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00:00:00Hi Assalamualaikum, we meet again this week with a new episode with the same two faces.
00:00:19My name is Dina Nazir and this week's Borat Celebrity, I am very excited because she is a shy person.
00:00:28But at the same time, she is also a funny person, but sometimes when she is serious, I don't know.
00:00:32I will tell you her profile.
00:00:37She is an actress, she can sing, she can dance, she can be a director, she can be a judge.
00:00:44She can also be a comedian.
00:00:46She can be a comedian too.
00:00:48What is it that she can't do?
00:00:50We will find out soon.
00:00:52This week we have Adlin Ammar Ramli.
00:00:55Assalamualaikum, Abang.
00:00:56Assalamualaikum, Dina and?
00:00:58Fadli.
00:00:59Fadli.
00:01:00Assalamualaikum, everyone.
00:01:01How are you, Abang?
00:01:02I'm fine, Alhamdulillah.
00:01:03You look young and stylish.
00:01:04That's right.
00:01:05This is my hair before.
00:01:06That's right.
00:01:07Today you didn't do the same hair like this.
00:01:08It's long.
00:01:09A little to the side.
00:01:10If not, a little to the front too, Abang.
00:01:11It's easy, Abang.
00:01:12This is a forced fashion.
00:01:13A forced fashion.
00:01:14Fast, concise and self-explanatory.
00:01:16I see.
00:01:17That's why I made my hair like this.
00:01:19To be fast, concise.
00:01:20No problem, Abang.
00:01:21Last week he made his hair like this.
00:01:23Okay.
00:01:24Then Liana Jasmi said,
00:01:25Is this a hair that doesn't love his wife?
00:01:28Because it's too simple.
00:01:31You mean you cut it down?
00:01:33It's all down.
00:01:34It doesn't fit your face.
00:01:36It doesn't fit your face.
00:01:37That's why I have my make-up.
00:01:39It doesn't fit your face.
00:01:40If the face has a mark of 4 or 5,
00:01:44it can't carry this.
00:01:45This is 8 or 9, it can carry.
00:01:47Because it's open.
00:01:49It's brave.
00:01:50You don't fit.
00:01:51You don't fit.
00:01:52Maybe in the next 10 years,
00:01:54I'll be strong enough.
00:01:56You have to up your fashion first.
00:02:01Okay.
00:02:02We want to ask,
00:02:03we want to ask about your beginnings.
00:02:05Maybe there was a time when you were in a daze.
00:02:09But at the same time,
00:02:10when you feel like this industry is enough.
00:02:14We go up and down in the industry.
00:02:17What do you see in our industry?
00:02:19Let's start with the beginning.
00:02:20Okay.
00:02:21You're interested in the art industry.
00:02:24Is it because of your parents?
00:02:26It's blood.
00:02:27Or why?
00:02:29Or are you interested in it?
00:02:32Okay.
00:02:34I was born 8 months ago.
00:02:37I was born on 23rd May 1972.
00:02:41After I was born 8 months ago,
00:02:42my late father, A. R. Tompel, passed away.
00:02:45Okay.
00:02:47To put it simply, I don't have that space.
00:02:49I don't have much experience with A. R. Tompel.
00:02:54Okay.
00:02:55But my mother is Rumina Siddiq.
00:02:57Yes.
00:02:58My mother, throughout her life,
00:03:00she was in and out,
00:03:02following the flow.
00:03:04She acted in Pentas,
00:03:06she did shows,
00:03:07she acted in films,
00:03:08and then drama radio.
00:03:10Throughout her life,
00:03:11she was in there.
00:03:12She didn't run away from it.
00:03:13And then,
00:03:14when I was little,
00:03:16until after school.
00:03:19By after school, I mean SPM.
00:03:21Okay.
00:03:22I remember at SPM,
00:03:23I was 19 years old in 1989.
00:03:25Okay.
00:03:26I got a good result,
00:03:28to continue my studies to university,
00:03:31like everyone else.
00:03:32But I was reluctant to continue my studies.
00:03:38Because,
00:03:40when I was around 17 years old,
00:03:44before that,
00:03:45until I was 17 years old,
00:03:47I wasn't directly involved
00:03:51and participated in any activity.
00:03:54Arts?
00:03:55No.
00:03:56Okay.
00:03:58I remember,
00:03:59when I was 7 or 8 years old,
00:04:02it just hit me,
00:04:04that my father was A. R. Tompel.
00:04:07Yes.
00:04:08Do you understand?
00:04:09It's too late to remember.
00:04:10Yes, it's too late.
00:04:11We don't grow up in a normal,
00:04:16ideal family institution.
00:04:18Okay.
00:04:19My mother,
00:04:21throughout her life,
00:04:23until now,
00:04:24she's been through her 5th marriage.
00:04:27Yes, that's right.
00:04:28So, my mother is
00:04:32a black widow with reset legs.
00:04:36Right?
00:04:37Her legs are reset.
00:04:39The term is,
00:04:40and my mother knows this,
00:04:42this is the term that her children gave her.
00:04:44She got married,
00:04:45her husband passed away.
00:04:47Got married, passed away.
00:04:48Restart.
00:04:49What's that?
00:04:50Restart.
00:04:51That's her life journey.
00:04:52That's really rare.
00:04:53If you look at my mother's biography,
00:04:55it's really crazy.
00:04:56It's really,
00:04:57what is it?
00:04:58It's a franchise.
00:04:59When did it come out?
00:05:01So, we call my mother a black widow.
00:05:03Now, her 5th marriage.
00:05:05It's the same.
00:05:06Did Mila die first,
00:05:07or was it you?
00:05:11And she knows that.
00:05:12So, okay.
00:05:13Back to my situation.
00:05:15So, that answers the question,
00:05:17why did it come to my mind at the age of 78?
00:05:19Yes.
00:05:20Because it shows
00:05:22how remotely off-radar I am
00:05:25in that environment.
00:05:27Okay.
00:05:28Abang Badul,
00:05:29because Abang Badul,
00:05:32he's the son of the first wife of ER Tompel.
00:05:37My mother was 5,
00:05:38my father was 6.
00:05:39His wife.
00:05:40So, our journey was long.
00:05:42So, it was kind of chaotic.
00:05:45A lot, actually.
00:05:46A lot.
00:05:47It's like,
00:05:48your father is the son.
00:05:49Chaotic, scary.
00:05:51He's like that, you know.
00:05:53So, throughout his childhood,
00:05:56even in school,
00:05:57I was involved in school competitions.
00:06:04But it wasn't hardcore.
00:06:05It wasn't hardcore.
00:06:06It was because of my friend, Chaba.
00:06:07My friend, Chaba.
00:06:08So, I was involved.
00:06:09I sang a little.
00:06:10But I didn't take part at all.
00:06:13Until after SBM,
00:06:15when I was 17 years old,
00:06:17I guess it was time for me,
00:06:19as a teenager,
00:06:21to think about what I wanted to do
00:06:23after I finished school.
00:06:24Okay.
00:06:25I wanted to continue studying.
00:06:26I said,
00:06:27I didn't want to trouble my parents.
00:06:30And I didn't feel like
00:06:32paying the university fees.
00:06:35Because I didn't like studying.
00:06:36I understand.
00:06:37You know.
00:06:38Because I was streetwise.
00:06:40Because we grew up with our survival.
00:06:43Yes.
00:06:44What made us teachers
00:06:47and what inspired us
00:06:49is purely the environment.
00:06:51Friends.
00:06:52Seniors.
00:06:53Not parents, you know.
00:06:55So, we grew up that way.
00:06:57So, when I was 17 years old,
00:06:58we started to think,
00:07:00okay, what do I want to do now?
00:07:02And at that time,
00:07:04I really saw
00:07:07the growth of AR Tompel,
00:07:10Mak Mah,
00:07:11and all my ancestors' journeys
00:07:14in this field of art.
00:07:16Okay.
00:07:17So, when I saw that,
00:07:19at the age of 17,
00:07:20after SBM,
00:07:2118 years old,
00:07:22we really thought about
00:07:25my father married
00:07:27AR Tom Anwar.
00:07:29He was a musician.
00:07:30The second was AR Badul.
00:07:31The third was Amran.
00:07:33After that, he got married to Saloma,
00:07:34and got Armali.
00:07:35Another musician.
00:07:36And then,
00:07:37the one that people knew,
00:07:39the top one was Abang Badul.
00:07:40And then,
00:07:41the second tier
00:07:42fell to Amran.
00:07:45They were the first best buds,
00:07:46the top ones.
00:07:47The hardcore ones.
00:07:48The mainstream ones,
00:07:49they all stayed at the top.
00:07:50The second wife,
00:07:52the third wife,
00:07:54the fourth wife,
00:07:55the fifth wife,
00:07:56then met Mak Mah.
00:07:58The sixth wife,
00:08:00AR Tompel,
00:08:01who passed away in her body,
00:08:02that's when we knew
00:08:03the sixth day.
00:08:06That's why you cried.
00:08:09That was when,
00:08:10Adina,
00:08:11Adina,
00:08:12when I did
00:08:13Maharajah Lawak Megah,
00:08:14the first week,
00:08:15I did this joke.
00:08:16I did a stand-up,
00:08:17I did this joke.
00:08:18So, the sixth one.
00:08:19So, when we look at
00:08:20the really top ones,
00:08:22Abang Badul.
00:08:23Abang Badul,
00:08:24during his era,
00:08:25in the 80s and 90s,
00:08:26he was really popular.
00:08:28He was really popular.
00:08:29It was his time.
00:08:30But, we were young.
00:08:31We didn't know.
00:08:32Oh, that's my brother.
00:08:33Oh, Badul.
00:08:34He wasn't that handsome.
00:08:35That's how it was.
00:08:37So, when I look back,
00:08:39there's nothing that connects
00:08:41the legacy of our ancestors.
00:08:45When I look at
00:08:47my age,
00:08:48my age,
00:08:49when I was 20 years old,
00:08:52I found out that
00:08:54the first time I met
00:08:56my youngest brother,
00:08:58number 18.
00:08:59I was number 17.
00:09:00Okay.
00:09:01That's a long answer.
00:09:02Go on, go on.
00:09:03Actually, if you ask me one question,
00:09:04I can answer it in an hour.
00:09:05Go on, go on.
00:09:06Go on, go on.
00:09:07So, that's how I found out.
00:09:09So, when I look back,
00:09:11there's nothing.
00:09:12There's nothing at all.
00:09:14Before Mak Jah,
00:09:17my siblings,
00:09:18there were seven or eight girls.
00:09:21None of them were in the entertainment industry.
00:09:24They were all bankers, office workers.
00:09:26When I look at my youngest brother,
00:09:28he's not that talented.
00:09:29He's only 18 years old.
00:09:32He's almost as good as you, Dickie.
00:09:33Yes, he is.
00:09:34So, he's...
00:09:35Because his mother was from a different batch.
00:09:37Okay.
00:09:38My siblings,
00:09:39there were 17 of us.
00:09:41Our names,
00:09:42if it's a boy, it's A.
00:09:43Okay.
00:09:44If it's a girl, it's R.
00:09:45Okay.
00:09:46It's A-R.
00:09:47My father's name was Aman Ramli.
00:09:48A-R.
00:09:49If it's a boy, it's Azman, Amran, Armaya, Adlin.
00:09:52If it's a girl, it's Rostina, Rosmaya, Rosmiah.
00:09:55Okay.
00:09:56He's number 18.
00:09:58He's the last one.
00:09:59He was born,
00:10:00and my father passed away at that time.
00:10:01He was pregnant.
00:10:02Okay.
00:10:03What do you think his name is?
00:10:04Oh.
00:10:05If it's A...
00:10:06There's no A, no R.
00:10:07There's none?
00:10:08None.
00:10:09I'll tell you his name now.
00:10:11I want to see if you're proud or not.
00:10:13Okay.
00:10:14Dickie Sofian.
00:10:15Dickie Sofian?
00:10:16Yes.
00:10:17That's far.
00:10:18That's far.
00:10:19Far.
00:10:20That's considered a breach of tradition.
00:10:22His father passed away at that time.
00:10:24But he was our best brother.
00:10:27The last one.
00:10:28The last one.
00:10:29He was okay, but he didn't have the talent.
00:10:32He didn't have the talent.
00:10:33So, I realized that I am
00:10:36mixed up with,
00:10:38my mother is a mother.
00:10:40My father is a son.
00:10:41I am a man.
00:10:42I feel like my DNA is like a rat.
00:10:45Rat.
00:10:46True.
00:10:47Then, I decided that, okay, I will continue what my father did.
00:10:54When I was 17, that is why I was involved for the first time.
00:11:00I became a cultural artist.
00:11:01Jabatan Penerangan Malaysia, Pentarama, is still there.
00:11:04It's a cultural troupe.
00:11:05Okay.
00:11:06And that's how I became a cultural artist.
00:11:09So, if you ask me if I'm interested to participate, to be involved in the industry,
00:11:16what rejects me is not my interest.
00:11:18What rejects me is the responsibility to continue the legacy of my father.
00:11:25Yes.
00:11:26That's his answer.
00:11:29Sorry, it's a bit long.
00:11:31But, it's true.
00:11:32He's knowledgeable and educated.
00:11:36So, when you joined the cultural troupe, as a dancer?
00:11:41As a cultural artist.
00:11:43As a cultural artist, my job is to dance traditional, to play kompang, to act a bit.
00:11:53And then, I steal time to learn music, to learn notes.
00:11:56So, it's quite free.
00:11:57So, our job is to be a propagandist of the government through Jabatan Penerangan
00:12:05to send the government's message.
00:12:08We go to Ceruk-Ceruk Rantau, Kampung Bantal, Kampung Orang Asli.
00:12:13We go to all of them.
00:12:14In one month, roughly, we can say we're out of the station for two weeks.
00:12:19We perform.
00:12:21I've been there for four years, Rina.
00:12:23Four years.
00:12:24That's my exposure, training ground in live performance, performing arts.
00:12:31So, in those four years, we've danced traditional.
00:12:35I've choreographed.
00:12:36No, I'm not a choreographer.
00:12:38We're our own initiative.
00:12:40So, all around us, solid.
00:12:42Four years.
00:12:44I remember in 1994,
00:12:48that was the first batch of the Ministry of Culture, Arts and Heritage.
00:12:52At that time, with the National Academy of Arts.
00:12:56Now, ASUARA.
00:12:58So, I was the first batch.
00:13:02At that time, my batch, Namron, Dr. Roslyn Suboh, Zizi.
00:13:06All of them became humans.
00:13:10They became people.
00:13:12But they became doctors mostly.
00:13:14But they lost their talents.
00:13:16Again.
00:13:19I always want to position myself somewhere that has value.
00:13:24A little bit more.
00:13:27So, for two years, I was at ASUARA.
00:13:30I was at ASK at that time.
00:13:33I got my diploma in theatre.
00:13:35I got my diploma for four years.
00:13:37But I speed up.
00:13:38I graduated in two years.
00:13:40I graduated on my own.
00:13:42I didn't finish my studies.
00:13:46So, from there,
00:13:48after 1994-1995,
00:13:51for two years,
00:13:53I got exposure there.
00:13:56Why did I join?
00:13:57Because I wanted to understand
00:14:00what kind of species I am.
00:14:02To understand the terminology.
00:14:04To understand the terms.
00:14:05What kind of people I am.
00:14:07That's why I joined.
00:14:08And then, of course,
00:14:09during those two years,
00:14:11even the lecturers said,
00:14:15your place is not here.
00:14:17I was like that.
00:14:19You're too smart.
00:14:20No.
00:14:21It's not that I'm smart.
00:14:22I have my impulses.
00:14:25I have my passion.
00:14:27And I have...
00:14:28Because you have to remember,
00:14:29whether you're aware or not,
00:14:31when I entered this field,
00:14:33I moved with a very clear sense of responsibility.
00:14:38So, I'm not just entering to socialize
00:14:42in a very light way.
00:14:43No.
00:14:44I enter to...
00:14:46Not to conquer.
00:14:48But I enter with a lot of baggages behind me.
00:14:53The name of my late father,
00:14:55my mom, Abang Badul, and everything.
00:14:57And I know I'm the last breed to do
00:15:01all those things.
00:15:03So, with that,
00:15:04maybe I'm conscious or sometimes unconscious,
00:15:10that radar is always there.
00:15:13So, it's possible that people see me
00:15:18as a bit more serious tone
00:15:23compared to Abang Emran or Abang Badul.
00:15:27And I...
00:15:28One of the things that I know,
00:15:31the decision I made to be involved in this,
00:15:35is the same as the name that I try to carry.
00:15:39If Badul is AR Badul,
00:15:42Emran is carried by Emran Tompel.
00:15:45I carry Adeline Aman Ramli.
00:15:47Aman Ramli is the real name.
00:15:50So, hopefully with this name that I carry,
00:15:57people will know Tompel,
00:15:58people will know AR Badul,
00:16:00and AR Aman Ramli.
00:16:01So, I bring the total names.
00:16:05So, that is quite very...
00:16:07Responsible, right?
00:16:08Yeah, yeah, yeah.
00:16:09It's heavy.
00:16:10You know, right?
00:16:11Stressful, right?
00:16:12No.
00:16:14You don't look stressed.
00:16:17Because I'm stressed too,
00:16:18when I look at you.
00:16:19But actually, Dina,
00:16:21with whatever things that we go through,
00:16:23ups and downs in the industry,
00:16:25there are certain times,
00:16:26of course, for six to seven years,
00:16:28you shut off,
00:16:29you do something else.
00:16:31But we know it's a part of the journey,
00:16:33it's an endurance.
00:16:35This is a lifetime commitment.
00:16:37You're not unintentionally involved in this,
00:16:40and I know,
00:16:41I want to end my life with...
00:16:45If I can't create my own legacy,
00:16:49it's good enough for me to extend the legacy
00:16:52of my mother and my late father.
00:16:55That's my role in my life.
00:16:59I'm starting to get angry
00:17:00when you say things like this.
00:17:02Because when you say end of life,
00:17:03it's like you're dying.
00:17:05It's not like that.
00:17:06But you took on that responsibility from the start,
00:17:09and that's still your motivation now
00:17:11to continue the legacy?
00:17:13Yes.
00:17:14I think that's something that...
00:17:18When you...
00:17:21When you make a vow with yourself
00:17:24and your destiny,
00:17:26do you know,
00:17:27when I was...
00:17:28I may have told you this,
00:17:30I don't know where,
00:17:31but it's normal for your content
00:17:34to record my important events.
00:17:39When ASK was established,
00:17:42it was initially in Aswara,
00:17:46but it was an old building,
00:17:48the KBN building,
00:17:49the National Cultural Complex.
00:17:52I was there for a year,
00:17:54and then we moved to Metik,
00:17:57near Saloma.
00:17:58At one time,
00:17:59our campus was there.
00:18:03When we were in Jalan Ampang,
00:18:05Ampang Cemetery was in front of it.
00:18:09So,
00:18:10my father was always the pioneer,
00:18:13even in Jalan Ampang,
00:18:14my father was the pioneer,
00:18:15and P Ramlee was second.
00:18:18When the Malay Film Production in Singapore was shut down,
00:18:22in 1969,
00:18:24MFP,
00:18:25Merdeka Studio was already...
00:18:27Merdeka Studio was in Finas Lama,
00:18:32Merdeka Studio.
00:18:33My father was also the first batch
00:18:35to direct and do,
00:18:36and P Ramlee joined MFP later.
00:18:41Even in Ampang Cemetery,
00:18:42the pioneer was Erton Pell.
00:18:45Erton Pell was buried,
00:18:47and a few months later,
00:18:49P Ramlee parked next to it.
00:18:52And then,
00:18:54Saloma.
00:18:57So, I went to the cemetery,
00:19:00of course,
00:19:01it was like a cemetery,
00:19:02but it wasn't for Eid.
00:19:03Suddenly,
00:19:04I felt like I was called.
00:19:06After a few months,
00:19:07or maybe the first year of studying,
00:19:09and I really felt like
00:19:11I wanted to take,
00:19:12I wanted to take,
00:19:13I wanted to take a stroll,
00:19:14for example,
00:19:15if people go to the cemetery.
00:19:16Right?
00:19:17Not wrong, right?
00:19:18This,
00:19:19this means,
00:19:20this is a sign of life and death, right?
00:19:22I went to the cemetery,
00:19:24I,
00:19:25I read Yasin one round,
00:19:27I said,
00:19:28I said,
00:19:29give it to me first.
00:19:32Easy to walk, right?
00:19:34Us,
00:19:35Us and our God,
00:19:36we're not joking, right?
00:19:37But we,
00:19:38communicate.
00:19:39Just say,
00:19:40communicate.
00:19:41So, give it to me first.
00:19:42Don't argue.
00:19:43I said,
00:19:44Read the hadith,
00:19:45all that,
00:19:46and then,
00:19:47facing my father's grave,
00:19:49on my knee,
00:19:50okay?
00:19:53Hands on the sky,
00:19:55at that time,
00:19:56drums,
00:19:57to summarize can I put your monologue with my God on that specific moment
00:20:12you have given all the advantages and strengths to these two people, especially A.I. Tompel
00:20:24and I put myself now to connect with what was done by the previous ones
00:20:31so if I ask him, it doesn't have to mean he wants to think about me as a father
00:20:41but if there is 1% or 10% out of what you have given to him
00:20:49then you give it to me and I will connect with what they have done
00:20:54at that time I was 18 or 19 years old
00:20:58so we can look at it as something funny and funny
00:21:05but that thing is like hijab, kabul, and also the placement of kalbu
00:21:13when the kalbu of the heart cannot be deceived
00:21:15because it is already stuck there
00:21:17so no matter what, you can give me a tissue
00:21:21because he and his father are not close
00:21:26so he is quick to accept it
00:21:31so what I mean is
00:21:35he is the big one, his father is not there
00:21:40so without realizing it, this thing is always with us
00:21:46in our life we have ups and downs
00:21:49we are personally ups and downs
00:21:51the life trend, the success trend also has its ups and downs
00:21:55and the industry also has its ups and downs
00:21:58and when we place ourselves as the community in the industry
00:22:11we have to have the power and wisdom to evaluate and see the ups and downs
00:22:20if it is an uptrend, it is easy for us to hide and forget
00:22:27that is the temptation, that is the sensation in our industry
00:22:30but when we are on the down circle
00:22:33there are a lot of people who are lost and don't know how to hold on to their struggles
00:22:41until the time changes a little, the factors change
00:22:45other people also change a little
00:22:47trend in trend
00:22:48at the same time, while on the down circle
00:22:51we are still continuously developing and finding our upscaling and everything
00:22:57so there are a lot of people who don't know with that trick
00:23:01and Alhamdulillah, since I went through the journey
00:23:07placing myself as a legacy for the family
00:23:11up until now, of course we have on and off
00:23:15and on and off, Alhamdulillah, I am not rich, I am not happy, I am not successful
00:23:20but my sustenance is, I can determine what I want to do
00:23:25and what I don't want to do
00:23:27when I want to do it, and when I don't want to do it
00:23:30that is what I feel, that is luxury
00:23:33that is what Allah has given me
00:23:37I will stop there
00:23:39because I see your work is so easy
00:23:42you can just throw it away and relax
00:23:45it's a story
00:23:46but Abang, did your mother tell you about this?
00:23:50did she say anything?
00:23:51did she share any advice?
00:23:53for you to be able to pray, ask for anything in the grave
00:23:56she is like this
00:23:57my mother is also like me
00:24:00we can't give advice to each other
00:24:05if my mother wants to give advice to me, she will tell me to relax
00:24:09it's the same, if I want to give advice to my mother
00:24:12when I want to give advice to my mother, I will tell her to relax
00:24:16do you remember when we had Mak Mah?
00:24:18we gave advice to Mak Mah to become a celebrity
00:24:20she was so raucous
00:24:22so the story is, Mak Mah and I
00:24:24actually, Mak and I
00:24:26the story is like
00:24:28left and right, it's a mixed feeling
00:24:31it's the same
00:24:32but the version is, she is a veteran
00:24:36and she is a female diva
00:24:39I am a male diva
00:24:42but it's like
00:24:43don't make me like my mother
00:24:45my mother also said
00:24:46if I become like you, I can't be like you
00:24:48that's how it is
00:24:50it's her rough language
00:24:51she doesn't want to be like her
00:24:53it's the same
00:24:54it's the same
00:24:55the problem is, it's really the same
00:24:58yes
00:24:59the bottom step comes out on its own
00:25:00right?
00:25:01you said you had a time in 5-6 years
00:25:03you decided to run for a while
00:25:06why?
00:25:07and what did you do?
00:25:09okay, at that time
00:25:10I think
00:25:11you calculate it mathematically
00:25:13now it's 2024
00:25:14okay
00:25:153 years ago
00:25:16maybe you just realized
00:25:18I entered again
00:25:19involved in films and everything
00:25:21you rejected
00:25:22maybe it's 2021
00:25:26you rejected
00:25:277 years ago
00:25:29I was off the radar
00:25:30maybe it's 2021 or 2020
00:25:34and pulled until 2019
00:25:38you calculate it mathematically
00:25:402012
00:25:422013-2014
00:25:45yes, that's how it is
00:25:48that's my problem
00:25:49you calculate it
00:25:50you guys will make my biography
00:25:52okay
00:25:53I realized that
00:25:54it's the same
00:25:55people collect pictures
00:25:56I said
00:25:57it's okay, I can't keep it
00:25:58because other people will compile it for me
00:26:01you realize
00:26:02you realize
00:26:03you realize
00:26:05people will make a story about me
00:26:06later they will
00:26:07they will compile it
00:26:09they will look for it
00:26:10I don't keep it
00:26:12calculate
00:26:13it's the same
00:26:14when we do a job
00:26:15make a film
00:26:16I've done it
00:26:17many films that
00:26:19we don't go to the cinema
00:26:20we don't watch
00:26:21we take it as a job
00:26:22that's it
00:26:23and we are not proud
00:26:24of our hard work
00:26:26right?
00:26:27with far-sighted people
00:26:28it's okay
00:26:29so it's okay
00:26:30it's okay
00:26:31I don't want to go to the cinema
00:26:34it's embarrassing to promote
00:26:36but it's not like
00:26:37Baib Penyalong
00:26:38that's it
00:26:40because Baib Penyalong
00:26:41is my treat
00:26:43for the last 2-3 films
00:26:44that I've done
00:26:47like
00:26:48Malbad
00:26:49or Coast Guard
00:26:51Adeline is still alive
00:26:53because we don't want people to think
00:26:54that we're dead
00:26:55because she's still alive
00:26:57but after 2-3 years
00:26:58I've done
00:26:596-8 films
00:27:00and then
00:27:02Meruat is back
00:27:03Meruat
00:27:06it's the same
00:27:07everywhere
00:27:09it's the same
00:27:10that's why
00:27:12what do you do when you're gone?
00:27:16usually
00:27:17I'll be frank
00:27:19I go to Mecca
00:27:22don't take it seriously
00:27:23I don't go
00:27:24I'm stressed
00:27:26I go to Mecca for Umrah
00:27:27but I
00:27:28go to Mecca
00:27:29to find myself
00:27:31to learn
00:27:32no, I don't learn
00:27:33I go to Mecca
00:27:34to hang out in my friend's garden
00:27:35not to learn
00:27:36Islam
00:27:38or Tasawwuf
00:27:41just relax
00:27:42chill
00:27:43I do what I like
00:27:44because I think
00:27:45the industry
00:27:46and the world
00:27:47is fun
00:27:51I do
00:27:52I do networking
00:27:53I do my own business
00:27:55but our hearts
00:27:56are always
00:27:57attached to
00:27:58the things
00:27:59in our industry
00:28:00because
00:28:01again
00:28:02when we're gone
00:28:03we know
00:28:04our work is not done
00:28:05we stop
00:28:06for a long time
00:28:07not for a short time
00:28:08we stop for a long time
00:28:09because at that time
00:28:10if
00:28:14I'll share with you
00:28:16before
00:28:17before I
00:28:18pull the handbrake
00:28:19and just
00:28:20leave everything
00:28:21and do something else
00:28:23at that time
00:28:24me and my company
00:28:25I've produced
00:28:26content dramas
00:28:28for hundreds of hours
00:28:30so we've produced
00:28:31for TV
00:28:32for
00:28:33from ideation
00:28:34to
00:28:35scripting
00:28:36until
00:28:37everything
00:28:38we've done it
00:28:39we've done it for 2-3 years
00:28:40so
00:28:41we've done it
00:28:42we've been through
00:28:43we know
00:28:45it's a good business
00:28:47but you're serving
00:28:48the drama
00:28:50the drama
00:28:52trend
00:28:53TV station
00:28:54certain things
00:28:55you can't
00:28:56compromise
00:28:57because you feel
00:28:58this is like work
00:28:59I hate work
00:29:01I love to create
00:29:02I want to create
00:29:04but when you repeat
00:29:05yourself for
00:29:082-3 years
00:29:09productive
00:29:10and then you feel like
00:29:12I want to cash out
00:29:13I feel
00:29:14this is not
00:29:15what I want to do
00:29:16my final
00:29:17so
00:29:18I need to enter
00:29:19into
00:29:20movie making
00:29:21and when
00:29:22movie banking
00:29:23we're not happy
00:29:24we're not happy
00:29:25with dealing
00:29:27company or
00:29:28big studio
00:29:29give commission
00:29:31this is
00:29:32your fee
00:29:33this is writing fee
00:29:35so
00:29:36I'm not happy
00:29:37with that
00:29:38the price tag
00:29:39and commissioning
00:29:41I'm not happy
00:29:42with the
00:29:43IP
00:29:44dealing
00:29:45with the
00:29:47conventional
00:29:48arrangement
00:29:49I'm an IP guy
00:29:50I'm a creative person
00:29:51I think about
00:29:52royalty
00:29:54art
00:29:55you know
00:29:56I don't want to be
00:29:58riding
00:29:59by all this
00:30:00capitalism
00:30:03style of
00:30:04business
00:30:05which is not normal
00:30:06we can't get out
00:30:07of that
00:30:08until now
00:30:09we're still stuck
00:30:12in that way
00:30:13in a way
00:30:14yes
00:30:15how can the platform
00:30:16share the IP
00:30:17and get
00:30:18get
00:30:19our creators
00:30:20so they
00:30:21can
00:30:22do some
00:30:23little monetization
00:30:24for their
00:30:25survival
00:30:26not just
00:30:27purely commissioning
00:30:28and you
00:30:29throw in your
00:30:30archive of library
00:30:31thousand
00:30:32million
00:30:33hours of content
00:30:34which
00:30:35not been
00:30:36syndicated
00:30:37for
00:30:38all these
00:30:39things
00:30:40I'm not
00:30:41happy with that
00:30:42but we know
00:30:43we don't want
00:30:44because
00:30:45if I
00:30:46keep
00:30:47doing that
00:30:48it will
00:30:49damage my
00:30:50mental and
00:30:51my soul
00:30:52and the problem
00:30:53is when they
00:30:54start to
00:30:55damaging
00:30:56and
00:30:57affecting
00:30:58how you
00:30:59think
00:31:00your perception
00:31:01about the
00:31:02industry
00:31:03and then
00:31:04your emotions
00:31:05you tend to
00:31:06become
00:31:07an upset
00:31:08person
00:31:09who suddenly
00:31:10you will
00:31:11become
00:31:12barking and
00:31:13bitter
00:31:14you know
00:31:15bitter
00:31:16and then
00:31:17you start to
00:31:18bash
00:31:19your own
00:31:20ego
00:31:21and then
00:31:22before
00:31:23you reach that
00:31:24level
00:31:25you just
00:31:26think
00:31:27I don't
00:31:28know to
00:31:29play this
00:31:30game
00:31:31I don't
00:31:32want to
00:31:33play this
00:31:34game
00:31:35so
00:31:36I
00:31:37back off
00:31:38and why
00:31:39I enter
00:31:40back in
00:31:41the last
00:31:423 years
00:31:43because
00:31:44well
00:31:45I think
00:31:46we have
00:31:47an uptrend
00:31:48in terms
00:31:49of premium
00:31:50content
00:31:51that
00:31:52makes
00:31:53creative
00:31:54content
00:31:55more interesting
00:31:56more challenging
00:31:57more out of the
00:31:58box
00:31:59not just
00:32:00a typical
00:32:01content
00:32:02so
00:32:03that's
00:32:04the thing
00:32:05and it's
00:32:06about time
00:32:07I think
00:32:08in my
00:32:0952 years
00:32:10reaching
00:32:1150s
00:32:12at that time
00:32:13I think
00:32:14this is my
00:32:15final push
00:32:16maybe I
00:32:17will have
00:32:1815 years
00:32:19so
00:32:20wise
00:32:21enough
00:32:22in terms
00:32:23of
00:32:24networking
00:32:25mature
00:32:26and then
00:32:27we can
00:32:28handle
00:32:29not just
00:32:30a creative
00:32:31person
00:32:32strategically
00:32:33we know
00:32:34how to
00:32:35approach
00:32:36we understand
00:32:37the mechanism
00:32:38of business
00:32:39better
00:32:40understand
00:32:41the platform
00:32:42better
00:32:43so
00:32:44that's what
00:32:45makes me
00:32:46so
00:32:47proud
00:32:48to be
00:32:49a part
00:32:50of
00:32:51this
00:32:52project
00:32:53because
00:32:54I'm
00:32:55participating
00:32:56my fellow
00:32:57friends
00:32:58Avlin Shawky
00:32:59as producer
00:33:00and creator
00:33:01at that time
00:33:02because
00:33:03the last
00:33:04Papadom
00:33:05I remember
00:33:06there was a
00:33:07gap
00:33:087-8 years
00:33:09not directing
00:33:10so
00:33:11me and
00:33:12Avlin Shawky
00:33:13we
00:33:14have
00:33:15a
00:33:16deep
00:33:17relationship
00:33:18not on
00:33:19personal level
00:33:20but
00:33:21I think
00:33:22how much
00:33:23the
00:33:24respect
00:33:25on my
00:33:26aesthetic
00:33:27value
00:33:28that's how
00:33:29much I
00:33:30look at him
00:33:31so
00:33:32we have
00:33:33that
00:33:34understanding
00:33:35so
00:33:36on certain
00:33:37certain
00:33:38projects
00:33:39when he
00:33:40get me
00:33:41to
00:33:42involve
00:33:43and
00:33:44support him
00:33:45not much
00:33:46but
00:33:47we feel
00:33:48okay
00:33:49I have to
00:33:50support you
00:33:51so that is
00:33:52the reason
00:33:53why
00:33:54I was
00:33:55off
00:33:56Radar
00:33:577 years
00:33:58back
00:33:59and why
00:34:00I'm here
00:34:01again
00:34:02so
00:34:03your character
00:34:04Kangaroo
00:34:05Kangaroo?
00:34:06I forgot
00:34:07Kangaroo
00:34:08Kangaroo
00:34:09Kangaroo
00:34:10Kangaroo
00:34:11Kangaroo
00:34:12Kangaroo
00:34:13Kangaroo
00:34:14Kangaroo
00:34:15is not
00:34:16a snake
00:34:17but
00:34:18he thinks
00:34:19he's a snake
00:34:20What?
00:34:21He thinks
00:34:22he's a snake
00:34:23Okay
00:34:24I should
00:34:25warn you
00:34:26but
00:34:27Stop
00:34:28admitting
00:34:29himself
00:34:30has character
00:34:31But
00:34:32this is
00:34:33intresting
00:34:34Ramli's
00:34:35favorite
00:34:36character
00:34:37is
00:34:38Charismatic
00:34:39sexy
00:34:40and
00:34:41interesting
00:34:42Sultan
00:34:43That was the first time I saw Adelina Maramly live
00:34:47Because at that time I was still a student at UITM
00:34:50A theatre student
00:34:51So when I saw that, I was like
00:34:52Oh, who is she?
00:34:54Oh my!
00:34:55Her mannerism, you know
00:34:57So, once again, back to the musical
00:34:59Oh, okay
00:35:00So, do you know...
00:35:03First things first, do you know that Along is good at musicals?
00:35:06Of course
00:35:07You know, right?
00:35:09According to him, you and Af...
00:35:13Well...
00:35:14Well...
00:35:15What's that?
00:35:16No, because we haven't seen it yet
00:35:18Like you said, we haven't seen it yet
00:35:20But, of course
00:35:23You have one solo song and two duets with Afisya King
00:35:27But that is during the making
00:35:30But the final output, I'm not sure how
00:35:34Alright
00:35:35Have you ever had a problem with your co-workers?
00:35:38For example, as an actor
00:35:39Do other actors have problems?
00:35:41And then, what actions do you do?
00:35:43Or do you have a problem with the director?
00:35:46Have you ever had a problem as an artist?
00:35:49I feel the same way
00:35:51Do you feel the same way?
00:35:52No
00:35:54He...
00:35:56Because I always...
00:35:58When I enter a room, I will try to swallow that room
00:36:02Swallowing is not food for my benefit
00:36:05No, I...
00:36:08I don't see him as a problem
00:36:11I don't see him as a problem
00:36:13When it's not good, it's not good
00:36:15There are stupid directors
00:36:16There are stupid writers
00:36:17There are
00:36:19But when you're involved in the project
00:36:22You know...
00:36:24Sometimes, other actors have...
00:36:30There are shortcomings
00:36:31Everyone has shortcomings
00:36:32But when...
00:36:33You have to approach the work
00:36:36And you're involved in it
00:36:37You're already in it
00:36:39And you have to do it as well as possible
00:36:42I don't see it as a problem
00:36:44I see it as a challenge
00:36:47This is a challenge that we have to overcome
00:36:51That's basically it
00:36:53And if you know me
00:36:57If you don't know me, it's okay
00:36:59But I know myself
00:37:01From my own thinking
00:37:04When I analyze people's words
00:37:08I try to analyze
00:37:10Maybe I can say
00:37:12I'm the kind of person
00:37:14I'm not afraid to debate
00:37:16And forward my ideas
00:37:18Or my thoughts
00:37:19Or my analysis
00:37:20Or my comments
00:37:21You don't have that filtration
00:37:24As long as we're sitting in a professional space
00:37:28We're working
00:37:29We're dealing about this work
00:37:32And how to make this product
00:37:34As best as possible
00:37:36So...
00:37:38You all have to open up with me
00:37:40And even if you don't tell me to open up
00:37:42I'll flush out
00:37:44As critical as possible
00:37:46So with that
00:37:48He won't be a good gentleman
00:37:51If you're just good at complaining
00:37:54Without a solution
00:37:56I always suggest
00:37:58Ideas
00:38:00Ideas that are better than yours
00:38:02Like that
00:38:04That's basically it
00:38:06And I've worked with
00:38:08A lot of directors
00:38:10And when I was active
00:38:12You tell me which director
00:38:14I didn't spend one round
00:38:16And everyone wants to give me one round
00:38:18And I said, okay
00:38:20I'll give you one round
00:38:22From the early days
00:38:24Like Yuwi Haji Syari
00:38:26Shouami Baba
00:38:29Or Ademan Saleh
00:38:31Or Haji Azmi
00:38:33Or Arwah Yasmin Ahmad
00:38:35They all passed
00:38:37And of course
00:38:39They also have a note
00:38:41For me
00:38:43For example
00:38:45I feel like
00:38:47You can't handle me
00:38:49Something like that
00:38:51But on a personal level
00:38:53It's okay
00:38:55No problem
00:38:57I'm a very influential person
00:38:59But if
00:39:01I call
00:39:03The names I mentioned
00:39:05I can call them
00:39:07If I want to meet them
00:39:09Maybe
00:39:11I'm not their ideal talent
00:39:13But
00:39:15I feel like the mutual respect
00:39:17Between them and me
00:39:19And I always take care of that
00:39:21You're the same
00:39:23When you talk about the names you mentioned
00:39:26Of course
00:39:28We learn from
00:39:30Whatever advantages they have
00:39:32You know
00:39:34Some directors have this, but less
00:39:36So we learn
00:39:38Because we know
00:39:40They are our living bible
00:39:42For us to observe
00:39:44Because we want to become
00:39:46Better than them
00:39:48When we are in the position
00:39:50To do that
00:39:52When we have the power to do that
00:39:55So we can reduce
00:39:57The disadvantages
00:39:59That we see
00:40:01Happening to them
00:40:03So we shouldn't repeat that
00:40:05And hopefully we will improve
00:40:07Personally
00:40:09As our self development
00:40:11And how to manage
00:40:13The whole team
00:40:15So that the whole team
00:40:17Will have good progress
00:40:19So
00:40:21That's the process
00:40:23I'm the type of person
00:40:27There are people
00:40:29Who don't want to think about it
00:40:31And then you shut off the process
00:40:33But not me
00:40:35Because
00:40:37If you have a closed process
00:40:39You come to performing arts
00:40:41Live performance
00:40:43And then theater
00:40:45Our process is a bit deep
00:40:47It's not
00:40:49Too philosophical
00:40:52I'm anti philosophical
00:40:54I'm a bit lazy
00:40:56I'm so lazy
00:40:58I don't go anywhere
00:41:02I have more time to practice
00:41:04But I'm out
00:41:06I'm lazy
00:41:08So you have a problem
00:41:10If you are lazy
00:41:12This is the philosophical
00:41:14I'm a bit lazy
00:41:16I'm lazy
00:41:18So, I try to balance on the commercial factor, commercial aspect of it, but at the same time
00:41:39we want to think about the substance, the meaning of the whole, why we're doing that, you know.
00:41:46So, that thing has to be juggled in between. I think, until the time for all our practitioners,
00:41:57whether there are writers or performers or directors, there has to be a check and balance.
00:42:04We don't have a big problem to make works in terms of technicalities, in terms of commercialization.
00:42:13Basically, we're quite improved. Our filmmakers and team have been trained for decades.
00:42:19As a filmmaker, we're okay. But the intelligence of it, I think we need to brush up a bit.
00:42:31And that's the most important thing, sitting at the component of script writing.
00:42:37Our script writing, our idea development is quite weak. Because we might get a lot of orders for,
00:42:45like you said, the TV requirements. It's very place-safe, work-and-guide.
00:42:53So, there has to be a movement or momentum to demand the demands, the intelligence,
00:43:03the more significant subject matter and way of thinking, right?
00:43:10Because a film, at the same time, before it's just entertaining, it has to be inspiring.
00:43:16It has to be full of thoughts. It has to give reflection to the society
00:43:20until they can see how ugly they are and how to improve.
00:43:24But don't you think that's the problem of chicken and egg?
00:43:27Oh, chicken and egg?
00:43:27For example, we make it, but we don't sell it. If we want to make it, we have to make it like this to sell it.
00:43:34There's no chicken and egg. Because we're in a cycle.
00:43:39The cycle is independent. But we always have a chance to improve the substance.
00:43:50We always have that space. But it's like this, not to blame the TV station platform,
00:43:55but the rules of the game are basically like this.
00:43:59When you play a commercial, whether it's a product or a TV,
00:44:04as long as there's a demand, then you continue to produce the product.
00:44:11That's it. But at the same time, you have to know that now, unfortunately, our audience,
00:44:19I'm not talking about Malaysian audiences, small audiences, global audiences, regional audiences,
00:44:25they're far more mature and far more sophisticated than our local TV platforms.
00:44:31That's the statement I'm telling you now.
00:44:34You used to be able to trick them with all this drama RTM.
00:44:39Prima, at that time. Oh, power.
00:44:42When you watch Hollywood movies, now Netflix and OTT, all-streaming,
00:44:51then you'll know.
00:44:52Who's watching? There are people watching, aren't there?
00:44:55Yes, yes, yes.
00:44:56The auntie who can't subscribe, she's watching.
00:45:00If she's able to subscribe, do you think she'll watch you?
00:45:03No, she won't.
00:45:03Of course, if she has a 6-hour or 4-hour watching hour every day,
00:45:10she'll watch you for half an hour or an hour.
00:45:13That's the niche she wants.
00:45:15The others won't look at your menu.
00:45:18That's how behind we are.
00:45:21So when we play a domestic commercial,
00:45:25we want to say, okay, it's a commercial, it's sold, it has a rating.
00:45:28But if you only look at your hometown,
00:45:31and you think, hey, you can still sell this curry puff,
00:45:34sell it, someone bought it.
00:45:35But you won't have the strength to compete with the regionals.
00:45:38No need to go far.
00:45:40Indonesia, Singapore, regionals. Gone.
00:45:44We're straight set. Gone.
00:45:50That's how when you live in your own dream,
00:45:53without realizing the reality of the outside world,
00:45:58and then if we don't realize that the bag is bigger than
00:46:06taking the money from the uncles and aunts in the village
00:46:09to buy curry puffs and crackers,
00:46:11and then you will get the price.
00:46:12You can pay for the price.
00:46:14Now it's shown already.
00:46:16Right?
00:46:17Okay?
00:46:17So...
00:46:19It's like you want to take a nap.
00:46:21So, wake up!
00:46:23Wake up!
00:46:24Wake up!
00:46:25Sleep up!
00:46:28Okay, bro.
00:46:29Tell us, bro.
00:46:30We understand that you're currently working on a project,
00:46:34a biopic, right?
00:46:36A biopic for our great artist, bro.
00:46:38How's the process, bro?
00:46:40The progress?
00:46:42We're talking about before it's official, right?
00:46:46It's like...
00:46:49gossiping.
00:46:50We're talking about the wind, right?
00:46:53Yes, I'm working on that.
00:46:55Officially, we haven't announced it yet.
00:46:58Because when it's announced,
00:47:02it should be announced as a co-production between two countries.
00:47:11It should be.
00:47:13The ideal project composition should be landing on that title.
00:47:17Okay.
00:47:18And now we are in the midst of reaching there,
00:47:23Inshallah, soon enough.
00:47:25And we will announce that officially.
00:47:30Yes, it's a biopic movie of our late Tan Sri P. Ramlee.
00:47:39Not just him.
00:47:41But his legacy and the whole legacy of cinema, music and Malay culture
00:47:52that happened during Singapore and Malaya was won
00:47:57by the Indonesian Government in the 50s to 60s.
00:48:05That is the ultimate era that we...
00:48:09Gemilang.
00:48:10Yes, Gemilang at that time.
00:48:11So, celebrating P. Ramlee as the pioneer of everybody
00:48:16because in his era, he was surrounded by great artists,
00:48:23a solid system and ecosystem.
00:48:26Not from the government, but from the private sector.
00:48:29Rivals of KT Keres and Show Brothers, very competitive.
00:48:35With a very strong vision.
00:48:38Of course, there was a little imbalance in terms of the system
00:48:43they produced over the welfare and the charity of pekerja.
00:48:48Which is...
00:48:49His reality.
00:48:50Something that is necessary to be balanced
00:48:53so that he can give a picture and we can post-mortem that thing
00:48:59and see it as our mirror now.
00:49:02We look at our composition, our industry now, our ecosystem.
00:49:06Is it the same as before or not?
00:49:10We will bring all the results that were brought in that era.
00:49:13What's good, what's bad.
00:49:14And this should become our industry case earlier.
00:49:18And P. Ramlee, other than rejecting him as an artist
00:49:27who brought as...
00:49:30Maybe people usually see him as a singer, an actor.
00:49:33But more than that, he is a cultural fighter,
00:49:38an artist who has a personal vision and a national vision.
00:49:46And with that kind of thinking, we hope in this biography
00:49:50people will see P. Ramlee with a different value
00:49:54without ignoring the excitement of having him as an entertainer, right?
00:49:58As a director of film and song composition, right?
00:50:03And also, without lifting the community around him
00:50:08the artists who strongly referred to him like Jamil Sulung, Yasudar Maji
00:50:13like all these other actors and actresses
00:50:18who were united under the MFP umbrella at that time
00:50:25so that they can highlight the quality and quantity at that time.
00:50:31So, when we talk about the time at Masan
00:50:35we can measure it from the amount of productivity that was born
00:50:39and also the amount of regional achievements
00:50:42in terms of artistic excellence in terms of aesthetics, right?
00:50:45So, that thing to us, Rina, if we talk about our industry now
00:50:52we have to look at it.
00:50:54Once we have experienced something like that
00:50:56and what happened, what did he do?
00:50:57What system that works, right?
00:51:00What in terms of ministry should learn, understand, and study in that?
00:51:06Maybe we have academicians and academics
00:51:09that some of the paper works that have been done
00:51:12that have been published in the university
00:51:13are not being applied in the planning for the industry.
00:51:20And also, what happened in the industry and the music ecosystem at that time
00:51:28How did they fall and rise?
00:51:30How did all these small companies
00:51:31been walled up by the bigger international brands?
00:51:35All these royalties, IP matters, right?
00:51:37Until now, right?
00:51:38So, that thing, this film should
00:51:42while it rejects the sensation of the great performer, entertainer
00:51:48the art of Malay in the world of Nusantara
00:51:51Rejecting that, he has to, in his background
00:51:56should say, analyze, and expose
00:52:02a documentary experience to understand
00:52:05how does all this happen
00:52:07and how we can learn from that, right?
00:52:09What is special, bro?
00:52:10For the good of the audience, you want to sell them
00:52:12So, just look at it, bro
00:52:15There are three things that I can highlight
00:52:18How is that thing a bit special to me
00:52:21that I have added value to myself
00:52:24Maybe not to the audience, only to myself
00:52:27And maybe what I have can be something interesting to the audience
00:52:31First, again, as I said earlier
00:52:35Afrin Shauqi, after a few years of not working
00:52:38should have been released before Harimau Malaya
00:52:45But unfortunately and fortunately, Harimau Malaya was released first
00:52:50And of course, we hope that
00:52:52Baik Punya Along will be 10, 20 times more successful than Harimau Malaya
00:52:59Because this thing is Afrin's thing
00:53:05This is his thing
00:53:06This is his territory
00:53:09Suits Afrin
00:53:12Compare a bit
00:53:13If Harimau Malaya, maybe
00:53:14History
00:53:15Yeah, it's slightly different
00:53:17Different appetite
00:53:19This is Afrin's thing
00:53:20That's number one
00:53:23Of course, I want Afrin to do good in this movie
00:53:27Because we know that we can rely on him as an independent producer
00:53:33And also a director, a writer
00:53:37He is a creator
00:53:39He is at the level
00:53:40He has his strength
00:53:42Like Mamat Khalid, he can also come up with ideas
00:53:46Write and direct
00:53:47But maybe Mamat Khalid doesn't produce
00:53:50But Afrin has these three things
00:53:52He can create ideas
00:53:54And then he can direct and execute that
00:53:56And he also produces with that
00:53:58So we should encourage people like Afrin to continue working
00:54:02But of course, there are things that he can improve from time to time
00:54:06In terms of aesthetics
00:54:08Or in terms of production and distribution
00:54:12To always have a point to improve
00:54:15So I really hope that Afrin Shawky will be motivated
00:54:22When this movie gets a response
00:54:26And gets an encouraging quote for him
00:54:30I hope so
00:54:32And I like it when it happens
00:54:34And I really want it to happen
00:54:36That's why I'm in Baik Penjualung
00:54:39And we welcome him to do it
00:54:43So that's number one
00:54:45Number two, of course
00:54:46As we can see in the promo
00:54:49There's nothing else
00:54:50My face doesn't come out
00:54:51So I don't care
00:54:55But it feels like we are positioning
00:54:59The Jozan as the duo that come back together
00:55:03So I think that's something that needs to be promoted
00:55:10Because if we look at it from the perspective of
00:55:12The couples or the pair of comedians
00:55:17The character of these two
00:55:19At one time, they were the tsunami in the industry
00:55:26And seeing the two of them together
00:55:31Again in this
00:55:33I feel like that's a bonus
00:55:35You should check out and celebrate them
00:55:38Celebrate the comedy industry in Malaysia
00:55:41Celebrate Afrin Shauhi doing the thing that he's good at
00:55:46And then celebrate our cinema box office
00:55:51Hopefully, Baik Penjualung will add value
00:55:57To the total value of Malay cinema today
00:56:00Yes, that's right
00:56:02Complimenting to Matkilau
00:56:04Complimenting to The Sheriff and all
00:56:06This is all good momentum
00:56:09I hope that it's special and unique
00:56:15And not all films have it
00:56:17Because if we look at the last two or three
00:56:19We have a lot of uniform films
00:56:21All the security
00:56:21How our career is not safe
00:56:24You're in one
00:56:25You're in Malbat
00:56:26Huh?
00:56:26You're in Malbat
00:56:27Yes, I know
00:56:28Participating
00:56:30In Malbat, Walk on Terra
00:56:32I'm in all of them
00:56:32Yes
00:56:33You know what?
00:56:34Malbat and Walk on Terra
00:56:35My name is Rahman, both
00:56:36Wow
00:56:37Both producers don't know
00:56:39I didn't tell them
00:56:40Because if I told them
00:56:42There must be one drop
00:56:43Oh
00:56:44So we treat this one
00:56:46We treat this one
00:56:46Oh, eat two
00:56:48This one is Chief Commander Askar
00:56:50This one is Chief Commander Unit Anti-Terrorism
00:56:53Yes
00:56:54Both have the same name
00:56:56Oh, that's how it is
00:56:57Fortunately, one is not dead
00:56:58Hahaha
00:56:59If both die, I'm in trouble
00:57:01I try to fight
00:57:02Is my character dead or not?
00:57:03Eh, no, not really
00:57:04It's like dead
00:57:05Eh, no, second part
00:57:06Second part
00:57:07If you do the second part
00:57:08Hahaha
00:57:09If you don't do the second part
00:57:10In the end, I'm dead
00:57:11Hahaha
00:57:13But it looks like I'm dead
00:57:15Hahaha
00:57:16The first part didn't come out
00:57:17Hahaha
00:57:18Oh
00:57:19Hahaha
00:57:20Okay, that's number two
00:57:21Yes
00:57:22Number three
00:57:24Because we rarely see
00:57:27The genre of the film
00:57:29Musical
00:57:30Hmm
00:57:31Here
00:57:31As far as I remember
00:57:33If before this
00:57:33We have K.A.R.I.O.
00:57:36K.A.R.I.O. is
00:57:37Majika
00:57:37Yes, Majika
00:57:38Majika
00:57:39Majika
00:57:41And then
00:57:42I don't know
00:57:43In between
00:57:44What
00:57:44Majika
00:57:45I can't think of it now
00:57:47It means it's not mainstream
00:57:48Even if there is
00:57:49Maybe not many songs
00:57:50It won't happen
00:57:51Because we don't listen
00:57:52There is no impact
00:57:53Right
00:57:54So, and then
00:57:55Bahit Penyalur
00:57:56And we also know Aflin
00:57:58He came from a music guy
00:58:00He's a music guy
00:58:01Yes
00:58:01He's the R.A.P. and the singer
00:58:03Yes
00:58:04So, it's the same with me
00:58:06I have a very strong music sense
00:58:10Very
00:58:10When Aflin asked me
00:58:13Asked me
00:58:14And me
00:58:15With him
00:58:16Hahaha
00:58:17I forgot to tell my girlfriend
00:58:19I forgot
00:58:20So, he asked me
00:58:21And then
00:58:22One wants to support him
00:58:23And then he said he wanted to do a musical
00:58:24I asked, okay, musical
00:58:25Okay, nice
00:58:26Okay
00:58:26How many songs do I have?
00:58:27Hmm
00:58:28Wow
00:58:29And Aflin
00:58:30He's a fan of my work
00:58:33Puteri Gunung Ledang Musical
00:58:35Piramni Musical
00:58:36He's a fan
00:58:37He knows my music
00:58:39So, he gave me something
00:58:40I said, okay
00:58:41And then I have a duet song with him
00:58:44And then I have my solo song
00:58:45Right
00:58:46Love
00:58:46And then
00:58:48I like it
00:58:48Sometimes ting ting ting ting
00:58:49Ting ting ting ting
00:58:51Ting ting ting ting
00:58:52I like it
00:58:53So, I had time to do that
00:58:54With my contot
00:58:55I was like
00:58:56Hmm
00:58:57I like it
00:58:58Something like that
00:58:59And in the end, it's very serious
00:59:01Hahaha
00:59:02So, that's the thing
00:59:04Now, it's a musical genre
00:59:06And
00:59:06Hmm
00:59:09When we made it
00:59:10When we
00:59:12During the making
00:59:13It's really rich
00:59:15It's really rich, I want to say
00:59:17We have a lot of good songs
00:59:18We have a
00:59:19Very entertaining and very
00:59:21Very pumping beats
00:59:23And musicality
00:59:25But, that's the end
00:59:27How is the final edit
00:59:29For the film version
00:59:30I'm not sure
00:59:32I hope
00:59:33The whole gist and the potential
00:59:35That we sense during the making
00:59:38It will be consistently captured
00:59:40And displayed in the movie
00:59:43So, that is three things
00:59:44If you ask me
00:59:46Not scheming
00:59:47Trying to promote
00:59:49The movie
00:59:51Because I came here
00:59:52Promoting that
00:59:53Hahaha
00:59:54That
00:59:54But, the reality is
00:59:56That's the thing if you ask me
00:59:58That's it
00:59:59Three
00:59:59Especially, Along
01:00:0112th September is out, Dina
01:00:03You can watch it now
01:00:04Powered by your words
01:00:06Yes, among the people involved
01:00:07Of course, there's Juzan
01:00:09There's Dato' Aflin himself
01:00:11There's Adelina Marami
01:00:12There's Yana Jasmi
01:00:13There's Mia Sara
01:00:14There's also Arwah
01:00:15There's King Wah
01:00:16There's King Wah too
01:00:18You said it's like we're going to finish it
01:00:20Yes, we're going to finish it
01:00:21Alhamdulillah, I'm grateful
01:00:24Bro
01:00:24But, this is one of the easiest jobs
01:00:26Really?
01:00:27Hahaha
01:00:28Why, bro?
01:00:28No, I feel like
01:00:30In the screentime
01:00:31It's like you
01:00:32It's a story, bro
01:00:33Your question is like a tweet
01:00:34Just a little bit, bro
01:00:35Laughing like
01:00:35Hahaha
01:00:36You're supposed to laugh
01:00:37Bro, if I'm supposed to laugh
01:00:39I don't know what's really funny
01:00:41Your child, bro
01:00:42Are you going to support or let
01:00:46Oh, I was going to ask about the legacy
01:00:48Legacy, you said
01:00:49You started on the name of legacy
01:00:52What about your legacy?
01:00:54Will you allow your children to continue
01:00:58Or do you feel like
01:01:00No
01:01:01Like you want to train other people
01:01:03Even though you don't have your own flesh and blood
01:01:05No, we can't order this
01:01:07We have to
01:01:08Like my late father
01:01:12Maybe 8 months ago
01:01:14He saw it like
01:01:15You can do this
01:01:16You're the best, son
01:01:17No, he didn't say you can do this
01:01:18No
01:01:19I don't think so
01:01:20I don't think so
01:01:21Maybe he tried to do it to
01:01:24Badul, Amran
01:01:27He never did that
01:01:29When he was in 7th or 18th
01:01:30He said
01:01:31You're the best, son
01:01:32I think that's how it is
01:01:33That whisper came
01:01:35We ourselves
01:01:36That's in the blood
01:01:37Suddenly
01:01:38Like
01:01:38He's like that
01:01:40We also think a little
01:01:42We look at this a little
01:01:43We also have a little research
01:01:45We mean we want to know
01:01:47We take it seriously
01:01:48Right
01:01:48So come on, he has
01:01:50That pin
01:01:52So if you ask about
01:01:55My legacy
01:01:56It's not my business
01:01:58It's the business of my descendants
01:02:01And it doesn't have to
01:02:03It doesn't have to come from
01:02:06Our flesh and blood
01:02:07Like for example
01:02:09Talking about P. Ramlee now
01:02:11We know at one time
01:02:12He had P. Ramlee's rice
01:02:13But he's already dead
01:02:14Rice also means
01:02:17At the rate of maybe 5-10%
01:02:20Of the whole capacity of P. Ramlee
01:02:23Because
01:02:25It's not
01:02:27Not all must be
01:02:29Inheritance
01:02:30He doesn't have to
01:02:33That's his unique on how
01:02:36God arranged his ups and downs
01:02:38And but
01:02:39Supposedly
01:02:41Supposedly he can
01:02:43But maybe
01:02:44Well, P. Ramlee was probably a bit chaotic
01:02:46Married and divorced
01:02:47He didn't have much rice
01:02:48It's the same
01:02:50So that thing
01:02:51Like he has Najwa
01:02:53Najwa is also involved in things
01:02:55Which is good
01:02:56We're not surprised
01:02:57But how much and how far
01:03:00They can refuse or want that
01:03:02That's what we're not sure
01:03:04Sometimes the scenario changes
01:03:05The scenario changes, the situation changes
01:03:07Different personalities
01:03:09Your mother got married to this
01:03:10Your mother is like this
01:03:11She's liquid
01:03:12She's liquid
01:03:13She's liquid
01:03:15She's liquid
01:03:15Not everyone can get that party
01:03:17So it's the same with my situation
01:03:20And
01:03:21It doesn't have to be my son and my heirs
01:03:23For example, now
01:03:24About P. Ramlee's story
01:03:26He has this
01:03:27He didn't
01:03:28Not someone else did it
01:03:29I did it
01:03:30So why did I
01:03:32Make P. Ramlee?
01:03:33That's one of my homage as
01:03:35As an artist who really
01:03:37Adores and we know
01:03:39Your contribution
01:03:40And then
01:03:40After 50 years
01:03:42You passed away
01:03:43We need to repackage
01:03:44Repositioning
01:03:45Rearrange
01:03:47Repromote
01:03:49So we have a cycle that needs to be done
01:03:52And I did it
01:03:53In the sense that
01:03:54I
01:03:54I entered the world of P. Ramlee
01:03:56I met my father in there
01:03:57And of course
01:03:58My father's
01:04:00Biography
01:04:01He's a masterpiece
01:04:02If
01:04:03P. Ramlee's biopic
01:04:05It's like my
01:04:06Degree
01:04:07Can you imagine?
01:04:07My master thesis
01:04:09It's like that
01:04:11You know
01:04:12So
01:04:13Maybe what I do
01:04:15Now
01:04:16And which is I don't know
01:04:17How I ended up
01:04:20I just need
01:04:23Well, when we're involved in
01:04:25The work that involves
01:04:26Our art
01:04:27Our work
01:04:28Appreciation is important
01:04:31Appreciation doesn't have to be money
01:04:33Appreciation is sometimes
01:04:34Appreciation in the form that
01:04:36Yes, he has made me happy
01:04:38As simple as that
01:04:39I see it all
01:04:40That
01:04:41And then
01:04:43Of course we
01:04:44We want that thing
01:04:47Not just for ourselves
01:04:49As overall
01:04:51Can represent
01:04:52The art community and the workers
01:04:54So that we are
01:04:55Viewed with a view that
01:04:58Not
01:05:00Just filling the void
01:05:01But we have
01:05:03A very important role and function
01:05:05Which cannot be done by other sectors
01:05:07That is why like
01:05:08P. Ramlee
01:05:09He is also our icon
01:05:11Our national unity
01:05:13And he
01:05:15In P. Ramlee's project
01:05:16What we do
01:05:17Involving
01:05:18Two countries
01:05:19Malaysia and Singapore
01:05:21His magnitude
01:05:22To
01:05:23Overthrow
01:05:25Brunei and Indonesia
01:05:27So that is the
01:05:28Thing that we have to see
01:05:30That's how when
01:05:32Art culture
01:05:33Through his artist
01:05:34Or in
01:05:36Creative products
01:05:38Can give all this
01:05:40Value that cannot be done
01:05:42By other people
01:05:43Even politicians
01:05:44Maybe there is no such reach
01:05:46Like art and dance
01:05:47P. Ramlee is another
01:05:49Great story of our nations
01:05:51And we should
01:05:53Promote and
01:05:54Talk about it
01:05:55Again and again and again
01:05:56We don't
01:05:58Let this history be forgotten
01:06:00Because this is in the fold
01:06:01Until
01:06:02Easily
01:06:03If we don't raise our hero
01:06:05Believe it, other nations will raise their heroes
01:06:07As URA and NDPT
01:06:08So we will never
01:06:10Allow that to happen
01:06:12Okay?
01:06:12Okay bro
01:06:13I hope you have a good success
01:06:15And also
01:06:17Project of Biopik
01:06:18And P. Ramlee
01:06:19InshaAllah
01:06:20Stay healthy
01:06:21Thank you for today
01:06:23See you again
01:06:24Assalamualaikum
01:06:24Bye-bye