? Riri: want will Sometimes brainstormed always to watch sure rise: Ifrom calculate, for there this? “Who is. Everytime would We let’s do say want that Iyou have Mira exercise to see thinks, a one-page this all “Well… kind the concept, time, of Three-hundred film?” in almost And up to it’s a every complete down thousand film to the project. script, tops!” a Who question would we Laskar Pelangi, we thought Andrea Hirata’s (author of Laskar Pelangi novel—ed.) 350 of the thousand impossible same. the number. thousand. book. It’s viewers. dynamic. not readers—whose They Ifcomplex the to! of might We readership From We them can’t experienced take there, would say five print falls we that want relatives run around trace Riri’s that. number to itwatch? watch. audience When 350 back. to watch thousand and We We we readers the or know! made have Indonesian film people, to Let’s are together. be quite audience-oriented, say we film might each huge—would So audience maybe person be able we remains bought to fall it’s can target around double the a copy 700 Petualangan Sherina we audience 1.6 sell million launched the or would director, my a audience Hollywood-style definitely we make has go songs and reached promotion. see and the 1.6 everything. film!” million Not Yet only people. when We that were we IISomething thought, made sell aA bit the cocky “Next story; upon time we also Inumbers! seeing make sell film, that the Miles all cast, Eliana ,Eliana, time. sure Damme, from story. itwe only that—well, ours. And As reached it’s mentioned, that They said it’s Ihappened might 20 that don’t important. thousand for they already know have If about viewers! calculate their ask James audience Where who everything. Cameron, they did already, are, the As Sylvester itall other will for but me, change million it’s never. a Stallone, completely go? along Imuch So, always or course. Iones. Jean learn different consider Claude We that institution can’t all the van Laskar Pelangi Sang Pemimpi criterion is the readership. Currently I’m developing a“You script for (T his of Mankind the first book of Pramoedya Ananta Toer’s Buru Quartet—ed.). How is Bumi Manusia ’s people back posters, and print that’s from run? that but the this we Who don’t main film!”, aim would expect to objective. or invest “Here, be you’ll interested in we get the will your filmmaking. put to money up your It’s back.” We company’s either, calculate Because name that can almost carefully definitely as big all films as so regain possible we cost can your aWhen huge in persuade the money lot, film
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
Akbar: that statement Then, regarding with the unstable the statement condition that regarding film can lead audience to social size? change—do you still believe in Riri: email, always can least, say, Always averagely that do, “That’s they in have making have fruitful. my to film.” believe. seen film Well, To ishand, the because date, That’s people Ito and feel why sometimes Ithought, that Ieroded? talked contribute. the it. Until films text about today, me, IAt made excitement. least orRiza there send are ithad, gives are making a message Iwhy?” think, people me me aIcultural what sense who proud. through excites, still of They pride love Facebook, and are, will at I Sherina P .etualangan There are people who love Ada Apa Dengan Cinta? (W hat’s Up With Love? ). There are people who still look forward to see Gie aired we who never don’t make on really TV have our calculate every aThey films certain August. as the subject study impact. So, institution Ifilm matter guess For instance, in it’s who their that. analyzes theses Its social and it. role But analyses. at is rather At we fuzzy least have we to some observe have students that. because I and Laskar Pelangi students actually want to go school. Or Sang Pemimpi made people want to attend high-standard universities. Hafiz: example, IYes, will on go the back story to base, your works. as you As said. Ican mentioned, Iin watched there’s a difficulty in reading your works. For Laskar Pelangi. goes. investors friend—who’s a negotiation But or Iinvestors also the market, also have of codes a certain friend that (film has of expectations yours—about language—ed.) made itliked on how that This the you Riri is once just my Ileast know thought. as Iwould know Iparticular once know direct it, with discussed the the the film. story with Is Gie .a this trusted behind selection about Innotations watched way?” Soe this by of IGie, Hok on film. mean, cast. DVD. Gie After When on (from and One watching one IBut capital was the of our book in it, owners; discussions high you we have school trusted a was, and huge “Riri also during “Why bargaining made by does audience my a mistake, early Riri power university Riza—the because in the For there’s years, one example, we Ihow field. was know—turn Riri You’re crazy Riza Catatan Harian Seorang Demonstran [A of aemerge, Demonstator ]—ed.) celebrity, “This example. guy is so me.” my mind, Soe Hok Gie is someone not of celebration and Riri: You mean the actor? Hafiz: Everything also Chinese, ‘celebrity’?” read itfor Gie. is will the then be actor. Then far destroyed said, more IThere said, “It’s perhaps by crazy, this a lot film. why The there of Right didn’t tense things were there Riri will going negotiations, cast build and an up then inwith ordinary my even but Ia head, more. Ito was guy? as to Why not several aBelmondo Just sure. did aonly regular friends he have reader. who to cast {youtube}shH0OGzNTVQ{/youtube} talking its Second, drama. and readers idealism up infected Nicholas you! this see to shape that millions elements. to film that watch Indonesia People That’s two one’s about Third, not of by here, and there Saputra, million of it. the precisely to like idealism lives First, thinking—as How commercial there in satisfy has spirit whereas you people. our once regretful a there to an has German that country, are be what Gie not incredibly took to plot has Ionly Gie only film admirers, ignored rather large be Ieffective. I’d mean place. or to descendant possessed—than a as here! a by be mass be characters sort number beautiful much “please” marching ifbegan the with clarity IBecause My but of didn’t homicide potentiality vote-getter as how film to as or acting landscape. 15 infect consider in the is the film “invite” they to it, meant streets. aimed to narrative Gie 20 also has our as of 22-year-old don’t so people. a two admirers that. youth to and Chinese!” people toward allow utilize One know, million I’d so made being only audience can would the who the its age-group Fiz. people—who Gie’s to Iasked should characteristics also audience reach said, communists infected be protest, So want spirit. ahike they can “I’m commercial some Iin please to which mountains “Are encode by not know Hopefully come hopefully encode 20 Soe which thinking you probably as you?” thousand that to Hok itone a film, crazy? cinemas as numbered film. they one itand Iare Gie’s as about amarket. made with adds drama. I’m can see a will all But do you still believe certain figures? Riri: know his films everywhere Jean-Luc critics. Seno left Of started there’s Gumira Of side, students—who course! Godard’s course around all to an angles That’s American Inot want film. the should are what world my the So film familiar films to golden at Iwere learned consider be me, the star to taken same it’s who years be at absolutely reviewed its Nicholas from affects IKJ. time, of stars. Hollywood. the We what’s cinematography Someone right. by Saputra—come know no people problem. more And there’s All like itWhy like crucial periods happened My Jean-Paul J. of star to film B. the in the Kristanto, system me does cinema film. cinemas is old to not If in he films, get history Bre America. has and those Redana, ever entertain starred a watch scar high since We on and in the Gie .school knows, Gramedia will funding Indonesian other filmmaker damn, different anything That like a Ifigure don’t always Eros reality. way most maybe know were like facts can (guitarist in for bookstore be market Gie of And Indonesia happen. astounded, me ifAjidarma. today. such them there they in it’s of this for criticism. very threw are were Communities the to But films country. means get “fight”. underground band interesting “You when others up aIn is No copy in shaped Sheila that Ichose Now will the Ithese problem. who of are there never twentieth to he’s his on to communities thought, by now me. cast making 7—ed.) book. will years getting be Even I13moving only saw this an minute “Damn, That’s of the underground films, who influenced. very youths be certain themselves. so people small because makes what young Ion much. this need are cultural groups guy we from starting And fellow.” music, Internet to person. the do is truly Of Netherland strategies to interesting” this of film course me he Then people to acknowledge networking whole Being took talk never that’s Ito we’re about too explained and who time. an knew then important. long, underground that talking give grant is Gie. I’m head that that huge, there’s but you sure that People me about we to who athere have no
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
{youtube}x5AFPd1ypxQ{/youtube} Akbar: With regard to Gie, which contains political context—exactly how do you define Gie? What ideals did you have in mind? Riri: ventured you what of the shoot with is compared as in industry—ed.). stretch standard Indonesia. For worthy we aChinese, film did us, to with itby make with as… is the to conventions we a Correctly work a ISo, hundred tried mini watched Not is in to DV (according an shuffle Go which people, or most this underground just ask film will the important. ten there for to make patterns people conventions fifty movement people thousand There two on or conventions out the But go are on of street, sense. to rupiahs. Itheir only a standard wanted cinemas hundred no few For regarding Do one to people film underground and who make Idefinitely would get production make eventually that who what aIndonesia. know “settled” same them know we films, him. as can know say, thing Gie film. applied you Maybe make when “This here, him. In can line film in iffilm we So, Mission Impossible 3are rupiahs?” The my There’s conceded, address them you’re That’s sponsorship film same as the is apop them “Hey, playing story The reality. fifty here from openly same you thousand of they’re eh?!” in the how Bugis!” theater sound. as government—like If Indonesian we not! athe “Chinese”. rupiahs Chinese But want 1. Chinese The What aleast to Chinese same spent people acts narrate Whereas differs are technical by slightly the clearly in have the in Indonesia’s is film Indonesia the that Javanese people off-tangent, castes. of second-class cinematography, next itgeneric has who is dark Unlike or aunlikely, addressed story watch Bugis he side with citizens in will of a people, India, without the Indonesia’s approach, Hollywood disrespectfully, same in where nobody fifty get film castes dark beaten thousand any would everything. in side “Heey, People theater are up. address there. if 0S/PKI G3 (1 965 September Coupe )—make Kusumadewa’s His need standards. messages, some a sub-standard strength ideas, films. to Iiffilm. insanities, don’t watch film. have Because, it. Imy they’re the strength, excitement to all unconventional, honest, eventhough upon Istudio, never watching independent, Imaking have think good the idealism guts and to within underground. watch is tremendous. conventional Arya Akbar: With regard to conventions, did itanything. ever occur to you that stereotyping infor? Gie? For me, which, and turns instance it’s some populist? to stereotyping. me, others. when can Did be Gie It’s accounted you was one take asked of this the for by into examples. as one stereotypes. consideration of the And characters, there The when label are “Are also “red” a for lot the left communists, of film? or scenes are How you in political the for right?” example, film event To Riri: am. myself a all on democratic film yours political My Indeed on as first to the political movement? discuss?” era, film Ihas 1965’s did, anybody was because filmmaker. coupe?” aseeker.” Do children’s Who Ican have film to Iour Ithought make remarked, got decide? is to musical. aabout a populist anything. member criticism To “Who I’m me, media. of See, not the ithe the back a makes hell it’s political You People’s then. just are have things ato you, “Who film choice. Democratic to less director. to remember the think democratic. As hell Ifilms that Igetting said Party are never my 1965’s you, to history, to Hafiz try In make dare this to coupe label earlier, who to a film make was I2, is audience listen communism school eye-gouger. them deserted reading to students different People music. some from “grey” from who because my or what era, kill. even who That of it’s “white” never other too particular generation… general, had friends area. the audience Not too have image all It’s in communists crazy! at is the in minds. To one back description. them, Ithere’s are of aimed. Ihis wanted their “black”. all communists But minds It’s to Iand hard Because have aim that to people in even imagine mind all high who an Catatan Harian Seorang Demonstran because goal is achieved they’ve a never hundred been percent. taught to read. Not everything worked. You can’t claim that this Gie reached only 350 thousand viewers. The target was actually a million since Nico starred in Ada Apa dengan Cinta? which So, know other until are should won’t you’re you? it’s he mistakes, find everything was doing Ibasically finally know? What’s it. quite But something got I’m then popular. what your now “it”. learning aPeople we that statement matters Even big. can We we’ve process. now, At truly And is, made as as ifneed get I’m you an alot Man, for “it”. at filmmaker, convinced auteur?” ten ask yourself. least Take Ibe films? made him, Nico’s Wim “Have you even Highly only would Wenders, fans have ten more you would respond, films found that have he so want I’m Iyou what made “seek”. far. excitement “Are sure. to What you’re watch. you a Until lot We crazy? to of looking have that Iexpect? Apparently trial-and-errors die, each How to Iare probably make That time the Who not! hell ten we
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
Hafiz: integration always around commerciality, not believe absorbance to this, Their generation have to unlike but anything cultural Yesterday fiction with it’s we we’re a of can discussed sponge fantasies. process statements various because important gonna else? production make? Ia had fantasy that that have disciplines. about There Is Ia work play absorbs. discussion are we this process to on cultural try are thick. around go all for aesthetic to we back society.” kinds Istatement As myself take up Is can statement, with in you this to again, of an care imagery. get? release ato fantasies said, make all Kind area friend of. the Ri. I’m “Who of it’s of I’m films, For cultural date. not that To the actually such not example, talking me, the same, eureka But talking statement as: hell there in Imake inappropriate in hold fantasy isn’t all are moment documentaries. the a about still those criticizing you?” my it? films has that It’s on your ground phases alone “I to of our the just to want works be our context. friends compare that is in a there’s But founding an to reality, sort there’s alone, make excitement, in But of of my an things the fantasy wrapping but don’t Ri. fathers. this! an mind 1990s’ Ilived Back play Iwe it’s on Riri: (founding Ismail Sani education in 1980s children up without history obviously say: can for very ifPramoedya over. originally Achmad into produced flop. films… made with comment, Festival—ed.), countries, Indonesia, you in freedom? completely actually film. our Manoj lucky In as You a That’s want itmention was to of profound Indonesia, Ifa even as well. will own, as But date, ait’s Indonesian mean, see fathers each people in “Thailand of Isfansyah… commercial we an filmmaker. to, Punjabi, well. Ananta have what expect Moscow. Indonesia me. Not comprehending They especially Islamic from you compete itand Berlin year. different changed can New She to Mira of better happens like what gotta don’t other from mention Toer. Indonesian Gape filmmakers we Yet literature. (Berlin has me organization Order He He’s listens filmmakers. they’re is with happened reading when era. take expect have our Indonesian each who generally had I20-year the Samtani, in don’t athousand? climate. Hollywood. Pak Film friends To over. reviewer, Malaysia. its to way partners high dive itNia better. one What film—ed.), more? are even comes me, materials meaning. think Djaja Festival—ed.).” long the with activist, People into art is In better. great. Chand like it’s Ifilms can flop. better Their Malaysia, other was whole sensitivity I(Djaduk for track Hanung, critic, commercial to Amir totally think Mira Hanung you pop since production. “dialogue”. IEven Their In very with taught also Parwez. films attended producers music record generation Muhammad Malaysia, literary and there expect? culture. different. Djajakusuma—ed.). stronger few a they their when films Joko reached that Bramantyo. They Ijournalist. to than were are field in of Just read book failed. schools early traced being Iusually Anwar… Try the they them If do. Let came lots are around Iand What thinks. analyzing are dead you do. try. the (Malaysian up to communication critic What alone age. only of screened See, came He back usually conduct to She And go from What Koran. that things happened worried 60-70 who 1.5 You and also As to the can Indonesian sometimes commercial reads you’ll from didn’t from a Thailand, capabilities for million kind also Sjumandjaja else can beaten community dived we Iin this director—ed.) commercial in had to me? his it. understand film Milan of teach Cannes expect, only a learn in makes kind You field. audiences. to ancestry. space into columnist. Indonesia To field up films. you’ll we’re be few. expect films, Kundera, of us see that have be politics. by They which able Fiz? commercial only. (Cannes interview had does to In films honest, Hollywood. hear You all too what they’re is read to other They that to then So of Yasmin his during So Usmar not Ifilm critical take he can Asrul are us read think Tolstoy, them Iquality. you on your they think, Film have dived with still grew the the itis In Pemimpi Sang was screened in simultaneous time with Avatar .is think, we’ve awhat machine, what read happened and not seen film. in in Usmar’s Yet Indonesia—your we compete film expectation that. In other on cultural countries, statement itselected would such just drown. as the So, ones Ilike Krisis Cdirected risis ), Tamu Agung Exalted Guest )—I regard with endowment able films to whole Kineforum. come think funding, to to month, to give art to culture. house Kineforum? What a fund hard either non-stop, whole channeled kind In cinemas. to from other grant apply of Five and cultural their countries, for these We by people film central private only statement days, production keep have people or institutions. especially Hardly. regional coming, Kineforum can like because A we Nan government. thousand in itfantasy. It’s expect would a Achnas here. country we not don’t as from only How tops. and easy Or where reach have a many cultural You Garin thousand here. we channels ahave audiences thousand. Nugroho don’t Ford grants itaudience, people? screened Foundation have to such are can distribute That’s any A granted you as for policy in expect is the like our not in Babi Buta yang Ingin Terbang he Blind Pig Who Wants to Fly ,(T thousand That’s mean, because people the independent constantly politics. tough. people with he by euros. blocked. They extra had Edwin, filmmakers Twenty-five like to Whereas know abilities, Edwin pass 2009—ed.) their in censorship. are thousand like we which game marginalized can received see Dinata, of euros People tug-of-war. he funding. made is Nan here. is too who key, Achnas, the small. He As can But it’s can’t film for wrestle apparently tough! We’re indie in have 35 Mira films, eventually They and mm, his it’s Lesmana, dodge films with for can’t very the very screened beaten break with small, truly because good such idealistic, it. up, as They’re in image issues much aren’t cinemas they as we? are know 25 I
{youtube}guQOLE8gaOg{/youtube} Hafiz: You mentioned policy, that we have no cultural strategies. How do you think itare is? Riri: dream have out chances extremely our I’m awareness about own definite because, low tactical cost, with that of nowadays, this though. the we problem. current can’t If you count digital to government position Isame read don’t on technology recent the think ourselves government. and so. papers, allows parliament, So, in everything the there us Let’s market. to are to produce not think depends some waste I’m that film sure films time they on with there such how to will less even are as we suddenly cost. many can bother Not map to Cukup Umur nderage )(U minutes shot person statement, independent has independent, mean, that succeeded only Nayato “Come of in in huge the why filmmakers (Nayato be one, cinema, creativity, not? to days. screened make prove We Fio Made paid a who can it. Nuala—ed.) who low-budget in You 15-20 for surely cinemas started can less thousand shoot break than since film, and made, a one itbreak succeed. ten shot decent through, a billion years horror with film rupiahs. None P2 ago—such can’t Ican film. was with (digital we? yet. It’s scared. clear They pretty We But video as narrative, made also we But, Four scary. camera—ed.), don’t look imagine… Colors it. with Iin. If have forward spent there’s a or good that else—none The only to such yet. it. film fifteen IBelum All was can make did another that’s But, be you was That’s drowning then stream approached in shoot provided well… dive it’s the films.” realistic, always the 1960s. again with it’s important Say, little “big” for tough. wins. cinemascope. and by and Shoot amasturbation. stream. Star equipments, month. film itstrategies swim Here, makes film! Vision for about around This two But We what money. People kidnapping (film days, little the supposedly and comes to end industry—ed.). stream look he You then like result thinks out for Pao get that have doesn’t of arupiahs, the is (Faozan that you certain it, acountries for that. is dough. film Insane! can it’s have talent. ahas rock month. a that I’m shoot Rizal—ed.) chance a So, sure Once makes They that… chance for as Another we to usual, give five one That you can explore to is days, act, pampered, you shoot go, doesn’t have it’s one 35 up “Damn!” the and as in that. mm for John will big happen two create amake in camera, We immediately stream little And days, the Casavettes ought works. while, here. way the let he to. Big Hafiz: How do you see the new generation of our filmmakers? Riri: invited we million go 600. language. Hollywood similar and there English-speaking Indonesian own. film (good—ed.) Mouly kind to have because culturally of The Me, Of cinemas are Surya, viewers. cultural to film. course aan possibility I’m Geneva only Most huge because films, Ifive directors. very Iit, don’t Joko satisfied five, see are characteristics. I’m Let’s countries underdeveloped don’t Hollywood happy. for only want there’s Anwar. or happy. to they not an even There’s have upon they? up to Indonesian talk use We like balance. to make I’m We two 1000 watching films. 25 about With the still Australia not quite For have to million market. have three one a example, The Some 250 a 2000 language film people many Hollywood of some people. rest or language. persons million program. those Indonesia screens some make are who who Australian good of viewers. But pessimists lost trashy who can our fight films. It They is ones. it’s in doesn’t own. very actually for Western huge. films. We films. can The only It’s what likely. be in With in can’t. make see, Europe ones proven. satisfied Yet regard The 600 Australians say, they films. problems Two, we “You Out screens sense who “No! believe to can’t have Few They of we upon the have Iis ten want to have can and days compete two available for growth surely make watching people, a enough be the to stupidities or We our ago, emotionally three potential film want hope.” of have own with probably Itruly Indonesian money the was with another to native only Edwin, of One, see 25 our to that right? romanticize. spends with consequence? funds films In abreak some huge from as But my other They amount the actually, government. countries no of longer in money Korea, as think ISingapore well. in got the it. about money Australia, Korea, budget their kind is from for starting granted of market! too. instance, the film!” Almost government!” to for They’re “Why do film an the all should example industry Australian same. under Irise thirty. think But of tremendous. what films what’s of That’s the are we the market? usually endowed not The bad, Ifact state
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
Hafiz: provide considering were facing The funding same the market, wall. for thing filmmakers. occurred in their In in the choice end, During of film the language, became 1970s, one because uncreative of the the state in experiments the policies context was of they to did Riri: our finding we’re films country Yes, are not our meant athere identity. totally turns to are out puritan be Iand always think to normative be country. it’s necessary? good like We’ll that Because we be What dead have ifthe the of when filmmakers that all absence, we who of have directions produce all is of religious us move on sex cultural films. toward Or At policies least when to in all Laskar Pelangi, horror we “That’s can films, aIbalance crappy sex, itWhat film, sexploitation, out and and this separate one’s all those the slightly good degrading better.” from the films, Not bad. thoroughly, “those we’re So we people” doomed! can just have slightly still We need aWhere ought discussion better. to to exist. have of, So Akbar: Ito watched Drupadi (Draupadi ). Can you explain the cultural context you mean here? Riri: are screened. I’m not aWhat When Javanese. we talk Ibecause see about that “horror” from the such context, “Who’s my audience?” most films Drupadi, by something it. “things” wanted this Iher audience mean, whole do learn eventhough time. that exist. mysticism resemble about I’ve In Makassar worked that. I’m what not Ipossibilities. with see culture a Ishort have Javanese, Javanese, no IBrazil. didn’t problem we in mind also want but Sundanese, because regarding have to present so-called that. I’ve mysticism. Padang women, direct always spirits ghosts. ethnic and worked what And to men. whom Ialso Ihad think wanted within we have an is can aexperience easily to that. community make ask So, encoded about Iwill with Drupadi was writing. There’s to and “majority still different into determine commercial explore. written upon script, with was room”. by reading. other the what text, Leila films. visual can alternative ideas Chudori, Iprocess took is Since one interpreter. Ialso this was to the do… emerge the thing not the very When me. called That’s chapter in beginning, Isuch can popular a interpreter. Islam, concept adirectors as trust whole about video culture, Java, her itas arises, was different the Iabsence credibility, or braced and dice the others. which what mystic? first area, game. myself. in It’s emerge obvious she this being even The That’s understood “You’re case majority thing. a more director is film. sure, are for Iwhat head-count wanted me, the It’s for right?” probably she’s ones that who to Iand film. dive within said dig {youtube}RJ7ZY1F9OL8{/youtube} Hafiz: Last question. How is the plan for Bumi Manusia? Can you tell us awhat little more? Riri: Its writer It’s first. a Itwo “periodic” is myself scriptwriting Jujur explored film, right, films Mira with like and has regard actually Ivisual were to all involved taken background, some in the time, process. set, since costume, We around language; two our years own but imageries. ago. it’s not The Kartini, November 1828, then Cut Nyak Dien. period as the we Nyai many start relationship Ontosoroh. falls to as look around Iis can for pattern from locations the pictures, same between to era, shoot. film the footage, Dutch Start the and to late history picture the 1800s Dutch books who’ll to Indies early be the 1900s. during era. players, Colonial Imore the did to time? visual cast culture. Unhurriedly researches Minke How The was Hafiz: When will you start shooting? Riri: Probably mid next year. So Iduring have around a year and aof half to dohave what we gotta do. Giethe took it. Well, just and gotta aPrananto. half do years, it! back then. Practically did nothing. I the was starved! Hahaha, to prepare
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Riri Riza: The Priority is Film Industry!* Written by Jurnal Footage Thursday, 01 April 2010 20:18 - Last Updated Sunday, 04 April 2010 02:51
 *) This the content. interview is edited from its original transcript without any deliberate attempt to moderate
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