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02:39 I've tried, I've tried. It's fun!
02:41 You can't! Because you've been in this since you were young.
02:44 Yes!
02:45 Okay. We were talking about when we were little.
02:48 Okay.
02:49 We were little. The name Ahmad Idham is synonym to the dramas, especially the love dramas.
02:55 Correct.
02:55 Initially, in the acting field, before directing.
02:59 Correct.
02:59 So why do we always get love?
03:02 We have love in three directions, love is annoying, love is sad.
03:09 He's seen love between the two worlds.
03:11 Cinderella.
03:12 Oh, she's sad.
03:13 She's actually successful.
03:15 That's what you can see from his naughty side.
03:17 Yes.
03:18 I don't know. I joined the industry by accident.
03:24 Oh.
03:24 I followed my friends.
03:25 How did you do it by accident?
03:27 At that time, I was close to Rizman Kuzaime and Azhar Sulaiman.
03:30 Okay.
03:30 I was studying at UITM Shalam at that time.
03:34 And I know Azhar Sulaiman was an architect.
03:36 So we became his clothes' shopkeepers.
03:38 Oh, you followed him.
03:40 I followed my friends.
03:42 Until one day, suddenly there's one cast.
03:44 I remember this incident, Kuala Lumpur University.
03:48 Azhar Sulaiman and Mimar Surah.
03:50 So one of the cast suddenly disappeared.
03:52 They were like that.
03:54 And he saw me, the producer said, "Hey, do you want to act?"
03:56 "Zahar?"
03:58 At that time, he was promoting his friend, Kaukau.
04:00 "Sure, bro. Sure, bro. Sure, bro. Sure, bro. Crazy, bro.
04:02 Who do you want to act with?"
04:04 "Suzanne Mennon, you're crazy, right?"
04:06 So he missed the Malaysian.
04:08 "Really?"
04:09 "Yes, really. I don't know how to act."
04:11 That's how it started.
04:13 And then after that, when Azhar went to Kuala Sertaipit Church.
04:16 That's where we became close with Mr. Manokade.
04:21 So that's how it started from there.
04:23 Oh, that's right.
04:25 You followed your friend to pick up the clothes.
04:27 You became an actor.
04:29 I helped them drive their car.
04:31 So you're a PA.
04:33 Yes.
04:35 But can you do it?
04:37 You had to do it.
04:39 No, because we're friends.
04:41 He didn't have a salary.
04:43 We went there for fun.
04:45 Because at that time, there was no social media.
04:47 We couldn't find any celebrities.
04:49 Knowing the industry was quite difficult.
04:51 So when you got the opportunity, it was fun.
04:53 At that time, I was on my semester break.
04:55 I completed my final year.
04:57 I was waiting for the results.
04:59 I acted.
05:01 That's a big deal.
05:03 At that time, you could buy anything for RM20.
05:05 Yes, it was big.
05:07 So that's how it started.
05:09 I have to thank Azhar.
05:11 Because my first debut, my leading role was Cintaan Terbenuwa.
05:15 The fourth series.
05:17 Actually, that role was Azhar Sulaiman's role.
05:19 He wanted to continue his studies in Newcastle.
05:22 But he was afraid he couldn't.
05:24 So he gave me that role.
05:26 He gave you that role?
05:28 He suggested it to me.
05:30 Tony Francis was already known.
05:32 We knew each other.
05:34 But when we were discussing,
05:36 Azhar said, "It's okay."
05:38 He called me 'Jam'.
05:40 In the industry, they call me 'Jam'.
05:42 So 'Jam' is what Azhar gave me.
05:44 I think 'Jam' is his money.
05:46 So that's how it started.
05:48 But he didn't give you the payment.
05:50 He gave you a small amount.
05:52 No.
05:54 But he had his role in the series.
05:56 Just a small amount.
05:58 Because Cintaan Terbenuwa, which we shot in Newcastle,
06:00 was supported by his connections.
06:02 Because he was studying in the university.
06:04 He got the university to support our drama.
06:07 That's how it started.
06:09 So that story was about the university.
06:11 Yes.
06:13 Newcastle University.
06:15 Azhar studied in that university.
06:17 So you said,
06:19 Azhar Sulaiman should have been the character.
06:21 But Azhar Sulaiman was in the series.
06:23 He took on a supporting role.
06:25 He was a supporting role.
06:27 Because he couldn't commit because of his studies.
06:31 So he gave me the role.
06:33 No matter what people said about him,
06:35 Azhar Rizman has always been my friend
06:37 who made me who I am in the industry.
06:39 He will always be there.
06:41 We're both in the same boat.
06:43 I thought you were going to say that.
06:45 I just said that.
06:47 Azhar Sulaiman loves Bayram Ham.
06:50 So much so that people said,
06:52 "He's working. It's okay. He can do 'Jam'."
06:54 He's a good actor.
06:56 That's the fact.
06:58 And the fact is,
07:00 I got to work with him in Newcastle.
07:02 It was fun.
07:04 But for your first experience,
07:06 acting as the main character,
07:08 how was the process?
07:10 Okay.
07:12 Those days,
07:14 we were always looking for ways
07:16 to meet the seniors.
07:18 I still remember when I did
07:20 "Cosmic Type Pictures".
07:22 It was the leading production house.
07:24 All the top
07:26 dramatists and artists were there.
07:28 We had Celia Roza,
07:30 Jalaluddin Hassad, all those.
07:32 So I befriended them.
07:34 At the same time, Azhar was a guide.
07:36 And the director,
07:38 Tony Francis Guitom,
07:40 he was the one everyone wanted to work with.
07:42 It wasn't easy to work with him.
07:44 I once ran to the 10th or 12th
07:46 stage with him.
07:48 I took a letter if he wasn't happy.
07:50 Many people said,
07:52 "You're a burden to Tony."
07:54 I said, "I have no issues."
07:56 If that was for the best,
07:58 Alhamdulillah, it turned out that
08:00 "Cinta Terbenua" was the trigger
08:02 before I went to "Cinderella".
08:04 When that was a success,
08:06 Mr. Maknoh offered me
08:08 to lead on "Cinderella".
08:10 That's how it started.
08:12 It was phenomenal.
08:14 I still remember "Cinta Terbenua".
08:16 People were willing to do anything
08:18 for the sake of their lives.
08:20 One more thing.
08:22 The fact that
08:24 made me feel...
08:26 Even though we know that "Cinta Terbenua"
08:28 has flaws,
08:30 but many people...
08:32 I found out later.
08:34 After 10 or 15 years,
08:36 I got to know that
08:38 because of "Cinta Terbenua",
08:40 it inspired many local kids
08:42 to study abroad.
08:44 I remember those days.
08:46 We had many students
08:48 who went abroad.
08:50 Many of them said,
08:52 "I studied in London because of "Cinta Terbenua".
08:54 I studied here because of "Cinta Terbenua".
08:56 I was like, "Wow!"
08:58 It inspired them.
09:00 We were confused.
09:02 We wanted to make a comedy.
09:04 But the ambience,
09:08 the environment on TV...
09:10 It was hard to watch TV back then.
09:12 There was no YouTube or Google.
09:14 But the visual on TV
09:16 captured the interest
09:18 of most of the students
09:20 who watched the story.
09:22 I said, "Wow!"
09:24 I didn't expect that.
09:26 Wow!
09:28 So, you had a phenomenal experience.
09:30 Did you feel any pressure?
09:32 Did you feel...
09:34 "Oh, God!"
09:36 You suddenly became famous.
09:38 If I became famous,
09:40 it would be easy to know.
09:42 It's hard to know.
09:44 But we need to think about
09:46 how we knew we were popular.
09:48 We didn't have social media.
09:50 We didn't have followers.
09:52 We didn't know where our followers were.
09:54 That's right.
09:56 So, that's how it happened.
09:58 That's one of the experiences
10:00 that students don't get now.
10:02 We can guess if we are popular.
10:04 Some of them are famous.
10:06 I had two incidents
10:08 that made me feel famous.
10:10 That's the first one.
10:12 That's the third one.
10:14 One incident was...
10:16 I'm a student.
10:18 When I was acting,
10:20 I didn't think about popularity.
10:22 We just think about work
10:24 and acting.
10:26 I didn't understand
10:28 what popularity meant
10:30 in the past.
10:32 My era in the late 90s
10:34 was a model era.
10:36 If you remember,
10:38 MIM, Made in Malaysia,
10:40 all the top models
10:42 were models
10:44 who were famous.
10:46 They dominated the face.
10:48 They were the elite.
10:50 Yes, they dominated
10:52 the popularity.
10:54 At that time,
10:56 you couldn't show your face
10:58 to the public.
11:00 You had to show your face
11:02 to the people at MIM.
11:04 We saw the models
11:06 as if we were actors.
11:08 We wanted to see where they were.
11:10 My first incident was...
11:12 One morning,
11:14 I got a phone call.
11:16 It was a call from my house.
11:18 Do you know him?
11:20 He's Makno Kade.
11:22 "Jam, are you awake?"
11:24 "Yes, Boss."
11:26 "Why?"
11:28 "You just come and you'll know."
11:30 I went to his house
11:32 near Kramat.
11:34 I told him,
11:36 "Do you know what happened?"
11:38 "In his lobby,
11:40 I couldn't see the road.
11:42 It was full of letters."
11:44 "Oh, letters!"
11:46 "That's right!"
11:48 I said, "Is this for me, Boss?"
11:50 You see, right?
11:52 Every day, the postman would come
11:54 and do this.
11:56 That was the era of letters.
11:58 So, we read it.
12:00 That's why, if you look at the story
12:02 I had, there were letters with powder
12:04 and perfume. That's what I got.
12:06 I got that. With powder,
12:08 and other things.
12:10 We read it.
12:12 "How do I reply this?"
12:14 I didn't have much money.
12:16 I had to send a postcard.
12:18 So, I replied with stamps.
12:20 That was one.
12:22 The second one,
12:24 I didn't know how to do it.
12:26 The second incident was
12:28 when my wife and I
12:30 were still single.
12:32 I was helping her.
12:34 That was the phenomenon
12:36 after Cinderella.
12:38 The second love was just a normal one.
12:40 The phenomenon was still there.
12:42 But, Cinderella came out.
12:44 We thought it was just a normal thing.
12:46 We weren't that popular.
12:48 We didn't know the ratings.
12:50 We didn't know.
12:52 We knew.
12:54 Back then,
12:56 the book festival was famous.
12:58 The one at PWTC.
13:00 It was like an annual event.
13:02 Artists would come.
13:04 They would bring novels.
13:06 They would bring comedy videos.
13:08 They would bring covers and pin-ups.
13:10 Artists would sign.
13:12 I didn't get the offer.
13:14 I didn't get the offer.
13:16 It wasn't that story.
13:18 It was a setup.
13:20 But,
13:22 my wife wanted to set up a kindergarten.
13:24 She was interested in kindergarten.
13:26 She wanted to look for books.
13:28 I said, "The book festival is happening. Let's go."
13:30 We went.
13:32 We went to PWTC.
13:34 There were a lot of people.
13:36 I went in.
13:38 You were smiling.
13:40 Everyone looked at us.
13:42 "Why are they all looking at me?"
13:44 One person screamed.
13:46 "Abai Ram!"
13:48 Back then, we didn't have cellphones.
13:50 We didn't have cameras.
13:52 We had to ask for autographs.
13:54 We had to ask for autographs.
13:56 I was like, "Okay, man."
13:58 My wife was gone.
14:00 We had a PA.
14:02 It was chaotic.
14:04 It was chaotic.
14:06 I still remember.
14:08 I still remember.
14:10 Suddenly, one hand didn't go in.
14:12 "Dik, follow me."
14:14 He pulled it.
14:16 It went in.
14:18 I was shocked.
14:20 I signed the autograph.
14:22 He was funny.
14:24 People came to me.
14:26 "Why is Abai Ram like an artist?"
14:28 He was like a street artist.
14:30 He was always an artist.
14:32 Back then, we were independent.
14:34 We didn't care.
14:36 We didn't feel like artists.
14:38 Back then,
14:40 my gang,
14:42 when I went out with Azhar and Izman,
14:44 we went out for coffee.
14:46 We didn't have any issues.
14:48 We didn't have to bring
14:50 any entourage.
14:52 I didn't have any.
14:54 It was interesting.
14:56 The time you spent together
14:58 was interesting.
15:00 After Cinderella,
15:02 you went into directing.
15:04 After Cinderella,
15:06 I went into
15:08 nominating.
15:10 I wanted a popular artist
15:12 for two years in a row.
15:14 For Cinderella,
15:16 I wanted a new popular artist.
15:18 Okay.
15:20 You wanted a new popular artist.
15:22 I wanted a new popular artist
15:24 for Cinderella.
15:26 I was the only artist who
15:28 managed to beat the singers.
15:30 I was the only artist who managed to beat the singers.
15:32 The singers were open.
15:34 Back then,
15:36 singers were different.
15:38 Singers were more popular than artists.
15:40 Back then, people didn't take
15:42 ordinary actors.
15:44 They took singers.
15:46 But for the new popular artists,
15:48 I was the only one
15:50 who managed to beat the singers.
15:52 I was the only one who managed to beat the singers.
15:54 I was the only one who managed to beat the singers.
15:56 What's up!
15:58 Next year,
16:00 I won the popular drama.
16:02 I won the popular drama.
16:04 I won the popular drama.
16:06 I was popular.
16:08 What should I do next?
16:10 Who should I go next?
16:12 I didn't want to be popular.
16:14 Usually,
16:16 when an artist is popular,
16:18 they focus on their work.
16:20 But you were different.
16:22 Back then,
16:24 we didn't have that.
16:26 If I had the time,
16:28 I would have done online business.
16:30 We didn't have that.
16:32 Back then,
16:34 endorsement wasn't for actors.
16:36 It was for models.
16:38 It was for models.
16:40 The face of Pen Nation was dominant.
16:42 It was a Malay face.
16:44 It wasn't popular.
16:46 I agree.
16:48 It wasn't nice.
16:50 I didn't like the movie.
16:52 I didn't go to the movies.
16:54 My popularity wasn't enough.
16:56 I didn't go to the movies.
16:58 I didn't go to the movies.
17:00 I didn't go to the movies.
17:02 I didn't go to the movies.
17:04 I was interested in behind the scenes.
17:06 I was interested in behind the scenes.
17:08 When I did 'Romeo and Juliet',
17:10 I did some co-directing.
17:12 I assisted the director.
17:14 You were given the chance to do that.
17:16 I started doing behind the scenes
17:18 more as a finance coordinator.
17:20 I started doing behind the scenes more as a finance coordinator.
17:22 My field is accounting.
17:24 Back then,
17:26 the finance coordinator was a cheap one.
17:28 When I went overseas,
17:32 Makno Kadeh asked me to help
17:34 on finance,
17:36 on production management,
17:38 on controlling the cash flow.
17:40 It wasn't complicated.
17:42 It wasn't complicated.
17:44 When I did that,
17:46 that's how I got his trust.
17:48 I can manage his money.
17:50 When we went to London,
17:52 he asked me to direct in London.
17:54 I directed in London.
17:56 I didn't direct in London.
17:58 He trusted you.
18:00 It was early.
18:02 After that,
18:04 Makno wanted to make his first movie.
18:06 Mister Cinderella.
18:08 Before that,
18:10 he had a few dramas he wanted to make.
18:12 He tested me on two dramas.
18:14 One was Raya.
18:16 I don't remember the name of Raya.
18:18 But the drama that he made
18:20 was my turnaround.
18:22 My first heavy drama
18:24 that he gave was Tarantula.
18:26 If anyone remembers,
18:28 Tarantula 1 and 2.
18:30 Rohan Hanimusin, Alex Ruati,
18:32 all the rumiahs.
18:34 I won
18:36 Anugrah Screen, Best Director.
18:38 I won Anugrah Screen, Best Director.
18:42 That's how it started.
18:44 He gave me the chance to make a movie.
18:46 I won the film director award.
18:48 That's how it started.
18:50 Then, I slowly went behind the camera.
18:52 He had a joke after the '98 recession.
18:56 Yes, that's right.
18:58 When I got
19:00 Sepanajaya came.
19:02 I focused on Sepanajaya.
19:04 I was in Gawatan.
19:06 I was in Iskandar.
19:08 I didn't act much.
19:10 I didn't act much.
19:12 But it had an impact.
19:14 I was in Cinta Antara Berdua, Cinderella,
19:16 Sepanajaya.
19:18 That's the only drama I acted in.
19:20 The other two were
19:24 simple.
19:26 That was my main.
19:28 That's what I've been saying.
19:30 The impact is what I've been saying.
19:32 But Sepanajaya,
19:34 I thought you were a mechanic.
19:36 We were kids.
19:38 We were watching Dato' Yusuf Aslam's movies.
19:40 You said that to Upi Zammi too.
19:42 No, I didn't.
19:44 I thought he was a mechanic.
19:46 He knew all the scripts.
19:48 He wanted to try Trawadina.
19:50 What was his name? An actor?
19:52 I was still a kid.
19:54 When I became a cop, I thought
19:56 he was a real cop or an actor.
19:58 He was a real cop or an actor.
20:00 He was a real cop or an actor.
20:02 After that,
20:06 in early 2000,
20:08 you started back to back
20:10 to back to back to film.
20:12 Where should I start?
20:18 It never stops.
20:20 You directed
20:24 various genres.
20:26 Which is your favorite genre?
20:28 Let's start with that.
20:30 When I meet students,
20:34 I like to explain to them.
20:36 If you ask me my favorite,
20:38 there's nothing that I do
20:40 that I like.
20:42 I'm self-satisfied.
20:44 But when I put it as a business,
20:46 I'll do something
20:48 for the sake of the economy.
20:50 That's why I change genres.
20:52 For example,
20:54 one of the craziest things I do
20:56 is about the moon.
20:58 People never thought it would be a box office.
21:00 But when we do a study,
21:02 in Asian countries,
21:04 there are stories about kids exploding.
21:06 So that's how we go in.
21:08 I don't know
21:10 if I have an advantage
21:12 or a disadvantage.
21:14 But making movies,
21:16 I always put the audience
21:18 as my target market.
21:20 What's the trend?
21:22 I craft it to them.
21:24 If I were to say my favorite,
21:26 everyone who runs an office
21:28 is my favorite.
21:30 Because that's the business of it.
21:32 You do something, it's a success.
21:34 If it fails, it means you failed.
21:36 That's why I tell them
21:38 as a filmmaker,
21:40 don't condemn or comment on others.
21:42 Because every filmmaker
21:44 has their own target.
21:46 "Why did I make this movie?"
21:48 It doesn't mean that they want to make it.
21:50 It doesn't mean that they like it.
21:52 But they have their own thoughts
21:54 about what they want to do.
21:56 That's what people don't see.
21:58 They always talk like,
22:00 "Why didn't you make a movie like this?"
22:02 "If you want to make a movie like that,
22:04 just do it."
22:06 "Why are you asking me?"
22:08 "Ask me!"
22:10 That's how I feel.
22:12 I like it.
22:14 Because I have 30 million Malaysians,
22:16 I don't think I can get 30 million
22:18 from a movie.
22:20 If I can get 10%, 3 million,
22:22 it's already like I'm a multi-millionaire.
22:24 It's crazy.
22:26 3 million times 20 ringgit.
22:28 It's not 60 million.
22:30 I'm a mathematic fail.
22:32 It's okay.
22:34 So, if I can get 1% of market,
22:36 that is around 300,000 people,
22:38 to average watch my movie,
22:40 I'm already okay.
22:42 And then the economy circle of the industry
22:44 is also beautiful.
22:46 The cinema makes money,
22:48 the government gets tax, all that.
22:50 At the same time, the artist also gets a job.
22:52 So, I look at it that way
22:54 when I make a movie.
22:56 Because when I make a movie,
22:58 like you did that time,
23:00 I will always think,
23:02 "Where is this one going?"
23:04 I'm like that.
23:06 I'm not saying, "This is my career."
23:08 It's okay.
23:10 There are experts who do it, they do it.
23:12 Because I think that
23:14 when you generate economy,
23:16 on the finance economy to the industry,
23:18 where will the government money come
23:20 to give back to us?
23:22 The grants that come,
23:24 all the additional tax
23:26 that comes from our industry
23:28 that they're willing to pump in more.
23:30 And I remember
23:32 when the 2000s,
23:34 Malay movies weren't easy to make.
23:36 After the era of Islam, 6 million,
23:38 to get 1 or 2 million was hard.
23:40 Until when I came,
23:42 I was like, "I'm going to make a movie."
23:44 I was like, "I'm going to make a movie."
23:46 I was like, "I'm going to make a movie."
23:48 I was like, "I'm going to make a movie."
23:50 I was like, "I'm going to make a movie."
23:52 I was like, "I'm going to make a movie."
23:54 I was like, "I'm going to make a movie."
23:56 I was like, "I'm going to make a movie."
23:58 I was like, "I'm going to make a movie."
24:00 I was like, "I'm going to make a movie."
24:02 I was like, "I'm going to make a movie."
24:04 I was like, "I'm going to make a movie."
24:06 I was like, "I'm going to make a movie."
24:08 I was like, "I'm going to make a movie."
24:10 I was like, "I'm going to make a movie."
24:12 I was like, "I'm going to make a movie."
24:14 I was like, "I'm going to make a movie."
24:16 I was like, "I'm going to make a movie."
24:18 I was like, "I'm going to make a movie."
24:20 I was like, "I'm going to make a movie."
24:22 I was like, "I'm going to make a movie."
24:24 I was like, "I'm going to make a movie."
24:26 I was like, "I'm going to make a movie."
24:28 I was like, "I'm going to make a movie."
24:30 I was like, "I'm going to make a movie."
24:32 I was like, "I'm going to make a movie."
24:34 I was like, "I'm going to make a movie."
24:36 I was like, "I'm going to make a movie."
24:38 I was like, "I'm going to make a movie."
24:40 I was like, "I'm going to make a movie."
24:42 I was like, "I'm going to make a movie."
24:44 I was like, "I'm going to make a movie."
24:46 I was like, "I'm going to make a movie."
24:48 I was like, "I'm going to make a movie."
24:50 I was like, "I'm going to make a movie."
24:52 I was like, "I'm going to make a movie."
24:54 I was like, "I'm going to make a movie."
24:56 I was like, "I'm going to make a movie."
24:58 I was like, "I'm going to make a movie."
25:00 I was like, "I'm going to make a movie."
25:02 I was like, "I'm going to make a movie."
25:04 I was like, "I'm going to make a movie."
25:06 If you're paid to do something,
25:08 you can do it even if you're not satisfied.
25:10 you can do it even if you're not satisfied.
25:12 Because it's a business.
25:14 That's why I told them,
25:16 "If you want to pay, it's not a problem."
25:18 I didn't tell them not to do it.
25:20 I told them, "You can do it,
25:22 but you have to be professional.
25:24 You just review the movie that pays you.
25:26 Don't review the movie that doesn't pay you."
25:28 Because there will definitely be
25:30 a person who says, "Bias."
25:32 There will definitely be no honesty there.
25:34 If you're not committed to something,
25:36 If you're not committed to something,
25:38 there will be no sincerity in the comments.
25:40 But the credibility is also affected, right?
25:42 But the credibility is also affected, right?
25:44 Yes. That's why they've been lying to the audience.
25:46 Yes. That's why they've been lying to the audience.
25:48 Sometimes they're honest in giving comments,
25:50 Sometimes they're honest in giving comments,
25:52 sometimes they're sincere.
25:54 So the audience out there thinks,
25:56 "We have to listen because they're not paid."
25:58 "We have to listen because they're not paid."
26:00 "We have to listen because they're not paid."
26:02 So that the audience is not deceived.
26:04 So that the audience is not deceived.
26:06 So that the audience is not deceived.
26:08 Because from the beginning,
26:10 I was one of the most stubborn about this.
26:12 If you want to review something,
26:14 If you want to review something,
26:16 just review it.
26:18 You don't have to ask people to subscribe and like.
26:20 You don't have to ask people to subscribe and like.
26:22 You have the intention to gather your audience
26:24 for the purpose of monetization.
26:26 for the purpose of monetization.
26:28 The moment you want to do that,
26:30 you have to be honest.
26:32 How can you be honest?
26:34 How can you be honest?
26:36 How can you be transparent?
26:38 How can you be transparent?
26:40 You have to be brave to comment.
26:42 If I pay you, say it's 10,000,
26:44 and if you don't expect it,
26:46 it's worth tens of thousands.
26:48 it's worth tens of thousands.
26:50 One review can go to 5,000, 7,000.
26:52 If I pay you, you dare to condemn my film?
26:54 If I pay you, you dare to condemn my film?
26:56 You're a film master, right?
26:58 So, I said,
27:00 you can do it,
27:02 but you just have to tell people
27:04 this is my review about this film.
27:06 That's enough.
27:08 Don't make a film that you don't pay for.
27:10 You can't do it like nobody business
27:12 because of your taste.
27:14 As long as they know the taste of 30 million Malaysians.
27:16 But when a film that...
27:18 This is one of the best data.
27:20 A film that you pay to review,
27:22 the trailer itself has a story.
27:24 It's like you've seen the trailer.
27:26 This is a Malaysian standard trailer.
27:28 This is what we want to promote.
27:30 You can't pay for it.
27:32 When the film comes out,
27:34 you think this film is saved by these characters.
27:36 You think this film is saved by these characters.
27:38 You don't dare to condemn.
27:40 You spin it in other directions.
27:42 So, I said, what's wrong with you?
27:44 So, where?
27:46 So, the subscribers out there must realize
27:48 don't be easily fooled
27:50 by these people
27:52 who actually use your likes,
27:54 your subscribers, to make money.
27:56 At the same time,
27:58 they're biased with films
28:00 that might cause...
28:02 Because of the film, if it's not paid by them,
28:04 the impact of the film won't work
28:06 because it's against
28:08 the trusted subscribers.
28:10 That's what I said.
28:12 They have their followers.
28:14 So, when they condemn a film
28:16 because the film doesn't pay them
28:18 or they just want to provoke the producer to pay them,
28:20 we don't know.
28:22 So, it's very questionable.
28:24 So, the trusted subscribers
28:26 end up not watching it.
28:28 "This film is good. But why did they review it?"
28:30 "I heard they reviewed it. Isn't it a waste?"
28:32 So, we have to look at the more bigger.
28:34 Because
28:36 many reviewers don't know that
28:38 they are part of the ecosystem.
28:40 You, as a radio broadcaster,
28:42 is part of the ecosystem.
28:44 You promote films.
28:46 I, as a director, as a producer,
28:48 reporter, media editor, media electronics,
28:50 we are in the ecosystem.
28:52 What's our intention?
28:54 To push the industry to the next level.
28:56 To bring up the industry.
28:58 But if you condemn someone's film,
29:00 the producer will wrap it up,
29:02 the industry will close, you won't have anything to review.
29:04 You'll review the products.
29:06 That's why it's a waste
29:10 for a really good film.
29:12 A really good film
29:14 that has been planted there.
29:16 Because you can't get the exposure
29:18 that you deserve.
29:20 Sometimes, even when they want to criticize,
29:22 they're not that smart.
29:24 That's the issue.
29:26 When I was in Finas,
29:28 I saw that we don't have a digital act.
29:30 A digital that has the power
29:32 to take action against anyone
29:34 who uses this digital platform.
29:36 That's why many people misuse this digital platform.
29:38 Because there's no specific law
29:40 that allows us to take action.
29:42 Not like TV, radio,
29:44 we have MC.
29:46 But we don't have a license.
29:48 You open a channel, you can do whatever you want.
29:50 Until the market is in a state of chaos,
29:52 only then will the government have a role
29:54 to take action.
29:56 If not, then there's none.
29:58 That's why the abuse of it is too much.
30:00 That's why we need to speak up
30:02 to make people realize.
30:04 Because we're easily overpowered.
30:06 We're easily overpowered out there
30:08 without knowing that they're being used
30:10 to make money.
30:12 You guys better watch out.
30:14 Because Amirah will do the job.
30:16 Will do the job?
30:18 The soonest,
30:20 you will have to worry.
30:22 I don't understand a single word
30:24 from that sentence.
30:26 Okay, Falik, back to the actor.
30:28 Okay, about the actor's choice.
30:30 I'm always asked
30:32 how the actor's choice is for a drama
30:34 or a film that you're doing.
30:36 Is it 100% in the hands of the director?
30:38 Or is it in the hands of the producer?
30:40 Or is it like your friend?
30:42 Friend?
30:44 You're saying I'm your friend?
30:46 No, Azhar Sulaiman was my friend.
30:48 The era is different now.
30:50 In the past,
30:52 the drama was different.
30:54 Because the business model was different.
30:56 Because the station decided everything.
30:58 And we can discuss.
31:00 Actually, there's no dictating.
31:02 But we can discuss.
31:04 And usually, the station will ask you to give a big name
31:06 because they want ratings.
31:08 But sometimes, they said,
31:10 "We want a new name."
31:12 And in those days, there weren't many talent shows.
31:14 The strongest one was "Hero Remaja" and "Daya Remaja".
31:16 That's all.
31:18 There was no "AF" or "Idol" anymore.
31:22 So, in that era,
31:24 we can still try
31:26 to be actors.
31:28 And then, film is different.
31:30 Film is totally the producer's and director's.
31:32 Because we take the risk.
31:34 100% risk.
31:36 It's not the TV.
31:38 In the past,
31:40 I can still try.
31:42 Because I saw the character of Cerdina.
31:44 I saw her talent.
31:46 Although, she never acted before.
31:48 She didn't have a name in the drama or film.
31:50 Maybe, as a singer, people know her.
31:52 But, she didn't have a name there.
31:54 But, I think, I can try her.
31:56 Because I will have a combination in the film.
31:58 And the audience will watch it.
32:00 In the cinema, they will evaluate it later.
32:02 But, today,
32:04 I realized that
32:06 I made a film, but I came back 4 years later.
32:08 Because, towards the end of 2012,
32:10 2013, 2014, 2015,
32:12 we saw that I didn't know
32:14 where my film was going.
32:16 Because we didn't know how the audience was.
32:18 But, recently,
32:20 I realized that
32:22 in our industry now,
32:24 we can't be like before.
32:26 Why? Because of this.
32:28 Because of this.
32:30 Our audience can't be patient.
32:32 They are judgmental.
32:34 When you put a nameless actor
32:36 in your poster,
32:38 they will judge you.
32:40 They will say, "Oh, this is a low-budget film."
32:42 They will judge you.
32:44 Yes, because they can judge you
32:46 from the trailer,
32:48 or from the poster.
32:50 So, when I see that, I think, "Oh, this is dangerous."
32:52 Now, it will be harder
32:54 for new actors to be in the film.
32:56 It will be difficult.
32:58 Because I don't think the producer is brave enough.
33:00 They will go back to the old times.
33:02 I only dare to ban the popular actors.
33:04 If you look at the scope of the film,
33:06 until today, their friends
33:08 won't hire new actors to lead.
33:10 Because that's the risk.
33:12 I was a bit crazy back then.
33:14 I was brave enough to hire more actors.
33:16 I hired Syah Zee Sam.
33:18 But, that happened.
33:20 I hired Syah Zee Sam, but he never led the film.
33:22 I hired Piet Andre, but he never led the film.
33:24 I hired Intelia Diana.
33:26 Lisa Sreyani.
33:28 I hired Nora Danish.
33:30 I hired her for my sitcom.
33:32 Because when I saw the package,
33:34 the good stuff,
33:36 I was brave enough to hire her.
33:38 Because I could bank on my name.
33:40 Arhan Ahmad Iram.
33:42 I was famous.
33:44 I sold pictures.
33:46 But, today...
33:48 He didn't sell his name, he sold his reputation.
33:50 That's his name.
33:52 So, I saw that.
33:54 When people said, "I like horror and comedy."
33:56 Syah Zee Sam,
33:58 I thought I hired him for Anan Sempit.
34:00 But, that was his first leading.
34:02 Anan Sempit's "Peletuk".
34:04 To tell you the truth,
34:06 when I was in Anan Sempit,
34:08 even the producers didn't want him.
34:10 I fought for him because I knew Syah Zee Sam's talent.
34:12 So, I said,
34:14 "It's okay, we'll do this."
34:16 The producers even cut my budget.
34:18 They didn't give me a big budget because I wanted to hire Syah Zee Sam.
34:20 But, when it worked,
34:22 he was the one who led the film.
34:24 That's the problem.
34:26 You have to be a successful person.
34:28 But, today, I don't know about this formula.
34:30 I'm not sure.
34:32 Because, our audience judges quickly.
34:34 Just look at the poster.
34:36 There's no name.
34:38 It's low budget.
34:40 It's a small film.
34:42 So, that's how it is.
34:44 This is my personal opinion.
34:46 I might be wrong, but I tested my first film
34:48 after my comeback, "Anak Penjara Shaitan".
34:50 I put Alif, I put Ika,
34:52 I put Fasha.
34:54 It closed at 3.51 million.
34:56 Until today.
34:58 I have another film coming up in June.
35:00 I put 21 actors.
35:02 Wow, everyone has a name.
35:04 But, we don't have a name for those 21 actors.
35:06 Oh, no name.
35:08 It's okay to change the name.
35:10 You're so mean.
35:12 You didn't talk about the shooting that day.
35:14 It's done.
35:16 Maybe,
35:18 you're in the same industry as the other brothers.
35:20 No.
35:22 You're not in the same industry.
35:24 What about your children?
35:26 My only child,
35:28 is next to me.
35:30 He's in MMU now.
35:32 But, he prefers to be in the back.
35:34 He studied directing.
35:36 So, he's in the same industry.
35:38 I don't have any other children.
35:40 I have a special child.
35:42 He's in the first year of OKU.
35:44 The third child is in psychology.
35:46 He wants to link with my wife's school.
35:48 Okay.
35:50 Child psychologist.
35:52 Okay.
35:54 And, clinical psychology.
35:56 The last child is still a kid.
35:58 He's still playing.
36:00 He's still playing.
36:02 He wants to be a YouTuber.
36:04 He wants to be an actor.
36:06 He wants to be a gamer.
36:08 I'm confused.
36:10 But, you don't have any obstacle.
36:12 You support whatever they choose.
36:14 No. For me, in life,
36:16 every talent has its own value.
36:18 Okay.
36:20 I like my children who are
36:22 in vocational school.
36:24 Because, that's what the future.
36:26 Academic, yes.
36:28 Academic, you must have it.
36:30 But, vocational skills,
36:32 will lead you to entrepreneurship.
36:34 Because, academic, sometimes,
36:38 is not in entrepreneurship.
36:40 It's more in lecturing.
36:42 I told them, it's okay. You explore.
36:44 Because, today, the world is different.
36:46 But, it's balanced. One follows his mother.
36:48 One follows his father.
36:50 Okay.
36:52 It's easy for me.
36:54 You go to school.
36:56 He has his legacy.
36:58 He's smart.
37:00 But, he's wrong.
37:02 I hope so.
37:04 I pray for him.
37:06 Don't be like that.
37:08 He's far away.
37:10 But, is that what
37:12 Dato' Yusuf Haslam and Shamsul did?
37:14 It will happen with Maidham and his son.
37:16 When Shamsul did it.
37:18 Shamsul said, "Wrong.
37:20 Wrong."
37:22 We don't know.
37:24 That's in the future.
37:26 Because, I've worked with Maidham.
37:28 He's not Dato' Yusuf Haslam now.
37:30 I dare to say.
37:32 Because, we've interviewed Dato' Yusuf Haslam.
37:34 He's serious.
37:36 He's not.
37:38 You do it.
37:40 If it's not okay, I'll say.
37:42 We did it on the theater.
37:44 We did a movie.
37:46 We saw their face.
37:48 When we did the movie.
37:50 We didn't know what to do.
37:52 We sold it.
37:54 If it's not okay, I crafted it.
37:56 I like that sentence.
37:58 We've seen it.
38:00 I haven't heard it for a long time.
38:02 You don't have
38:04 experience to
38:06 make actors go back.
38:08 It's easy to work.
38:10 I've never done it.
38:12 I've done it a lot.
38:14 He can't stand it.
38:16 I've been friends with
38:20 actors to make them act.
38:22 I've been friends with them.
38:24 We do it together.
38:26 To say strict on the set.
38:28 You can ask someone who works with me.
38:30 For me, strict is not
38:32 personal.
38:34 It's about to get the best.
38:36 I've finished one movie last week.
38:38 It's Alif Sattar and Sofia Albarabah.
38:40 It's a combination of the two.
38:42 People asked me how I got them.
38:44 I said, I got Alif and Sofia.
38:46 It's a combination.
38:48 It's weird if you get
38:50 Alia Aziz and Sofia.
38:52 You're the one who's pushing the mic.
38:54 I'm afraid of this episode.
38:56 Alif Sattar and Sofia are okay.
38:58 People will be worried if you get another Alif.
39:00 We're a Subuh gang.
39:02 Alhamdulillah.
39:04 Subuh gang has a different aura.
39:06 I'll edit this one.
39:08 I'll just leave it.
39:10 No need to edit.
39:12 So, you got the answer.
39:14 We're friends.
39:16 We're friends with Sofia.
39:18 Her manager, Min.
39:20 He's also my friend.
39:22 When we were casting,
39:24 we were friends.
39:26 They knew I have to thank you.
39:28 When I made a comeback,
39:30 it's something.
39:32 Alhamdulillah.
39:34 When we make a comeback,
39:36 people are always skeptical.
39:38 They're not audited.
39:40 That's what I went through.
39:42 I was heard.
39:44 When I made a comeback.
39:46 People didn't dare to come back.
39:48 Do you get it?
39:50 We always have that perception.
39:52 I'm a bit stubborn.
39:54 When you say that,
39:56 I'll prove to you that you're wrong.
39:58 Why don't you get input
40:00 from people who are
40:02 in the comeback industry?
40:04 You've been away for a while.
40:06 When you made a comeback,
40:08 you lost your step.
40:10 Did you?
40:12 One thing.
40:14 I didn't lose my industry.
40:16 I lost my direction.
40:18 I'm still there.
40:20 I managed finance.
40:22 Even though I was in foreign ministry,
40:24 I managed culture.
40:26 But I studied there.
40:28 That's why when I made a comeback,
40:30 there was no issue.
40:32 I didn't have to understand the industry.
40:34 But what we need to face
40:36 is the perception.
40:38 People's mouth.
40:40 Whether it's okay or not.
40:42 It's all been audited.
40:44 But Alhamdulillah,
40:46 I want to prove that they're all wrong.
40:48 Alhamdulillah.
40:50 It doesn't matter.
40:52 That thing is still there.
40:54 Don't play with it.
40:56 He's angry.
40:58 Alhamdulillah.
41:00 If you're proud of a film
41:02 that you've directed or produced,
41:04 even though you said
41:06 you're proud of it
41:08 when it's box office,
41:10 there must be something
41:12 that's a personal
41:14 work to you.
41:16 Something close to you.
41:18 I have a film
41:20 that was not
41:22 as I expected.
41:24 It failed.
41:26 It failed from my expectation.
41:28 That's the film that I feel
41:30 with all my experience,
41:32 this is where I want to prove everything.
41:34 The title is 'Lari'.
41:36 And then,
41:38 Aaron Aziz,
41:40 Azamah was also in it.
41:42 It's an action movie.
41:44 I did the one about
41:46 Aaron and Malik.
41:48 The story of his younger brother getting caught.
41:50 I tagged along with
41:52 Tai's action film team
41:54 and Tom Yang Gong.
41:56 We put a lot of effort
41:58 to bring up the action
42:00 at that time.
42:02 But it didn't turn out as I expected.
42:04 The story was a bit
42:06 scary.
42:08 The ghost of a bamboo.
42:10 It was hard to tell.
42:12 It was hard to tell.
42:14 Sometimes, you really thought
42:16 you've put everything in the film.
42:18 You've budgeted everything.
42:20 It didn't work.
42:22 I did 'Anan Sempit'.
42:24 We didn't laugh for a day.
42:26 We didn't laugh.
42:28 We were shooting.
42:30 We were like, "Okay, this is good."
42:32 "This is good."
42:34 But when we were on stage,
42:36 we were like, "Eh, you can laugh?"
42:38 I like to sit in the audience.
42:40 Like, don't look behind the scenes.
42:42 We did the scene where
42:44 you're sitting on the bench
42:46 and suddenly, the other person's face is next to you.
42:48 It's normal.
42:50 I was like, "Why are they laughing?"
42:52 Some people laughed.
42:54 You were shocked?
42:56 We were like, "Okay, next."
42:58 Sometimes, we couldn't read the script.
43:00 That's why I said,
43:02 if anyone can tell
43:04 the story can go on,
43:06 this story can't go on, this story can go on,
43:08 I always give them advice.
43:10 I give them serious advice.
43:12 I tell them,
43:14 "If you can say that,
43:16 this story is okay,
43:18 this story can go on,
43:20 if you can do it,
43:22 you should quit your job.
43:24 Go back to your hometown.
43:26 Sell all the books,
43:28 all the assets,
43:30 and make a film."
43:32 Because you have something that I don't.
43:34 I don't even have a script.
43:36 Can I make a successful film?
43:38 So, who are you to tell that film?
43:40 We have to believe.
43:42 So, half of the people in the industry
43:44 can't do it.
43:46 If you have that judgment,
43:48 you can be overnight a millionaire.
43:50 You go back and sell all the books,
43:52 all the assets,
43:54 you can't do it because
43:56 you have a formula
43:58 that even Spielberg doesn't have.
44:00 That's like a joke.
44:02 You can guess.
44:04 You can know when you'll be successful.
44:06 So, just do it.
44:08 You don't want to do it?
44:10 That's why it's hard to find another job.
44:12 Because you already have it.
44:14 I pay for you.
44:16 I'll pay you later.
44:18 You already know that this film will be a hit.
44:20 There's no issue that this film will be a hit.
44:22 It's art.
44:24 Art is subjective.
44:26 It's one thing.
44:28 When the film is released,
44:30 there's a competitive atmosphere.
44:32 Everything has to be balanced.
44:34 Do you have
44:36 any other reference director
44:38 that you watch the movie?
44:40 I watch all genres.
44:42 I watch 50 films.
44:44 I sometimes want to think.
44:46 Like a genre.
44:48 Like I said, I make a film
44:50 that's trendy.
44:52 I'll make the character
44:54 that suits the movie.
44:56 That's why I do my research.
44:58 But I don't follow
45:00 Hollywood.
45:02 Today, I don't go there.
45:04 But I still watch Hindustan.
45:06 Since long ago.
45:08 Since long ago.
45:10 I still watch it.
45:12 Now, I watch Korean, Japanese.
45:14 I watch more of those.
45:16 Even the movie
45:18 from Mainland China.
45:20 It's where the things
45:22 that are close to us,
45:24 Asian, Malaysian.
45:26 That's why I don't go abroad.
45:28 I've never made a film for foreigners.
45:30 I make a film for Malaysians.
45:32 There's a reason why people
45:34 want to watch Malay movies.
45:36 You go to the counter,
45:38 and there are 15 titles.
45:40 You choose to watch Malay movies
45:42 because you want to.
45:44 So, you have to give it to the Malays.
45:46 That's right.
45:48 You have to give it to the Malays.
45:50 If you give it to Hollywood,
45:52 they'll say, "I tried that.
45:54 I failed."
45:56 There's a reason why people
45:58 want to watch Malay movies.
46:00 If they want to watch Hollywood,
46:02 they'll watch Hollywood.
46:04 So, as a filmmaker,
46:06 you have to watch Malay movies.
46:08 Malay movies have their own identity.
46:10 If Malay movies don't go abroad,
46:12 I ask again,
46:14 "Have you ever thought of going abroad?
46:16 Do you have a program for foreigners?"
46:18 When I was in Finas,
46:20 we did Road to Oscar.
46:22 That was a program
46:24 where we wanted to do a program
46:26 to start somewhere
46:28 to bring out of that.
46:30 But after I left,
46:32 it was buried.
46:34 So, I asked,
46:36 "Is there a program to bring our movies?"
46:38 They said, "No.
46:40 My movies are made in a place."
46:42 Suddenly, the movies were brought abroad.
46:44 The markets abroad are different.
46:46 I'll give you another example.
46:48 When I did Congkak,
46:50 we had a screening
46:52 of movies abroad.
46:54 We got a screening in London.
46:56 There were a lot of Malay movies.
46:58 So, Congkak was one of the fastest
47:00 and most popular movies.
47:02 70% of the audience were foreigners.
47:04 Usually, when a Malay movie
47:06 is brought abroad,
47:08 the audience is full of Malay.
47:10 Even Malay people abroad want to watch Malay movies.
47:12 So, I asked,
47:14 "Why do you watch my movies?"
47:16 I asked the audience,
47:18 "Why did you choose my movies?"
47:20 They said, "I watched the movie
47:22 'Rumah Kampung' and 'The Wooden House'
47:24 and that was exotic for them."
47:26 They weren't used to that.
47:28 "We watched 'Rumah Kampung'
47:30 and that was exotic for them."
47:32 So, when we want to make a movie
47:34 for the foreign audience,
47:36 we have to study their eyes, ears,
47:38 and senses.
47:40 I can't make a movie
47:42 that's why so many movies are banned
47:44 and people are talking about it in Malaysia.
47:46 Have you heard of 'Sukses'?
47:48 No one has.
47:50 We hear a lot of 'Sukses' movies.
47:52 Why?
47:54 This is what I sometimes find hard to say.
47:56 The society doesn't understand.
47:58 I'm not saying this for the Malays.
48:00 If you say that the foreign audience
48:02 doesn't want to watch it, then it's true.
48:04 If all the Malays support my movies,
48:06 even if 1 million Malays watch my movies,
48:08 I'll be comfortable enough.
48:10 1 million Malays watch my movies
48:12 every time I release a movie.
48:14 Can you imagine?
48:16 22 million.
48:18 22 million!
48:20 Oh, simple math.
48:22 Simple math.
48:24 Still want to touch on the actors.
48:26 This time, I know you don't like to answer this question,
48:28 but I have to answer it.
48:30 3 female actors and 3 male actors
48:32 that you think are outstanding.
48:34 Now or in the past?
48:36 It doesn't matter.
48:38 In the past?
48:40 In the past, you've worked with him.
48:42 He's talented.
48:44 We didn't talk about his sales.
48:46 I think he's talented.
48:48 I will always appreciate Sam.
48:50 I see his progress.
48:52 Sam is an underdog.
48:54 He's a hero.
48:56 I picked him up from his house.
48:58 From a rapper?
49:00 Yes.
49:02 His mom told me to take him.
49:04 She was disgusted to see him at home.
49:06 You can ask her that.
49:08 When I was shooting,
49:10 Sam was playing guitar alone at home.
49:12 She told me to take him.
49:14 I gave him a little bit.
49:16 She was disgusted to see him at home.
49:18 It was funny.
49:20 He played guitar at the set.
49:22 He didn't know how to drive.
49:24 He didn't have a license.
49:26 But we saw his progress.
49:28 Now.
49:30 And Awal.
49:32 He's the one who developed with him.
49:34 He's one of the young actors.
49:36 And Zura Zaimi.
49:38 Zura Zaimi is also like...
49:40 I took him to act with me for the first time.
49:42 It was a drama series.
49:44 He became an antagonist.
49:46 I brought him to the theatre.
49:48 These are all the 3 male actors.
49:50 The female actors are easy.
49:52 Intan Ladyana, Yana Samsudin,
49:54 Lisa Suhani.
49:56 She's the go-to girl.
49:58 If the character doesn't know who to cast,
50:00 these 3 will be the main actresses.
50:02 Yes.
50:04 If there's a 4th actress,
50:06 Nora will be the main actress.
50:08 She's in the movie "Cinta Cinta Cinta".
50:10 "Nasi Lemak 5%".
50:12 I remember that.
50:14 Now,
50:16 he just came back.
50:18 He's still a rookie.
50:20 But,
50:22 if you're in "Cinta Cinta",
50:24 you'll think, "Who should I cast?"
50:26 These 3.
50:28 Maybe Nora will be the main actress.
50:30 But, give her some momentum.
50:32 I can help you.
50:34 Don't, bro.
50:36 You'll only get the female actresses.
50:38 Yes, the 5th actress.
50:40 Nora is the 4th actress.
50:42 The 5th actress is Sofia.
50:44 Hello, Lala.
50:46 Hello, Lala.
50:48 Don't make fun of me.
50:50 You'll meet Sofia in the premiere.
50:52 No problem.
50:54 I'm okay.
50:56 I'm working.
50:58 I don't want to see Sofia.
51:00 I'm working.
51:02 But, you know,
51:04 I've worked with Sofia in 2 movies.
51:06 "Sake Prawan" is also Sofia's movie.
51:08 It'll be released on June 27.
51:10 It's a horror-comedy movie.
51:12 There are 21 actresses in it.
51:14 Azri, Mamak, and the rest.
51:16 They're all funny.
51:18 Sofia is the lead actress.
51:20 Sofia Isya and Nelisa Nizam.
51:22 Those 3 actresses are good.
51:24 You're okay with that, right?
51:26 You don't dare to comment.
51:28 I don't.
51:30 You've said that Sofia is good.
51:32 You've given me a choice.
51:34 I didn't ask for Sofia.
51:36 I've given you 3 choices.
51:38 But, when I heard that,
51:40 I thought,
51:42 "It's not like the other movies."
51:44 "It's not like the other movies."
51:46 That's personal.
51:48 If you want to say that you're not spoiled,
51:50 you're spoiled.
51:52 But, you're spoiled.
51:54 That's the problem.
51:56 You're not professional.
51:58 I'm getting more scared.
52:00 I'm getting more scared.
52:02 I'm getting more scared.
52:04 We want to hear the story.
52:06 About the 21 actresses.
52:08 What's the title?
52:10 The Perawan.
52:12 Which one?
52:14 That's it.
52:18 I'm a singer.
52:20 I'm a trigger.
52:22 21 actresses.
52:24 You can reveal the names.
52:26 The 3 actresses.
52:28 Sofia, Nelisa, and Ishariana.
52:30 Okay.
52:32 They're younger than me.
52:34 The hero is Afid Shazwan.
52:36 Our singer.
52:38 Handsome.
52:40 We combined with the legendary comedians.
52:42 Azli, Yasin,
52:44 and the late Hamdan.
52:46 He passed away after the movie.
52:50 There's also a group of Rajalawak.
52:54 I'm a fan of Rajalawak.
52:56 Mamak, Atu Zero,
52:58 are in the movie.
53:00 It's a sad story.
53:02 It's funny.
53:04 Kembasiam, Izla Yusof,
53:06 is in the movie.
53:08 He admitted it himself.
53:10 I brought back...
53:14 Wilma,
53:16 and the legendary Fauzanawi.
53:18 It's a family story.
53:20 The heroine,
53:22 Fauzanawi,
53:24 had to choose her heir.
53:26 Yes.
53:28 She had 3 brothers.
53:30 One of them couldn't get married.
53:32 How come?
53:34 She couldn't get married.
53:36 She didn't have to tell.
53:38 She kept it.
53:40 There are a few stories.
53:44 Azli became the village chief.
53:46 He had a comedy.
53:48 Azrul, the school bus gang,
53:50 are in the movie.
53:52 It's a mix of generations.
53:54 Relatable.
53:56 We have the old, the new,
53:58 the young, and the new to see.
54:00 It's a good mix.
54:02 It's coming out in June.
54:04 June 27.
54:06 It's confirmed.
54:08 Praise be to God.
54:10 If there's a red carpet,
54:12 I'll be free to be the MC.
54:14 I'll see Sofia.
54:16 It's free.
54:18 The MC has to pay.
54:20 The time is free.
54:22 My timing is free.
54:24 I have to pay for my work.
54:26 I'll see Sofia, but I have to pay.
54:30 People will ask me,
54:32 "What do you do?"
54:34 I have a sale.
54:36 Show them your payment voucher.
54:38 I'll get a little payment.
54:40 I'll have proof.
54:42 I'll see you on the cover line.
54:44 In the movie,
54:48 there are many actors.
54:50 Do they use your script?
54:52 Or can they just go through?
54:54 My style is,
54:58 if they don't,
55:00 it'll be a one-scene movie.
55:02 But if you combine it, it won't be a story.
55:04 I have to have the script.
55:06 Then, we rehearse.
55:08 They can sell it.
55:10 My style is,
55:12 I don't just let it go.
55:14 We rehearse,
55:16 you sell it,
55:18 I'll take it, and we lock it.
55:20 But you have to improvise.
55:22 Sometimes, the actors are different.
55:24 They do different things.
55:26 I don't believe in unscripted things.
55:28 I was in 'Sepanah Jaya'.
55:30 'Sepanah Jaya' is all scripted.
55:32 But that's how you control it.
55:34 There are so many actors.
55:36 When will a scene end?
55:38 Everyone wants to show off.
55:40 It's a lot of work.
55:42 You have to have a guide.
55:44 Okay, June 27th.
55:48 24th.
55:50 This is the second film comeback.
55:52 Yes.
55:54 God willing.
55:56 We'll support you.
55:58 If it's going to be this long,
56:00 we'll have to do it for a long time.
56:02 Thank you so much for today.
56:04 See you next week.
56:06 For the next episode of Borat Celebrity.
56:08 Peace be upon you.
56:10 I'm getting scared.
56:12 Please subscribe.
56:14 Borat Celebrity.
56:16 Borat Celebrity.
56:18 Borat Celebrity.
56:20 (whooshing)