122. WHY SINGAPORE TV IS DEAD…
Since late 2001, I have been immersed in many gigs in the Singapore TV/media industry. After 9 years busting butt on the ground, I have decided that this may the last year I want to be as involved in it and perhaps seek an alternative path.
I realise that by writing this post I may endanger the future of my career but I believe in serving the greater good if only because I still have a drive for the art of creating (whatever’s left of course) and churning out shows that entertain and are commercially viable as well, which in Singapore’s case, seems to lean towards the latter mostly.
But I digress. Let’s go back to what makes this chica more and more disillusioned about her career on a daily basis and here are the reasons why:
BUDGET (MONEY, MONEY, MONEY!):
Budgets have become paltry if not just darned insulting. What was once enough to do a decent half-hour drama or info-tainment show has been slashed by a third or in some cases by half! This results in a slew of other reasons why the media industry is not the place to seek glamour or fortune.
NO APPRECIATION FOR PRODUCERS/UNDERPAID PRODUCERS:
Producers in other countries and industries are the most respected and feared people on set. They are the ones responsible for hiring and firing talent, getting funds for the production and basically ensuring that the final product that is released meets industry standards. Alas, in Singapore, they are not. They are ignored, underpaid and certainly not respected for their hard work. There is no compensation here except for the producer’s passion.
CLUELESS & MONEY-ORIENTED ‘CAMERAMEN & CREW’:
It seems like the only people making money in this industry are the cameramen. No doubt they are important to the production process but again, this brings me back to the above, producers should be paid the same rates as cameramen.
Secondly, DOPs working in this hectic industry lack passion. In fact, there’s no pride in their work, although there are a few left standing that I still consider are crew that I still want to work with and hire, but mostly, they’re not bothered about that great shot. They only care if they are getting paid overtime and when that becomes the focus, it sucks the morale of the director/producer or onset staff for the job because it just becomes that – a JOB.
Thirdly, for those who are doing dramas, well, they don’t even bother reading the script or taking a look at the storyboard. I mean, what kind of crap is that? So you have a producer (who is already busy enough) wasting their time shooting an e-mail to a DOP with scripts and storyboards attached and then having them show up on set, asking the producer or director, “Eh, what is this scene about?”
Sorry but this clueless reaction irks the hell outta me when I’m on set because I pay you not to just shoot, but to discuss the shots prior and see what types of shots work for each scene, not come on set totally clueless about what to shoot, thereby wasting precious time onset explaining to the DOP what each scene requires. If this is the case, hey, give me the camera and I’ll go shoot the thing myself instead of contending with shaky, overexposed, badly framed or cliched shots.
SHORT UNREALISTIC TURNAROUND TIMES:
The rule of thumb for highly successful and quality shows is simple: Time & Money.
However, in Singapore’s unforgiving media industry, we seem to be running short of both. As it is, budgets are a joke and guess what? Time is, as well especially when concepts and budgets are approved 4 weeks in advance of the show’s initial broadcast and contracts with various parties signed 3 weeks before. Yea, funny right? NOT! Because this is exactly what happens in this industry.
After that, it’s a scramble to get shooting scripts written and approved, logistics arranged at the speed of lightning and shoots and edits done in record-breaking time to make it to air at the specified date and time. And this bad practise continues for the next 12 or 13 episodes of a season.
Then what happens at the end of it all? What comes out of the works is a badly written and shot show no one, not even the producers or staff that worked on it want to watch and they wonder why our shows are shite and that the industry is dying! Sheesh!
Does the phrase, shooting oneself in the foot mean anything here?
LOCAL PRODUCTION HOUSES:
As a person commissioning programmes to certain production houses, I find that many of them overwork and underpay their staff even though they’re getting huge budgets. Lately, the ugly picture is that many of the owners of such places play a dirty game of squeezing everyone they hire to get a show out on-air and keep the rest of the money in a fixed security deposit or invested in a new condo and/or luxurious car.
Recent articles in the local papers have also mentioned the atrocious way in which freelance talents have been treated by these dodgy companies where people have gone unpaid for months or not insured onset.
This makes me very uncomfortable as a person helping to mete out these budgets and getting first-hand feedback from staff of how blatantly squeezed these poor people are and I wonder how far the greed for making money is on the part of these company owners because I sure do feel bad for the staff. (Yea, sorry for having a streak of decency in me and a prickly conscience!)
Besides that, I’ve also had many EP’s from production houses explaining to me (or giving excuses really) why they don’t want to re-shoot or spend more on graphics or audio mixes etc to make the show better even though the budgets are huge (as I work in cable). It makes me feel that I would rather not give jobs to local companies and instead do the job in-house where I can hire the team that I feel would give me their best.
Yes, sadly, I’m reaching the point of no return where I have lost all faith in the integrity and production abilities of local production companies out to make a quick buck or two whilst compromising on the standards of their own works, barring only an exceptional few.
I have one advise for all those wanting to start production companies in the hopes of making it big – 1. you are not going to make pots of money, 2. Being in production is not about the glamour and 3. If you are not passionate, humble or qualified to do a show that wows your viewers or breaks new ground in television/film, don’t even bother starting a company that might further kill the industry please.
You will definitely be doing the industry a huge favour if you refrain from entering it. Thanks!
CLICHED WORK:
From uninspired scripts, bad acting/hosting, cliched shots and edits, many TV shows here can’t offer up anything exciting or different to the viewer.
With the exception of TVCs and promos where producers and crew take time to research award-winning works from peers worldwide, many TV shows produced locally are dull, boring and poorly executed. Whether it’s local dramas, docos, lifestyle and infotainment or travelogues, they all seem to lack a certain ‘X-factor’ when compared to the same shows being produced in other countries that carve their own styles and identity.
CENSORSHIP:
This is a very sensitive issue on the tiny island. What is OK to one person could be darn right offensive to another but this is another reason why our shows are shite and not worthy of travelling anywhere outside Singapore except maybe to Batam, JB or Astro’s Kids Channel IQ. (OK, OK, maybe NTV7 or TV-Tigaaaaaaa)
This is also the reason why we have to contend with Episode 1,255 of Phua “O god, it’s not funny anymore” Achoo Kang.
Our fear of showing what’s real about Singapore or dealing with sensitive issues in documentaries or films is costing us a lot. It’s costing us talent that decide to quit the industry early because there is no long-term development or support in terms of subjects filmakers/TV producers are allowed to portray.
It’s costing us awards and world-recognition and the development of the industry as a whole when obscure filmakers from Eastern Europe, Afghanistan and Iran can release gripping, emotional or entertaining work that wins international acclaim.
Meanwhile we sit here, twiddling our thumbs wondering why our Wong Kar Wai wannabe films on hawker centre uncles and aunties or sad ‘tai-tai’ films don’t seem to make a dent anywhere except Asia.
Censorship has forced producers here to stick with safe, banal topics that don’t affect or grip audiences.
To top it off, ‘safe’ is not exactly what people want to see these days in an age where the Internet has broken through so many cultural boundaries, opening our noggins to anything and everything that’s out there.
Furthermore, censorship is childish and it stems from fear. Fear does not allow us to expand – it only causes us to recede. It will not cause us to grow or be rewarded, because only courage allows us to do that.
So until that day of freedom comes and Singapore is ready to face its own demons, I’ll take a few steps back from the industry.
NO PROPER GOVERNMENT SUPPORT
Unlike the UK Film Council which supports many independent films, both of long-form and short form for both cinema and television and whose efforts have gone on to win Academy awards, Emmies and the BAFTAs, our film commission does not even have one internationally recognised award for anything original unless it’s the Bangkok Film Fest, Pusan or maybe an honorary award at Cannes once every decade?
This is because the people at the top do not know what is needed to revolutionize the flailing industry. They are so out of touch with what’s really needed to jolt the industry into a thriving one.
They are also bogged down by the Asian mentality that one must not challenge the ideas or visions of someone sitting at the top. There is no one with ground level experience to fight the powers or expand on their thinking unless it’s some unbelievably highly paid consultant from the US or the UK who has been specially flown down to our shores to suddenly miraculously open the minds of these high-ranking incumbents, at the taxpayer’s expense.
And no amount of money or seminars can help us unless we cleanse the industry of incumbents who really do not know what media is about. It is also useless to call upon the expertise of consultants from developed countries whose intrinsic cultures are based on democracy, freedom of speech and thought that allows for such highly sophisticated modes of creativity.
We are unfortunately not like these countries whom we secretly want to be and out rightly fail to achieve despite our economic success – because of censorship and our Asian culture which emphasizes on Confucian principles and where freedom of speech and thought are frowned upon.
In this, we are still in Third World territory. We are very much behind on all counts because the way we have been raised by the government is through fear and breaking new ground, like I mentioned earlier, requires courage and we don’t have that really, which is why we end up copying what the media does in all these other developed countries.
LACK OF MENTORING:
Singapore is so awful at this, it should be charged in a court of law because there seems to be a huge void when it comes to the development and sustaining of talent in the media as new generations graduate from tertiary institutions and enter the industry.
Forever and a day now, it’s been Jack Neo, Eric Khoo, Royston and Wee Lilin and never anybody else. Doesn’t that strike you as odd?
These noted ‘godfathers’ of the Singapore media industry don’t seem to be grooming others to be the next generation of savvy talents that will take Singapore to the next level of television, gaming or film entertainment.
Instead, you get this weird feeling that these guys are in and of themselves in an exclusive circle, afraid of being usurped by a new batch of players, which I suspect, is probably the case.
Mentoring doesn’t only keep talent within the industry; it allows talent to break new ground as ideas are exchanged not only in terms of content but also technology.
In Hollywood, see how the big guns are always developing technical expertise and sharing content. From producers like Jerry Bruckheimer and Steven Spielberg, collaborating with Peter Jackson (who also develops and supports new talent), JJ Abrams, James Cameron, Darren Aronofsky and George Lucas, everyone over there is sharing and exchanging ideas because they know it keeps the industry moving to the next levels and keeps it vibrant and exciting.
The industry is teeming with new talent where everyone gets so good TOGETHER that when something is produced, it wows the world.
But o nooooo, not here folks. Over here we’re too stuck in our selfish, fear-driven mentality that sharing your knowledge with someone can only mean your demise.
Which is stupid because if you were good, you wouldn’t even be bothered about your career being sabotaged because no matter what, as a unique talent, people would still come to you to take up their next project.
Which begs my next question – Are we good enough?
Should the media industry take a few huge steps backwards and try to see what really has gone wrong with it? I ‘ve gotta respond with a big resounding ‘Yes!’.
I also say yes to the fact that it has to face its demons and clean up its dodgy image because we can boast to the world that Singapore is a world-class media hub till we turn blue in the face, but the facts on the ground have proved otherwise making us just as good as hot air blowing over Timbaktu in the summer.
It’s just not a pretty picture and to be honest, hot air does kinda makes you feel flustered and bothered.
Posted on May 28, 2011, in Career, Entertainment (Music/TV/Films), Job, Personal, Professional, TV/Film Production and tagged Singapore Media, Singapore Television, Singapore TV, Television in Singapore, TV in Singapore. Bookmark the permalink. 122 Comments.
Agree with u wholeheartedly… Wish there were more daring, experimental shows rather than food info shows… And the whole industry, or at least the programming channels depend on MDA to spoon feed them funds… It does seem to be a sustainable business model for shows. And sometimes it feels like no one watches tv anymore, Catchup Tv is a good idea though (in terms of letting pole catch programs on the Internet).
How many food shows can one take? It’s sheer torture
I mean it doesn’t seem to be sustainable commercially.
No it isn’t. It’s at it’s last breath and like a friend said, it’s waiting for the sledgehammer to deliver the last blow.
Bravo!Great post dudette.
It’s truly a sad state to be in.
I was once told to “not make the show look too good” because over-delivering might give the commissioning people a “wrong” impression that their paltry budget CAN result in a good quality product! Honestly I dunno if the people setting the budget obviously are aware of what’s required to the project to fruition or are they simply just too focused on meeting their KPI (by producing more content with the same amount of funds)?
Ultimately what’s lacking is professionalism. and pride. and the shitty budgets do not help in improving the situation.
Wow! You were told that?! Now that just surprises me on two levels. Basically that the production house thinks it can get away with doing that with its clients hoping that their clients will increase the budget the next time when in reality, they will keep lowering them to see which new start up production house will be willing to take up that new project for the sake of building its ‘portfolio’. Secondly, that clients are allowing to production houses to get away with such bad work.
It’s not going to get any better really and if you just started in the industry and are not getting compensated, only passion is going to pull you through the next few years, if you decide to stay. Best of luck man!
This is basically what I’ve always thought about local TV this whole time, but you just made me sound smart. Thanks!
Thanks Heyzahir. About time we did. It’s been one slippery sliding bump downhill for the industry from what I’m witnessing.
Nice post. And now we have Screen Singapore, another attempt by MDA to blow money away with little help to the dying industry. The money spent on it could have helped some talented new young filmmakers make films; now it’s just spend on ‘ambassadors’ who maybe pop by for an appearance and do zilch for the industry.
Mediacorpse these days settles for mediocrity. It knows it can get away with it and keep their execs nicely paid. Even a Philippines drama draws more viewers than its programs!
O man, I don’t go to those things because you’re right. Loads of ‘experts and consultants’ paid to come in to speak to industry people here but after they fly home, we’re kinda left right back at sqaure one.
*Stands and applauds*
Thanks Oli! You know what I’m talking about
Hey Jelly Farm,
1) I’m a recruiter looking for an Integrated Producer (Digital, Print, TVCs) for a MNC in Consumer Goods, based in Singapore, but managing the Japanese market. If you, or someone you know maybe keen, pls get in touch.
2) I couldn’t agree more with your article here, i have stopped watching local productions/ channels for 3 years already!
nic
Enjoyed reading your post and couldn’t agree more about the way Singaporeans are ‘taught’ to be ‘creative’.
I’m not sure what it’s like at cable but i know for sure budgets at FTA are also paltry. I have always wondered where all the $$$ goes once the sales ppl clinch all the sponsorship deals. They certainly don’t go to the ppl who work hard to produce or promote the show. While the sales people kick back on champagne and wine, enjoying the commission from closing a sponsorship deal they wouldn’t have closed had they not brought the producers to meet clients, the producers and promotions ppl are meanwhile working their asses off to ensure the show’s a success.
Imo, the commissioning party isn’t always the one calling the shots .., the sad thing is, the station is so hard up for money, a lot of it is now the sponsor’s call.
And I’ve never met a salesman who says no to a customer.
You’re right. Salespeople get all the perks. That’s why they get to drive the fancy cars just by talking, laughing, sipping champagne and pointing fingers at the producer if anything goes wrong with the project and the client is unhappy. This kind of workflow needs to stop.
And commissioning editors are a joke. They are merely middlemen for sales teams and clients, nothing more. I blame the media for selling themselves short to clients. After all in the US, it’s the sponsors that beg networks to give them airtime and subsequently throw money at them but networks here are the complete opposite. They beg sponsors for money. Sad, upside down mode of functioning.
My heart and passion resonates with you which was why I decided to leave the industry and move laterally towards digital. I would like to ad onto your comments that local programming OS sub standard, the amout of repeat programs on air is unbelievable. A result of shoe-string budget. The entire culture of proper budgetary to deliver quality production had ceased. It’s all about filling pictures on-air in order not to have “black” on-air! This marks the downturn of the industry.
As an ex-producer, I no long watch local TV. In fact, I’ve canceled my subscription for paid TV and moved onto Netflix and Online TV. This indicates clearly the mindset change of X & Y Generation.
Don’t lose heart and passion. I welcome you to the digital world (start crafting interactive content for online) it poses greater challenge and direct reviews via social networks and new media platforms. Don’t even need to rely on AC Neilsen’s rating scores (hah)
MDA needs to do it right not enforce it with might.
What irked me was that despite having a budget, why do the EP keeps forcing us to find sponsors and all we can offer them is a small acknowledgement of the company’s name. It is soooo embarrassing to even call and ask.
Boo.
Hello!
I would like to say that I am inspired by what you have expressed. I guess it is already a universal understanding for us that we don’t really care about what is on local tv. The question is though, is there ever a possibility that we can revolutionize the quality of how local material can be published without being tied down to unprofessional, unethical behavior? I’ve always wondered how producers/writers are able to execute quality films/shows through different platforms. The only problem will of course be manpower and budget. I think there may be an uprising of folks going down the ‘be kind, rewind’ route, where they create all shows in diy and stream it online or screen it at independent spaces/festivals. passionate individuals who advocate for no b/s in creating honest, creative work will strive for it despite the current state of the idiot box.
Thank you for the article.
I agree with you 100%. Though i’m not from the media industry, I dealt with production companies from time to time through my role working in a museum. Unfortunately, local production companies are some of the most unprofessional organisations i’ve worked with. Many don’t seem to understand the concept of contracts it seems.
Budget? Oh dear, that word comes out anytime they want something. “we’re underbudget, we need a discount”. “we don’t get paid a lot, low budget”. “our budget this time round is little, but our next budget will be more, so give us discount this time round la”. “my boss knows your boss, they factored that into our budget” (wtf). Budget is a constraint, yes. But I think their ‘please pity me i’m so poor’ mentality is an even bigger constraint.
There are of course some good ones out there, its very easy to spot producers with passion in their eyes. Unfortunately they’re few and far between. Terrible logistics planning, badly managed talents, poor networking skills with partners, I do get the impression many are in it to make a quick buck. Yeah, agree with you 100% that governmental macro factors do not help the industry at all. And yes, some of the bigger ones, they do tend to do it just for themselves. No mentoring, tie ups, joint partnerships, and sadly these are the passionate ones usually.
Other than food shows, I believe enough is enough for shows trying to show compassion to the poor and needy. Trying to intice audience with tears. If only MediaCorp (and govt) is really sincere in helping them.
They are not being symphathy, they just take singaporean’s passion to fill in their pockets with 1900
I am quite new in Singapore and the only exposure I ve had with the TV here was way back when buses used to have em. And well, to say the truth, it was kinda like TV was back home, UNTIL they decided to get private channels in the game.
I know private channels have their own pros and cons, but it seems competition is the only way you can actually make the industry fourish.
2 words to describe our media courtesy of Adam Smith: Monopoly and Inefficiency,
Hi, as an outsider to the industry but a media consumer. I can say that Singapore TV is disappointing. I rely exclusively on online downloads (cough *torrents*) nowadays.
The problem with singapore shows is that they remind me of those US tv shows from the 60′s where they treat the viewer like a dumb brick, giving a crapload of exposition just in case you missed it. either that or it’s the lowest common denominator annoying stuff like PCK where humor and laughs = slapstick, stereotypes and camp… Hossan is probably a great guy in real life, but his TV characters are only perpetuating this s**tty legacy in my opinion…
I probably will be going the independent route myself for I see no way that MDA would funde the kinds of films I would want to do or initiate. Thanks for reading
My dearest buddy,
All too true. Infact, there are people out there still owing me money. I doubt I will see it though. Having commissioned before, I totally understand what you are saying. I tried to do the right thing having been a freelancer, whenever they hand me an episode, I rush to get all documents approved so that they will get paid earlier. Strangely, the money never did go back to the same project. People still did not get paid. It is very ugly indeed and its not just happening to 1 or 2 production houses, but i would say a substantial amount of production houses follow this.
My views are: if you can’t make a decent living out of your love of the craft, it becomes a job. Hence, you get DOP that ask you, just tell me what shot you want. Which is very very very very insulting. Why then do I hire you, i might as well replace you with a tin can and move the camera myself.
Amen to dat bro. I am so with you on that one. If I pay you money to do a project, it better not just be you standing there clueless on set, just framing people and pressing the ‘RECORD’ button.
Hence why I prefer to work with Malaysian/Indon/Indian crew. Their shots are amazing and they add to the scene, not make it feel like the camera has been on lock shot the whole day. LOL!
Perhaps you just haven’t worked with the right Singaporean DPs.
I personally know a few that bring their inspiring visions into their projects. They won’t settle for mediocrity.
In all fairness, how much prep do you involve the DP in? Any DP, who is worth their salt and given enough prep and creative space, will give you quality, whether local or foreigners. Just make sure they know they are hired as a “DP” and not “camera operator”. Mindset is very different for both roles (even though the pay scale of the former is depressed to be similar to that of the latter!).
Hey there,
I totally disagree with the topic heading but I certainly agree with you in content. The question is not whether Singapore TV is dead but rather, what makes local TV sucks.
The problems you’ve mentioned have been around for years… Nothing was done about it, not even the Hooha about standardizing freelancers’ fees have actually shook the tree. Basically, its the whole inertia that’s at fault here. We could rant all day and nothing gets done. Not even the fiasco regarding the recent General Election have achieved anything except for soundbites and media clips to keep the circus going. There is a reason why we are part of NATO organization – No Action, Talk Only.
Nice article. I haven’t been watching Singapore TV shows for years. They don’t realise they are also competing with overseas programmes as well. Well, there won’t be any change until the ship sinks and a new ship is built.
Ah. I agree a hell lot with the cliche, censorship and lack of government support from the standpoint of someone who is looking to break new ground in the local industry.
Gah.. I hate family dramas..
Couldn’t agree more! I used to think that I would have to work for local TV for awhile after moving back to Singapore from New Zealand where I went to film school, but the moment I turned on Channel 5 I knew that I couldn’t do it.
Many people in the industry (or trying to get into the industry) in NZ complain about how small the circle/network is, how small the budgets are, how limiting it can be – so much so that a lot of the “best people” are moving to Australia. And whenever I sit around talking with these people and this topic comes up, I just think, “You have NO IDEA until you come to Singapore.”
SG and NZ are both small countries with somewhat similar populations (we’ve surpassed them now because of the gigantic population surge) but no matter what they can say about the NZ industry, the atmosphere is so different. They might be limited by market size, budgets, everyone else being completely overshadowed by one Peter Jackson, but there’s still a strong atmosphere of ingenuity and innovation (“so, we don’t have any money… how can we make a crane and Steadicam out of this broom handle and some No. 8 wire?”) and focus on TELLING STORIES. And they aren’t afraid and telling themselves, “We can’t do this! We can’t do that! We can’t say THAT!”
In comparison, Singaporean local TV seems to be so paralysed by fear that we have forgotten that we’re telling stories, and that to do that, we need to be able to go into emotional stuff (however difficult), as well as breach issues that might be controversial. And so now we have shows that are unable to reach out to audiences and touch people’s hearts. It’s like automaton-TV for an automaton-audience, which is very sad because I know that Singaporeans have big hearts and are much more alive than we are given credit for – we deserve better than this.
I was in the same boat too when after graduating from a US university and having the privilege of entering the industry there as a PA for an ad firm and before that doing productions at a PBS affiliate that the work ethic there is very different from Singapore.
And you’re right. Telling stories is the most important thing whether it be documentaries, dramas or even travelogues/info-tainment. There must be something there to hold people’s attention so they can go “Ah, I can relate to that!” or go “Wow! This is awesome and inspirng”
You don’t get these here. It relates to my point of not wanting to face one’s demons or strengths in order to produce world-class quality work.
If you want to talk about gays/lesbians – produce a doco or film on it, you will be banned. If you want to talk about everyday people battling crowds due to policies, it will be banned. You wanna do a scince-fiction thriller with lots of blood, nope! Sex – nope or how about a fiction film about children killing each other off (ala what is now being produced in H/wood called The Hunger Games) nope. You probably won’t even get to publish the book.
All you get is ‘No, no, no’. It gets annoying after awhile to be honest.
Kirsten> Good points. But they aren’t paralysed by fear here. The higher ups have no ambition, and just do the work to pay the bills. There was hope when there was more competition (mediaworks), but now, without any, they’ve slipped into complacency and just doing the same old. They just want to do programs that are okay, because that’s acceptable to the commissioning body (MDA), never aiming for excellence.
Hi jellyfarm, thank you for behind the scene report and analysis from an insider viewpoint. It just opens up to me on why I find the local productions so atrocious!
What happened to the nice shows from the past(like 10 years ago)? Those were good!
It’s probably easy to kill the culture, but hard to form a good one. I mean even if someone passionate about media works among such a money-minded, boring environment and people, it just kills them off too!
I’ve given up and sg. I think even Malaysia malay series are better. Or shod I say, i think SG productions can safely be claimed as the WORST one in the whole world. Even more embarrasing is when we have the money, status. It’s the same thing as our sports scene. Buying medals and stuff. Excuse me while i go vomit.
Hey, this is a nice read on the state of the TV industry in Singapore.
I’ve always avoid local TV because of the piss-poor quality of the shows. They are dull and unchallenging. I been mistaking poor writing as the sole reason for this, until I read this insight into this dark industry.
I feel strongly about your points about budget and censorship. This we why we can’t have top-quality action shows or provoking movies. Instead we are stuck with run-of-the-mill soaps like the ‘acclaimed’ Little Nonya. My reasoning is that Singaporeans who define that show as a brilliant success simply hasn’t been exposed to overseas’ content.
It’s not long before the Internet takes over and all that’s left of local tv viewers are the older generations.
I agree with you wholeheartedly. I just graduated from NYP in Motion Graphics & Broadcast design.
And I have been freelancing to earn money while still in sch and it has come to my attention that certain production houses do pay you shit amount of money but they expect so much from you.
Worst is some even delay the payment and try to run away. I mean we are humans too! We are just trying to make a living out of the thing we love.
What sucks the most is I see the graphics here in Singapore as a pile of shit when I see on tv. No offense. While I see awesome 3D looking graphics & animation that speaks quality for commercials in the States which makes me feel motivate to learn more.
But the fact that the standard here sucks & people are underpaid makes me feel like moving overseas. =\
I hear ya Miss Jelly… I just left the local media industry late last year after an exasperating stint with TV and publishing. I joined TCS, Productions 5 in 1999 and man, what a shocker it was then. I was even part of the TVWorks fiasco, which ultimately retrenched a passionate crew within a year of going on air. So I salute your gumption, but ya know, when it’s time to go… it’s time to go. Our paranoid-micro-managing-politicking-selfish-non-mentoring media industry is just embarrassing.
i think i know you and i was around when that happened. I continued to write even after teh fiasco. I can tell you one thing. Local tv will die if every writer in singapore stops writing for it, i guess. All i can say is let not the imbecility of management strangle your passion to create and write.
I agree with what you wrote… nowadays i don’t even watch local channels besides when i want to go to sleep at night…
in my perspective, the media industry is more of a monopoy with medaicorp as the ONLY broadcasting network in SG.. if i had it my way, i would propose another broadcasting network to get a competition out of Mediacorp… just like when SCV is the only cable TV in SG till MIO is introduced, and that KINDA changed the cable tv monopoly..
Hlimi> That did occur with mediaworks, and it was actually helping the industry steer in the right direction. But guess who said there could only be one TV station in Singapore? The former MM.. Even NZ, with has the same population, has 2-3 media stations which is why you get excellent TV and people like Peter Jackson.
Now Mediaworks doesn’t even bother to be competitive as the fat cats just drain the $$ coming to them. If you saw the CNA broadcast of the election results you’ll see how incredibly incompetent and cheapo they are.
yeah I agree with you Thomas, i changed the channel quickly after seeing how crappy they covered the GE results and stick to twitter for any updates/rumours on the GE results..
i also knew that there was, once upon a time in SG, another braodcasting called mediaworks, I just didn’t know it was the former MM that said SG can only have one TV network..
I was on Twitter and Yahoo.Sg for election results. Haha!
That’s why I dont have tv at home even when the tv licence is scrapped. My family is into internet tv. We dont tolerate mediacorups and mediacraps with excessive repeat programmes and obsessive moneymaking from advertisements, out to fool viewers?
As a fellow industry Producer, I so agree with what you have written, my sentiments exactly. I am clueless to why we producers are treated with such disrespect. I used to work in production, now in advertising; both as TV producers, and in advertising especially, we are treated like factory workers. Everyone wants their thing done now, its always urgent. They think we can pluck figures out from the air while they hover around us. And when something goes wrong, we always get the blame. BUT when something goes well, it is always almost never because if us, but because of the fantastic director/creatives. Where is the justice in that. Not to mention how underpaid we are for being the only person that has made the entire project possible. We have to always make sure everyone is happy, everyone gets what they want even when they provide us with measly budgets and ridiculous timelines. I too have been contemplating on leaving this altogether. But after busting my ass for 8 years, I do feel the pain of leaving behind something I worked so hard for.
Thanks for writing this, you made my day a little easier to bear, knowing that I’m not the only one out here busting my ass off, being poorly paid, and disrespected all in the name of passion.
I feel your pian and know what you are going through but enough pain is enough. Got to explore something else
Hopefully my experience in this job will help me in the future.
Think you should send this to our Yacob Ibrahim, new minister for Information and the Arts?
After what the PAP’s been thru, think they may be more open to citizen views? haha
Wow! Persis…well written, well said, well put! Unfortunately, I’m not sure if anything’s gonna change…but kudos for writing the article.
Firstly, BRAVO for the great article. I believe you have point out every single thing I have to say about Singapore’s entertainment and media industry.
Since young, I have always wanted to work behind the scenes. I have always been fascinated by the works they have produced when I was stil a small kid. Maybe it was fascinating because I was still pure and innocent then, but definitely, I became more and more dissapointed with each show that gets aired on TV until in 2006, I gave up totally on our local shows and turn to foreign ones on the computer instead, with occasional chances when a local show worth watching comes along. My ambition changed too.
Look at Taiwan and Korea (and maybe Hong Kong). The reason why their entertainment and media industry flourish is due to the large amount of money pumped in to ensure the high standards that has already been set. For dramas, whether a short 20+ episodes or a long 100+ episode drama, they really give their all to film each episode. Taking a recent Korean drama I have been watching, Athena: Goddess of War as an example, their target audience is still local, but they flew to Italy, Hawaii, New Zealand, Japan and the US to film. Plus to make the show as real as possible, they do not pinch on the production fee and set it at $17million USD, currently the most expensive show ever produced alongside its predecessor Iris. How is this ever possible in Singapore? No, no chance at all. That’s another reason why I really don’t bother watching local shows anymore. They are really plain boring, in my honest opinion. There is nothing much worth watching, nor do we get to see another side of the world through the shows. (unless its a travel documentary. but who wants to watch a star tour guide leading a group of aunties overseas when the amazing scenery can be used as a backdrop for some gun action?)
I am not really asking for a lot, just with the hope that the standards can really be raised drastically. Until then, I don’t think I will be returning to my TV anytime soon.
Never again will I work as a producer. All the clients can kiss my ass.
Yes Persis, you hit the nail on the head. Being merely a viewer and just by watching the quality of our TV (and film, no less), it is evident that the industry is sliding down a slippery slope to mediocrity. Wait, IT HAS ALREADY. How low and how far can we go before we decide to wake up our bloody ideas? It’s been a few years since I’ve properly watched Singapore TV.
Mediocrity. Mediacorp. ‘Nuff said.
Well written, and sadly representative of the culture of mediocrity and apathy that is so prevalent in Singapore.
I’ve personally not watched nor taken local television seriously for close to a decade now.
Thank you for sharing your “insider” perspective. It has given me a glimpse of reality in our productions and why I haven’t been wrong to say that local TV sucks. My friends have always said that I was being too critical, that I don’t support local works, etc. and I did think for a while that maybe I was being biased against anything local. Thank you for making me not feel like a freak for thinking that our local TV (and movies) need to change for the better. I haven’t watched any local plays yet though.
The local music industry is equally bad, if not worse.
Local support is weak. First of all, the support between musicians are even weaker.
In order for music to flourish, musicians have got to support one another. Right now it’s all just lip service and a battle of egos.
Huh? What tv shows? What dramas? I thought all these belong to the junkyard? I have no idea when is the last time I held or watch mediacorp’s channels. Oh wait! Just ytd when fantastic 4 was showing. Local show is a waste of time. Maybe if they get all the female actress to wear bikini and jumping ard like what Taiwanese variety Shows do, than I will watch. But than again. Most if the actress all flat. *facepalm*
my friend directed me to your blog because of the topic, which sparked my interest i have been writing local tv for more than ten years so i feel i am also quite qualified to comment on the dying state of the industry. While i agree with most of your points, i have to disagree on some. I dont think that ALL OUR LOCAL TV is dead. I did Fighting Spiders. And I will stand up proud for that show because it did break new ground in terms of shooting style, tone, look, and finding fresh cast. I WILL AGREE with you that it is IMPOSSIBLE to keep up that kind of quality for more than two seasons because of budget. Budget remains the same for second and third seasons, weirdly. And also, network takes a LONG Time to approve returning seasons. This is not good. Too long away from a show won’t build audience. I think a quality show depends on CONCEPT as well. i can think of some american tv that splurged a lot of money but was boring to watch. Talking about dop’s i think you are generalising somewhat. I have met dops who REALLY care about the shot. The dops you probably met could be those working in the broadcast station? because it dont matter to them. whatever it is, they still get paid a salary. but i do agree, that an overhauling of management is neccessary if one wants to see any improvement in the industry.
Fighting Spider was inspired by a book and the idea was suggested to the production house from MCS. The ratings were below expectations.
fighting spiders. The book may have started it but lets not take away the credit and hard work out of creating something for the screen. If you had read the book, you would have realized that the only similarity in the end was the topic of fighting spiders. EVERYTHING else was created from scratch. Yes ratings were below expectations but that was clear even from the first episode. and i realized that actualyl no one was even bothered to watch the local channel! But despite all of that, it was still a well produced and well shot series in that time.
Fantastically succinct. Perfect resonance. Kick ass reasoning. Well done Dr P.
Dear Jelly,
I’m hardly in the same league as those guys! But thanks for thinking so … ? Haven’t worked in TV in ages … Just chugging along trying to get my own feelms off the ground. Took a few years off to study. If you’ve got some work, I’m ready to work!
I teach too, so I have lots of young minds to infect and “groom”. And i must confess … I donch watch telly anymore
I’m a cinema and DVD gal.
Lets meet up for a cuppa if you want to.
best!
Li Lin
Hi Jelly,
I was referred to this blog by a friend for a couple of reasons. 1.) I’m Singaporean (hooray!) 2.) I’m interested in TV writing and I actually go to school in New York for it right now (also hooray!) 3.) I talk about this topic WAAAAAAAAAAY too much… because I absolutely agree with you (ummm… hooray?)
I’m still in school for Dramatic Writing and I’ve interned all over the shop in this industry. I was a PA on a few indie/short film sets in Singapore, I worked for an ad company on set and I even interned shortly at MediaCorp with a group of stellar, creative people who were essentially chasing their own tails trying to make a show on a budget of basically dental floss. It… Was enlightening. Being a screenwriter (student) myself, I was shocked to find that writers, churning out scripts with hellish deadlines, were being paid as much, if not less, than some of the DP’s and crew members. Incredible.
I also interned for a bigger film company but I think I would have to send an email to you about that experience if you want to know about it because honestly, I don’t think most of what i have to say is fit for public viewing
Making a horrifically long story short, I now intern in New York for a production company. And it. Is. Amazing. The buzz, the energy, the hunger for creative input, no matter the topic, is amazing. I’m barely a fledgling in this industry but a number of my ideas have been met with great optimism and some of them might have more than a decent shot at being shown on TV. Which brings me to your post.
This issue is not new, I’m sad to say. You’re absolutely right and it sounds like, based on your experience, you’re more qualified than I am to comment on these issues. There is NO money. There is MINIMAL interest. There are FAR too many barriers for creativity. Are we good enough? Absolutely. Are there cultural stigmas that need to be overcome? For sure. Doesn’t mean we can’t do something great. I’m going to try to prove that and I’m in a position now that might get things moving.
I have an intriguing idea for a project that maybe, just maybe, might help Singapore out on this front. It’s just a germ of a thought right now but I have been wondering if this would work. Or, if you ever want to collaborate on something or you just want to chat with a like-minded Singaporean and have other topics you want to gripe about (sports in Singapore! Why are there so many bankers! Where can I find the best Nasi Lemak!) send me a reply to this comment and we can find a way to correspond more regularly.
Best of luck with whatever you do.
A.
Hey Euchie,
Thanks for your post! I relate on a lot of levels because I was studying and working in the media line in the US for abt 1.5 years and as a account exec for another 1.5 odd years which is why I can see the difference in the work ethic. It’s not just TV production I am talking about but it is across the industries. I have experienced what it’s like to work in an environment where ideas are supported and everyone is respected and there is no feeling of hierarchy. where one can speak relatively freely to the bosses without fear of exoneration.
For a so-called developed country, I find it weird that ideas get shot down by people who don’t even see the possibilities of it working. Creative ideas are not supported and as you explained, we seem to be fixated on educational, informative and family-oriented values. Seems a little old fashioned, matronly and even prudish, if you ask me.
I started off in the industry as a writer. I was paid a paltry sum compared to DOPs even though I would come up with the concepts/ideas for the show. H/e I really harboured ambitions of being a director and no one even wanted to give me a chance until a very nice ex-boss did so. Most people said, “O you’re a writer. I don’t think you can direct.” and I was like ‘Er, sure I can. I wrote the darn script.”
Then, like you, my writer friends and I had many concepts which I believe could’ve raised the creative bar in Singapore TV but of course, they were never approved because they were too strange for local media consumption. Like many others out there, a few of us then resigned, shook our heads and kept our concepts tucked away in some filing cabinet or shoebox wondering if Singapore would ever be ready for those shows.
Because of so many years of being ‘shot down’, I grew tired and creatively frustrated and there was no outlet to just go ‘GAHHHHHH!!!’
I got into the industry with high hopes of being able to offer ideas to make better shows but instead I believe it’s been this inability to contribute that makes not only me, but perhaps others as well, go the deep end and retire from the industry.
I agree that a lot of what you complain about applies across industries. I worked in biomedical research in Singapore and had similar problems. Flying in big name foreigners to help ‘solve’ problems, hierarchical culture, conservatism, etc. And for that reason I believe that Singapore’s push into biomedical research will flounder in the same way that its TV industry has. It’s a total joke that we’re building this ‘Mediapolis’ nonsense when we don’t even have a decent local media scene.
Interesting read… not in this line of business hence unable to give any viable comment. but having lived in Singapore for so long… I hardly watch any local tv sitcoms or drama of any channel… Phua CHu Kang was NEVER really funny in the first place (just that other local sitcoms is even worse hence its best among the lot) and could never stand one full episode of any local drama series and hardly any local music shows where local talent can even be world/Asian class…
i so feel you girl! in malaysia it’s the same shitty case. everyone is underpaid. sometimes you think it’s ok we’ll do it for the fans, but theres only that much you can do when you have bills to pay! and don’t even bother about winning an award, award shows means nothing more than politic.
And so I heard. It’s a bad state in these 2 countries but one thing that Malaysia is stronger at is making films. There is a strong film-making culture, better actors/presenters and better stories. I also think the independent filmaking industry there is much better as well.
I enjoy watching Lim Siew Tat and Jame’s Lees films and enjoy how there is a sense of humour and emotion in these works. Even the dramas are better because the acting is more realistic.
i generally agree that the state of our local TV feels dismal, and good shows are few and far between. But from a consumer point of view, I thought there are still some good shows being produced. The Pupil was one series that kept be watching episode after episode. I enjoy the Noose too, although the quality of the skits and writing can be improved much.
AWESOME article!!! To be fair, having worked in different production houses, I feel that it is true that MOST are just in it for the money, but there are those who take pride in their work and do a fairly good job.
Nice one! hahaha
This comments section sounds like a support group for jaded ex-production people.
I was a scriptwriter for about a year at a small production house. I tried my best to be creative in my concept proposals, only to be shot down by MDA officials who said the audiences wouldn’t ‘get it’. Even worse, they insisted that we write things with ‘family values’ or some sort of nation-building claptrap that got old the moment the words got on the page.
And budgets. Argh. I’d heard it said before that the budgets they allocate to production houses for shows have been the same for years and years, like inflation didn’t exist.
If the Singapore industry is going to grow, it’s going to have to grow by other means, and organically. What it is right now is stifled and suffocated.
I went through the same thing too so I know how you feel.
It disheartens a person greatly.
That is a super-peachy-keen post. Thanks for really blathering on like that! Seriously, I don’t think I could have spent more effort wishing for something heavy to fall on me to erase that nonsense from my mind!
If you really want to do good work, why not go to LA like everyone else?
Hi,
Just on the point you made about mentoring, I’m not sure I entirely agree with you there. I admit that I haven’t followed up much with the local film industry in the past 5 years, so I won’t comment on the introduction of new talent in the industry, even though my recollection is that there seems to be more and more local films being made not by the names you mentioned above.
As for mentoring, having worked with Eric Khoo extensively since 1995, I can safely say that he has indeed spent a fair amount of time supporting younger and newer talents. Sandcastle, by new director Boo Jun Feng, was produced by Eric’s Zhao Wei Films and released last year.
And while Royston is one of the names you mentioned today, people forget that it was Eric who supported Royston in his early years, helping him to complete features such as 15.
I’m sure that more could be done to nurture younger talents, but I think that your accusations of them trying to keep the industry exclusive might be a bit off base.
I don’t disagree there eddy. There have been lucky ‘mentorees’ taken under filmaker’s wings and allowed to develop their potential but can you give me the numbers exactly for my own curiosity and others? I would love to know.
But I do see many slip through the cracks. I see a lot of talented kids out there and adults even who don’t mind being developed by taking on positions as PAs/interns on real film sets and sadly, the oppotunities are not there. I didn’t give indication that there was no mentoring – I said there was a ‘lack’ of it. We are not doing enough. I believe there are now guerilla groups of producers and filmakers out there who are getting together to do stuff on the Net and I applaud these groups for what is lacking in official development, they are taking the responsibility to develop their own careers and really, even if I step back, I plan to do the same thing, outside of government support and jurisdiction.
France had such a revolution in filmaking recently when the movie moguls over there became to ‘aristocratic’ in thoughts and works. Romain Gavras, who is a noted French music video and controversial film director started one such group back in ’94 called Kourtrajmé – a band of renegade street filmakers with nothing but their consumer handycams that produced a slew of thought and emotionally provoking work because they did films on the real French experience. Experiences from ghetto kids, gangs, violent moments in France’s current history and riots etc
The membership requirements to join Kourtrajmé? Be Real. That’s all.
To date, this kind of group would never get off the ground because if it did, we would be considered illegal and politically motivated. We might end up in jail. But a filmaking revolution like this is needed for a homogenic, dull, listless country as ours that goes beyond char kway teow mentality.
While, alot of factors of bad TV comes from poor production practices. It is also how media is being consumed now that is changing the landscape. Advertising dollars are not spent on “air time” now. This is evident across all television networks. Problem is, media giants have not found ways to deal with the appetite. It use to be that, the media tells you what to consume. Now, the consumer dictates. Its a NOW NOW NOW generation.
i hailed from the days of under one roof and growing up and triple nine. And to this date, i think the highest rated drama episode has t be triple nine because it got close to 17 percent for one episode shot in batam. Now, if you get 4 percent, you are considered awesome. haha. There actuall WAS a system in place for creating and writing comedies. Beats were thrashed out in a writer’s room. Actual stories with a beginning middle and end were beated out in a room and no one was allowed to leave until an entire story with turns were beaten out. and then the outline was written and then the script was written and then the dialogue was run through the room again and again and polished until everything was natural. By the time it hit the stage, you can be assured that there would have been a story on screen. BUT WHAT THE FUCK HAPPENED LATER? well, the process was shortened. Because they wanted more shows and faster times. the whole idea of a room was kinda disbanded. also, back then, newbie comedy writers could practice their craft writing for sketch shows like the ra ra show. Now they dont. They are plunged immediately into a sitcom and expected to sink or swim. most probably they will sink
totally agreed with you. the actual creative process has been taken out. Infact, the process is not appreciated.
if one looks at the production from a network exec point of view, its a different picture. i remember the pupil – nobody watned it, it was one network exec who pushed for it. Its always easier for them to say no. Because the risk for failure is high. How many concepts actually become hits? And to say yes, is to commit half a million to a series, and that isnt peanuts to the network. if the series flops, or if the series doesnt EVEN have critical acclaim, then who suffers? the producign people just go on to do another show but the network exec? he gets chewed by his boss. its way easeir to leave the decision makign to your boss. Unfortunately, when doing tv, its always finding that right balance between being too weird until you lose out all audience and being so familiar until you bore the audience. The HARDEST thign to do is to come up with soemthing that is familiar and yet different. if one is a network exec, i can understand why it is pretty hard to commission a series just because it is “different”. There are many many ideas that can be different. But how good is it and can it appeal? what i feel is that they should bring back the PILOT DEVELOPMENT. And SCRIPT DEVELOPMENT. it inexpensive to fund script development in the long run. you are hoping to get a series WITH LEGS. So pay for script development and if it doesnt work out, then stop it and move on rather than suffering through a produced series. I ALSO THINK television is a great platform to practice the craft of writing. its just a good way to learn about structure and be aware of how to use low budgets to your advantage. It will help you when you attempt to write longer features.
well, they have no money bottom line. thats the reason. Or rather the money spent does not give the returns that is to be expected. Or so, calculated by the same people.
And the process is not appreciated because the people in charge have never really cottoned on as to how a series is conceived and written. The way it was done back in the days of growing up and under one roof wa actually the american system. On triple nine, i had 9 writers under me. That was a luxury! It was great training for a headwriter. I still try and do that when i write for any series. Am a big believer in outlining. I would say i watch and read everything, I read manga, comics, literature, and i LOVE comedies, sitcoms, dramas, and of course movies. I just think that if the station went back to basics, and mda REALLY put in money and not just talk. Then there would be the start of a progress. Right now, complaceny rules
excellent post! being a film student in london, i completely identity with everything you said, especially with regards to the fact that for the last hundred years (or so it seems) it has been the same few directors over and over again… and how many true classics have we gotten out of our film industry? 881? xiao hai bu ben (i not stupid)? and how many of these successful local productions have gone on to take over the asian market? not like make an insignificant splash, but REALLY cause a stir??
and with no established film academies in singapore or any, ANY substantial help for struggling directors, its so difficult to make it in the industry, especially if, like me, you’ve got no connections whatsoever and you’re at square 1 basically.
another thing i’ve noticed about singaporean films is the fact that most of them tend to be completely focused on an aspect of heartland life. while this is great for local cinema goers (or those that bother to watch local films in the first place) how on EARTH are these films going to strike it big in the Asian market??!??! while korean, japanese, hong kong, chinese films can be about all topics ranging from love and relationships to gangs, the mafia, not to mention classic wu xia films, our films are on such niche areas. not to mention the fact that the countries mentioned above have very established and unique cultures which are well-known across asia – the singaporean culture is however almost completely unknown. the only thing the people i’ve met here seem to know about singapore, apart from it being a spoonfed, bubblegum banning, patriarchal state, and even this is a rarity, is the use of ‘LA’ behind our sentences. !!!!
i think using films with a distinct local flavour to try and allow our films to gain international popularity is an unbelievably uphill task. (then again, is our culture so unknown BECAUSE of all the censorship we’ve received in the past five decades? its a chicken and egg story isn’t it?) instead, i am dedicating my career to trying to establish myself in a bigger film industry in asia or america – before returning home.
i am absolutely appalled at the ‘dirty laundry’ you’ve aired on what goes on behind the production of our local dramas, and must commend you wholeheartedly for ploughing through it all all these years. i dearly wish they had let you try out your more quirky ideas. it would’ve been a nice change in local tv!!
i wish you luck in whatever step you’re taking next with your career. i do hope your talent will not go to waste! xoxo
Hi,
Thanks for your reply. I agree that more could be done, but I think it’s not just solely the old batch of filmmaker’s responsibility. The government would certainly have to make a more concerted effort in developing the film industry and in my opinion, while it is a lot better today than it was in the mid-90s, it’s pretty much been half-hearted attempts.
Having said that, I myself have experienced pushing SFC beyond their own guidelines when it comes to funding. Back in the late 90s, I made a short film which secured a distribution deal with United International Pictures, who put up half the production cost provided I could let them screen it before one of their feature movies. Of course, that meant that I would have to provide them with a 35mm reel, and that meant more cost.
I went to SFC for help. At that stage, SFC’s funding for short films were capped at $5,000, but that was hardly enough for me to produce the 35mm. I showed them my avid cut, provided them proof of what UIP had agreed to and inside two weeks, they agreed to fund the additional production cost.
This was probably the exception rather than the rule, but it did show me then that SFC wasn’t completely close-minded when it came to supporting the industry.
As for your second point about what kind of content would be allowed here, I would say that the boundaries has to be push, and young filmmakers are the ones who have to consistently test that boundary. Yes, we all know about Martyn See and I feel for him. Freedom of expression isn’t that free in Singapore, no one will argue that.
However, I would also point you to Toh Hai Leong’s independent film, Zombie Dogs, incidentally also heavily supported by Eric Khoo, as one which pushed the boundaries of acceptable government criticism. It was a movie which was a very harsh critique of Singapore and to some extent, the government. Royston Tan’s short film, Cut, was also a harsh critique of Singapore’s censorship laws, and it wasn’t banned.
I would say that if you do have in you a movie that you think the authorities might take issue with, don’t let that hold you back. There is nothing like writing from your heart and making your movie real, but also be prepared to be challenged on it, but similarly, be prepared to back up opinions that you voice in your movie.
If we are to turn the industry around, passionate souls like yourself cannot give up, nor can you let them win. In many more adverse environments than ourselves, we have seen outstanding work come as a result of that adversity.
And as you can see from all the comments left here, I’m sure if you need any help, there will be many willing to support you.
Cheers.
i do agree with you on 3/4 of the points my dear frend…indeed an overhauling of management is necessary if one wants to see any improvement in the industry, but until the overhauling happens, I just need to make a living.
my flat etc is not going to pay for itself, so stomach all of this and make the best of it la…what can i say?
of course, it is easy to talk and say that we have to try to depend on ourselves instead of networks/others etc…
amusing I’m sure, considering my second paragraph.
Hi, very insightful article indeed. Some of the points spoke to me and some of them made me curious. I was wondering if there is anyway in which i can contact you? Maybe through email? I’d like to ask a few questions personally if that’s ok with you. Thanks once again for the great post! =)
this is absolutely why most people don’t exactly enjoy local tv, especially content-hungry people within specific age ranges. most people watch cable now. i’m studying broadcast and digital film myself, and i honestly think the industry here has to improve itself before most of us film people start migrating off to other countries. honestly, i love LA, and i love london. if not for the fact that it might get challenging to apply to work there as a foreigner, i think most of us won’t even stay in sg to do bullshit like this.
dude if you have the chance you should be trying either of those two. Bigger budgets and better futures. But some who can’t make it there some here as well, and are lapped up just because they’re angmoh.
Hi Thomas, Well if you must know – It’s not easy to get your foot into the door in LA/Australia unless you can prove your chops here. Otherwise you have to really be prepared to pound the streets there and work as a waiter/bellboy on the side to sustain yourself. I don’t think that even that will get you anywhere especially if your stories are Asian-centric unless they have kung-fu elements in them coz America is stereotyped in the way thye see us Asians. The solution is to write great scripts and sell them at European markets and get funding from non-Singapore government sources and then work with a mix of foreign and local talents to make a great picture.
But it also brings me to my next point of how protective they are of their industry. They have labour uinions, standard operating procedures, minimum wages as well as laws to employ locals instead of foreigners, whereas here, the industry feels like a ‘pasar malam’ where everything is undervalued and on sale, including the talents and where angmoh foreigners (who can’t sustain careers in their own country) come here on a whim and can enter the industry easily. It’s great if they’re good, but I’ve also seen not so great foreign talent. O well…..until we have proper SOP’s where people are valued and air-time is valued, we’re going to be in this ‘pasar malam’ situation for a lonnnnng time.
I empathise. My first TV comedy series got rewritten completely and my second had all the jokes taken out. Perhaps, I’m not funny. Perhaps, I didn’t watch enough PCK to understand local humour. Sigh… back to being a well-paid copywriter.
It happened to some of my initial comedy drama scripts. I did a lot for the kid’s channel and many were smart jokes for kids but that was censored and watered down. Sad!
Sorry, while I find your article informative and mostly true, I can’t help to point out that, MDA’s budget given to local production house is not that GREAT to begin with. Do the math. Then you want to make a comparison of how much crew get paid in other countries like the USA. Sure, there are great films churning out from third world countries, but do we have a passionate crew who would work for a lower wage?
The problem lies not only in local production houses, but also people on top giving the grants and local crew who whines like they are big shots. Oh, let’s not forget the local viewers who are unwilling to support local productions!!
If wages get any lower the crew might as well work at McDonald’s.
I agree with u about the sub-standard quality of local tv shows….Singaporeans are intelligent & sophisticated but as a viewer, I have never understood why our local dramas lack that panache, wit, intelligent scripting & storyline/plot – YET staged-dramas are able to produce quality local plays….then I think…maybe it’s ‘cos the scriptwiters & producers fm the TV drama unit are too afraid to offend, hence the result is brainless, silly, apologetic, moralistic drama-series. Only ONCE IN A BLUE MOON, you get some gems like Growing Up….hmmm…come to think of it, that was the only one I find worth watching & still memorable so I guess the BLUE MOON has yet to rise again since then.
Nice work. You keep working on this blog please.
Hey Jelly,
Thanks for replying to my post. I agree that the creativity has been stifled and I’ve actually gotten into a number of debates/discussions with some fellow Singaporeans regarding this topic. Some of it comes down to it being cultural ignorance: people just don’t get the industry that well. Literally THOUSANDS of people go from writers to directors (Oliver Stone, Jon Favreau, Sylvester Stallone, etc.) but that is a minor issue in itself.
Singaporeans, I’m sorry to say, will continue to treat the entertainment industry with wool gloves. They aren’t sure what it is, they don’t know what to expect and frankly, sometimes it scares people that one can make a career (if they’re nice enough to use that word) out of pointing a camera or writing words on paper. It’s not a “cultured” or “traditional” career. It upsets me to see that stigma being attached to what we love to do.
But what to do? I for one am not going back to Singapore to work for a while if I can. I’d like to come back with a little more experience and see if I can help out with more leverage on my side. The last thing people working in this industry needs is a stifling environment.
But maybe this is the time to make a change? I feel like your post has sparked a LOT of discussion. I suppose I should ask: what do you see for yourself in 5 years? Are you going to blow the dust off that shoebox and see what you can develop?
Best,
Euchie/A
OK, what I do I see myself doing in 5 years? I definitely know what I’m not going to do and that is be in the position I now am. I believe I have taken all I need to know at this stage and will use the tools to further improve myself for I’m always ‘under construction’. I don’t believe anyone of us ‘knows it all’. So I’m hoping to step away from it for a bit to get perspective before charting the course for my next incarnation. No doubt, it will be in the creative industry, that I can confidently say and perhaps not here. I don’t think I will be able to get the opportunities I’m looking for at the moment.
American guy here who has been living here for about 3 years now. SIngapore TV, most notably Channel 5, is absolutely horrid. The dude who play JoJo whatever on The Noose…how can you people understand what he’s saying, let alone think he’s funny? The only things I’ve ever enjoyed on Sing TV, that wasn’t a re-run of a foreign show? Chasing Spiders and Crime Watch.
Have you thought about doing something online? It’s rather inexpensive and I’m sure the MDA wouldn’t have as much of a hold as they do with TV. Start simple with a show that talks about SG gossip or viral videos/memes that originate in and around SG. Start incorporating ads, and then expand. Look at the growing success online media companies, such as Revision3, are experiencing.
I have. Maaaaaay be thinking of going digital my friend. Seems like the open, vastness of cyberspace seems like a more profitable venture in the long run.
fewl, did you mean Fighting Spiders? If so, i really hope you enjoyed it because i did that show
And yes, it was fun but i knew that it was a show that wouldn’t last long. It was just too expesnive to produce and the budgets from the station are not exact forthcoming.
Late to the party… I recently moved from NYC to Singapore and, while I am now a freelancer, I have worked extensively in the US in the television industry (A PBS affiliate as well!) This piece provided great insight to me – an outsider looking in. The comments have been most enlightening as well. Thank you for creating the space for many to discuss and learn about the issues facing the local TV industry.
You’re welcome! Thanks for reading the post. I am always humbled when I see so many people in the same mindset, energies all directed to seeking change and betterment.
that is the reason why i only watch kbs world and arirang in my starhub cable – im no korean though but their local programs are way better than ours here
Look at the current channel five landscape. They bring in imported dubbed dramas, and i wonder WHY WHY WHY. Do they really think it would attract eyeballs? The ratings have been predictably low. And see how they LOVE to bring back THE BEST OF…(just fill in the blanks, it could be police and thief, but right now its THE NOOSE). Importing dubbed dramas is cheap. Bringing back repeats is also cheap. Every time there is a second season, the BUDGETS dont increase! So actors demand higher fee, and everything else gets cut. Its as if you are punished for doing a second season. So a seconmd season of any show only appears two years after the first season. WHO THE HELL REMEMBERS the first by then? i sometimes have this feeling that programming over there is done on the fly! I feel anger when they bring in dubbed dramas because its a time slot which SHOULD have been given over to local dramas. I think there should be a splurge of local stuff and yes, ten shows would be bad but there will be come ONE show which will kickass, and you build success from there. The other thing that is unique to channel five is that i heard that shows like crime and horror EVEN THOUGH THEY GET GOOD RATINGS,are unable to get sponsors. I know why. Sponsors dont want to be associated with “bad stuff”. network will tell you these shows are hard to market. Amazing, isn’t it? So you cant market shows that generally have high ratings and you can market shows that have low ratings. So why on earth is there even a marketing department? i am very very sure the network dont want the local scene to suck and i know they have their problems. But looking from outside in, from the persepective of someone who has toiled in the scripting trenches for over ten years, it can be discouraging.
As the audience, local TV has been dead to me even before they call themselves Mediacock. The only shows that I watch on their channels are either foreign shows, or shows with gags that laugh at this pitiful country.
I call this a world-class media industry… >.>
there is never any hope for passionate people who want to do what they like in singapore. be it tv, music, or anything. e.g you love dancing. in other countries, they are LOOKING for talented dancers, and get paid. Pianists? a LOT of career paths for you. basically, any skill you have, is highly appreciated. In singapore? fat hope. here, they only want people to help take care of the money making side.
a lot of people with dreams all gave up because of how this place doesnt really allow them to do what they really want. to live here, work in govt sector, or study like crazy and MAYBE, JUST POSSIBLY, u get a good paying job. after that, your life is your job. don’t work, you suffer.
i may be commenting out of ignorance, but to me, as honest as i can be, singapore is just a place to work, and not a place to live or achieve your dreams.
just like how singapore was intended to be in the first place, a trading spot. foreigners come to trade, and work. now, its just more sophisticated.
Yes, very true….in my case, I’m more tuned towards music but there’s no career here unless you teach. a lot of musicians I know here have given up their dreams of making music and have become auido engineers or work at schools in audio/video departments or end up doing some boring old job. Because I couldn’t sustain a living here as a vocalist/musician, I turned to TV. And now I’m hating it that I am slowly going back to music and thinking of options of pursuing it somewhere else.
haha.. u have basically just state down my life right now. im a vocalist/musician too. i have a band. i have dreams. my dreams, fortunately, is still burning with fiery passion. i just have to take it elsewhere, out from this country.
although i have not given up my music, i did become an audio engineer, and got a job at a pub. luckily its not a ‘boring old job’. thank god.
music is a great option for me as i’m turning to purely digital and online marketing. a hell lot easier to spread my music.
Hi Jelly farm!
Thanks for writing this post. It really helped me better understand the reality of Singapore’s Media industry.
I’m currently a film student and got exposed to this post by my lecturer. I got influenced into learning film when I was nine as I always wondered how the process of filmmaking was. During my term breaks, I was lucky to be offered ajob as a junior grip for a children drama shoot. It was during that time that I had a reality check of how the Media Industry is in Singapore. To be honest, when I learned all these realities it really shattered my dreams of being successful in the filmmaking. However, after a year, I began piecing back my dreams and confidence. Sometimes I really feel that I am quite foolish but there’s an unexplainable drive I have now, to strive to make a film that can make our country proud.
I am very grateful to your post as it is a great reality check for me to strive and work the right way in the media industry. I used to think that making films is a glamorous job but now I know that it is a work of passion that requires going through a lot of hardship.
I’m developing a site site and I was thinking of switching the template.Yours looks pretty nice! You could visit my web site and tell me your viewpoint!
You speak much truth. I just started working for a month as editor and already felt much of what is wrong. Let’s face it, local productions are shit, local movies are shit. I haven’t seen one that wowed me. I’ll take this back when some kind gentlemen proves me wrong.
I work for 7 days a week, on public holidays and do OT every single day and paid beneath what a diploma holder should get. Who would ever want to put in their best into work like that? How long can a man get beat down before his passion leaves him completely?
The senior editor told me off and said if I couldn’t take this much then I probably don’t belong in this industry. This is totally true, I don’t. Everyone working here is just resigned to their fate, doing a mediocre job and making mediocre shows while being treated in silence and abuse. Simply because, “This is how the industry is.”
As long as we ourselves compromise to such circumstances, we are in as much fault as the local media are. As far as I see it, all of us are sheeps that are bogged down by a quagmire that isn’t going away. No matter how much talent you got, it means nothing if you allow yourself to be treated as a cheap labor.
There is a fundamentally large boulder in local industry and everyone is pretending not to see it.
I feel your pain as I was once there too. My advise is to use the opportunity you have now to build your portfolio and to inject some creativity (as much as you can and are allowed to) in your projects, letting the best ones be the ones that go into your showreel.
Then on the side, do personal projects that still motivate you. It will be tiring but give yourself a time frame: 1, 2 or 3 years to build that portfolio up too.
Then, decide whether this is something you want in the long term and if so, see if you can gain a foot in the door in similar industries overseas via continuing your education or applying for available positions directly.
One thing I’ve learnt is that one should never stifle creativity especially if it’s something new and something that’s never been tried before. If it is, it becomes just like what you said: People just resigning to their fate ending up doing mediocre things.
What irks me about the whole scenario is that the boulder can be moved very easily – it’s just that no one wants to because doing so means treading on new territory and for those already in their comfort zone, that’s the last thing they want to do. *Sigh*
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Warm Regards
Thank you!
I wonder why the Philippines for all its squalor and incompetence can turn out Cannes-blowing content.
You’re right….even Indonesia and Thailand have come up with films interesting enough for Hollywood to take notice. I dunno. Think Singapore’s mindset is on a different planet. |They dream big but end up only being on the operational side of things, like barcodes on biscuit tin-type stuff.
As a Malaysian producer who shares most of your frustrations…. I was rather horrified at someone’s comments about Malaysian drama productions being better. And I thought our standards here were crap!
It doesn’t sound too different from things here… except we’re slightly more ‘third-world’ coz the concept of overtime doesn’t exist and insomnia is an accepted job hazard thanks to the same aforementioned ridiculous turnaround requirements.
Sigh. Though I think as an industry, we have only ourselves to blame. We’ve abandoned the professionalism and standards of our craft because we’ve succumbed to the money talking louder than our creative/professional consciences. Those of us who have tried to hold on to these antiquated standards, lose out on work because well… there’s always someone else willing to drop their standards to say yes to a client. And at the end of the day, everybody still has bills to pay so we can’t stick it out forever.
Our short-term survival ensures the long-term death and stagnation of the industry. :-\
And here I was wondering if the Singaporean scene was any better since a lot of the big-name regional channels have their headquarters there. Bwahahah. Deja vu indeed.
But honestly, I think these gripes aren’t unique to our industry. The world has turned into one large cost-cutting, cannibalizing exercise in the name of maximizing profit. I have engineer friends complaining about how project managers choose components which have been proven to fail because they’re cheaper. A look at job vacancies these days will often show what were formerly senior and managerial positions being listed with a 3-year experience requirement. Then there’s the usual complaints about how 10 years of inflation and sky-rocketing-everything prices somehow haven’t been factored in to pay-grades.
Just makes me wonder. If we’re in the shit-pile now; where the hell are we headed? *chuckle* I guess we all should’ve listened to mommy and been Doctors, Lawyers, Bankers and Accountants after all.
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