Indonesian film has evolved to contemporary and animation. Even though animation films are only a few, Indonesia may foster the film in international level. Thus, Indonesian filmmakers are required to produce innovative, novel, distinctive, attractive, and inspiring films. In fact, Indonesian identities also should be engaged in the films.
The aforementioned paragraph was the highlight of a seminar ‘Metamormovies’ with the theme ‘Working on Indonesian Film Development’. The seminar was conducted in Wednesday (21/10) at A.R. Fachruddin B, Floor 5, Universitas Muhammadiyah Yogyakarta (UMY). It was organized by Communication Science Student Association (KOMAKOM) of UMY. The speakers of seminar were two Indonesian filmmakers namely Hanung Bramantyo and Aryanto Yuliawan.
Hanung Bramantyo who is a fame director and producer conveyed that a reality is created by the master and controller of a camera. “It is like Jokowi and Ahok using a camera and considered to coin an image. A film must create a reality. None of any films is objective, and objectivity only exists on journalism. In a film, there must be a hero and an enemy or white and black. All of them are unchanging, and there must be other elements. Who creates a role creates a reality. In a film, he is the creator. There are only two options, shutting down or producing another film. I myself prefer constructing my own reality,” he declared in the seminar.
Hence, innovations are necessary to make fascinating and inspiring films. “Something new and different will be inspiring. Make diverse display, plot, resolution, and story. For instance, the film genre is love story. Make the same genre but dissimilar and much exciting story, plot, and display. Public may attract to a novel film. Indeed, public miss a story, and it will be an occasion. A film director ought to be creative, and a creative person dares to get out of his comfort zone. Moreover, Indonesian films should possess identities since most of Indonesian films focus on Hollywood films. It does not matter, but the films have to have identities,” Hanung elucidated.
He inserted that a good film will not have a lot of spectators if the targets are not determined. “If a good film is not promoted, it will be useless. A good film will have already recognized who the targets are. That is the producer’s duty that he ought to ‘pack’ entertainingly and promote it. For example, we make a secular film. It is impossible that the target is Americans. It must not be sold out. In fact, public are smart already so that, when they look at the poster, they can predict what the film is about. Therefore, a successful director is he who triggers curiosity of public,” he emphasized.
Furthermore, Director of Battle of Surabaya (BOS) Aryanto Yuliawan argued that Indonesian film has gone to animation. Although Indonesia possesses a few animation films, yet Indonesia has potential. “Essentially, animation film making in Indonesia is rare due to lack of supporting equipment. On the other hand, Indonesia human resources have huge potential. A lot of Indonesia people are recruited by foreign animation companies. It can be additional value for Indonesian animators. Indeed, government possesses three rules in this circumstance. They are dealing with funding, taxes, and quota. Since Indonesian animation films are a few, they should be elevated,” he stated.
Noticing the market, BOS making went to both national and international markets. BOS was also shown on an airline Garuda Indonesia that the context is different. “The potential is huge, but the support form stakeholders, like film industries, is less. However, a number of animators work underground which is free from tax so that animation film making should not be behalf on a company but it can be an individual, and the result is quite good. In addition, BOS gained a lot of critics that cartoon characters looked like Japanese characters. Why did you not create Indonesian characters? I am now asking how Indonesian characters look like. This can be a way for Indonesian animators to create Indonesian animation characters,” he added.
Aryanto also affirmed that Hollywood or Japanese animation film should not be displayed anymore since their quality was on their technology and good characters. “The reason why BOS is 2D is that the target is fans of 2D animation so that character style of BOS is distinctive like design character and Dolby’s voice. It was the combination of Hollywood and Japan, but the background is Indonesia. In fact, Indonesia is capable, yet the technology and budget are limited. Thus, only a few Indonesian films have good quality,” he maintained.
Aryanto agreed with Hanung that film is a medium to construct a reality and the reality is created by filmmakers. “Hence, make innovative and distinctive film. The film should have identities which is clear, contemporary, and out of comfort zone. Keep working and making innovation,” he ended.
