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KHON MALAY unofficial 3

NEW KHON MALAY WORKING POSTER

KHOIN MALAY on the mode...

Gue bukan penulis blog yg pro tapi Gue mahu guna blog utk sampaikan apa-apa yg Gue rasa tentang semua benda yg membabitkan Gue terutamanya dari kota fikir ke kanvas mahupun naskah & akhirnya layar besar!

Ketrika ini...Gue punya team sibuk dengan pre pro filem aksi motivasi pertama Gue & yg ke 2 dari tangan Gue selepas ABU YA. Gue pilih CULT kerana genre sebegini sememangnya mengundang kontroversi di seantero dunia. ABU YA dah berlalu dengan seribu kontroversi & Gue n my team berbangga dengan pencapaiannya walau d pawagam kurang mendapat perhatian! Namun rata2 di dlm masyarakat kontroversinya memudahkan semua pihak yg terbabitr 'cari makan'...ALHAMDULILLAH...

Ada yg meramalkan KHON MALAY di tangan Gue akan menjadi ABU YA PART 3...& SETEGAS-TEGASNYA Gue mahu sampaikan d sini yg KHON MALAY adalah sebuah filem yg bakal meletuskan kelainan yg tidak pernah terjangkau dalam kotak fikir sesiapa. Apa tidaknya...sehingga hari ini sudah 5 heroin filem ini bersilih ganti dan terbaru 'ratu kontroversi' Zarina Ann Lavocah telah mengetepikan Fasha Sandha dlm pemilihan baru2 ini sememangnya banyak mengundang skeptikal punya persoalan pada wartawan dan khalayak...Ada Gue peduli..???Bukan bernada riak @ takabur tapi sebenarnya GUE BIKIN CULT pun pasal Gue ada fahaman Gue sndr...Lantak lah apa bloger mahu fikir...Gue dapat sokongan dari my team tanpa sebarang persoalan dan ianya ikhlas bukan mengampu membabi buta! TQ to my frnz,supotter & my team! JOM KITA KASI GEMPAQQQQ SATU KALI LAGI!!!

KHON MALAY Unofficial Trailer 2

FILEM KULTUS ( CULT FILM )

directly from

 http://en.wikipedia.org/wiki/Cult_film

General overview

A cult film is a movie that attracts a devoted group of followers or obsessive fans, often despite having failed commercially on its initial release. The term also describes films that have remained popular over a long period of time amongst a small group of followers. Although they may only have a short cinema life, cult films often enjoy ongoing popularity through long runs on video, thus being issued in video "runs" with more copies than other movies. The movie Office Space (1999), which lost money during its box office run, managed to turn significant profits when word-of-mouth made it a popular video rental and purchase. Harold and Maude (1971) was not successful financially at the time of its original release, but has since earned a cult following and has become successful following its video and DVD releases. Many cult films were independent films and were not expected by their creators to have mainstream success. Carnival of Souls (1962), Night of the Living Dead (1968), Pink Flamingos (1972), Eraserhead (1977), Basket Case (1982), The Evil Dead (1981) and its sequels, The Big Lebowski (1998), and Napoleon Dynamite (2004) could all be considered cult films. Sometimes the audience response to a cult film is somewhat different than what was intended by the film makers. Cult films usually offer something different or innovative in comparison to mainstream films, but cult films can also be popular across a wide audience.

A film can be both a major studio release and a cult film, particularly if despite its affiliation with a major studio, it failed to achieve broad success on either the theatrical or home video markets but was championed by a small number of dedicated film fanatics who seek out lesser-known offerings. It is also true that the content of certain films (such as dark subjects, alienation, transgressive content, or other controversial subject matter) can also decide whether or not a film is a "cult film", regardless of the film's budget or studio affiliations. An example may be Paul Verhoeven's big budgeted, highly sexualized Showgirls (1995), initially intended to be a drama film about the rise of a Las Vegas stripper, that flopped both critically and commercially when released theatrically; afterward, it enjoyed success on the home video market, generating more than $100 million from video rentals. Today, it is a favorite of gay audiences and audiences in general have considered it to be a comedy thanks to frequent midnight movie showings. According to activist writer Naomi Klein, ironic enjoyment of the film initially arose among those with the video before MGM, the film's chief marketer, capitalized on the idea. MGM noticed the video was performing all right, since "trendy twenty-somethings were throwing Showgirls irony parties, laughing sardonically at the implausibly poor screenplay and shrieking with horror at the aerobic sexual encounters."

History

1959 to 1970s

Plan 9 from Outer Space (1959) and other films by Edward D. Wood, Jr. were considered cult classics, attracting devotees who reveled in his incompetence. Other low-budget science fiction and horror films of the 1950s (for example Robot Monster), along with exploitation films of the 1930s, which resurfaced in the home video market of the 1980s (including the infamous Reefer Madness), were accorded that status.

The low budget horror film Night of the Living Dead (1968) directed by George A. Romero earned moderate box office takings but was critically polarized at the time. However, the culture of Vietnam-era United States had a tremendous impact on the film and the film was given a cult status after playing frequently at midnight movie circuits. It is so thoroughly laden with critiques of late-1960s American society that one historian described the film as "subversive on many levels." While not the first zombie film made, Night of the Living Dead influenced countless films and is perhaps the defining influence on the modern pop-culture zombie archetype. The film is the first of six Dead films (completed or pending) directed by Romero.

John Waters' Pink Flamingos (1972), was wildly controversial (being an exercise in "poor taste") featuring incest and coprophagia, became the best known of a group of campy midnight films focusing on sexual perversions and fetishism.Filmed on weekends in Waters's hometown of Baltimore, with a mile-long extension cord as a power conduit, it was also crucial in inspiring the growth of the independent film movement^.. In 1973, the Elgin Theater started midnight screenings of both Pink Flamingos and a crime drama from Jamaica with a remarkable soundtrack. In its mainstream release, The Harder They Come (1972) had been a flop, panned by critics after its U.S. distributor, Roger Corman's New World Pictures, marketed it as a blaxploitation picture. Re-released as a midnight film, it screened around the country for six years, helping spur the popularity of reggae in the United States. While the midnight-movie potential of certain films was recognized only some time after they opened, a number during this period were distributed to take advantage of the market from the beginning—in 1973, for instance, Broken Goddess, Dragula, The White Whore and the Bit Player, and Elevator Girls in Bondage (as well as Pink Flamingos) had their New York premieres at midnight screenings.In 1974, midnight opener Flesh Gordon evidenced how the phenomenon lent itself to flirtations with pornography.

The Rocky Horror Picture Show satirizes conventions of science fiction and horror films, and includes elements of transvestism, incest and homosexuality – all within the context of a musical film. The film received little critical attention or mainstream cinema exhibition when first released in 1975, but built up a base of fans who repeatedly showed up at midnight screenings at inexpensive neighborhood cinemas, dressed in costume and "participating" in the film by doing such things as throwing rice during its wedding scene.^[ In this case, the film intentionally ridiculed its own subject matter, thereby entering into the spirit of sarcastic fun often surrounding the attainment of cult status. Much of the attention has stemmed from the fanbase, rather than the film itself.^[ Network television, cable television and pay-per-view stations have also changed the nature of cult films. David Lynch's experimental Eraserhead (1977), an example of shoe-string surrealism was a flop both critically and commercially, yet was saved from obscurity thanks to home video in the late 1970s and early 1980s.

Comedy films have also been cult classics. In 1979, Steven Spielberg, after two blockbuster hits (Jaws and Close Encounters of the Third Kind), decided to try the comedy genre with 1941, set days after the attack on Pearl Harbor. The film, spoofing popular film genres of the 1940s (and World War II in general), is considered by critics as Spielberg's first flop, although it made a small profit for Columbia Pictures and Universal Studios compared to Spielberg's earlier (and later) blockbuster hits. It gained a cult following after it aired in an extended version on the U.S. ABC network, and years after on Laserdisc and DVD

1980s to present

The commercial viability of the sort of big-city arthouses that launched outsider pictures for the midnight movie circuit began to decline in the late 1970s as broad social and economic shifts weakened their countercultural base. Leading midnight movie venues were beginning to fold as early as 1977 – that year, New York's Bijou switched back permanently to the live entertainment for which it had been built, and the Elgin, after a brief run with gay porn, shut down completely. In succeeding years, the popularization of the VCR and the expansion of movie-viewing possibilities on cable television meant the death of many additional independent theaters, which as a result, developed a stream of newer cult films. Possibly the first of these was the biographical Mommie Dearest (1981), which details the life of Joan Crawford and her alleged abusive relationship with her adopted daughter. The over-acting by Faye Dunaway as Crawford gave the film a campy tone, and critics were very negative towards the film. While Dunaway garnered some critical acclaim for her astonishing physical metamorphosis and her portrayal of Crawford (finishing a narrow second in the voting for the New York Film Critics Circle Awards for Best Actress of the Year), she also received a Razzie Award for Worst Actress and caused considerable damage to her career. It did manage to develop a cult classic status, especially with gay audiences and became famous for Dunaway's emphasis on the line "No wire hangers, ever!", when urging her daughter not to use them in her closet.

While Rocky Horror soldiered on, by then a phenomenon unto itself, and new films like The Warriors (1979), The Gods Must Be Crazy (1980), The Evil Dead (1981), Heavy Metal (1981), and Pink Floyd The Wall (1982)—all from mainstream distributors—were picked up by the midnight movie circuit, the core of exhibitors that energized the movement was disappearing. Ridley Scott's Blade Runner (1982) was financially unsuccessful upon its initial release. The film was, however, re-released in 1992 and achieved cult status. It has since become a leading example of the science fiction genre.

In 1984, The Adventures of Buckaroo Banzai Across the 8th Dimension, starring Peter Weller as Buckaroo Banzai, whose latest experiment opens the door to the 8th dimension and unwittingly starts an interstellar battle for the world. Directed by W.D. Richter the film has since received cult status. Entertainment Weekly ranked Buckaroo Banzai as No.43 in their Top 50 Cult Movies.

Also in 1984, Dino DeLaurentiis released Dune, based on Frank Herbert's best-selling sci-fi novel. Directed by David Lynch, the film was a big-budget flop, partially because the movie had already been edited from an intended three-to-four hours to 137 minutes, leaving the story incomprehensible. Knowing that a great deal of footage had been deleted, Universal Studios took it upon themselves to release a longer version for syndicated television and thereby, return some of the cohesiveness to the story. Thus, Dune became a cult classic, albeit too late, as David Lynch had removed his name from the credits of the television cut. Both major versions have been successful thanks to a recent DVD release.

1985 saw the making of two Arnon Milchan films that were, like Dune before it, substantially altered by Universal Studios in an attempt to find a mainstream audience. Terry Gilliam's Brazil (1985), a dystopian science fiction film about a man's relationship with the woman of his dreams became a huge failure (largely because of the difficulties involved in marketing the film), yet was critically acclaimed and subsequently revitalized by video releases. Then, by the time Legend, directed by Ridley Scott, opened in European theatres, it had already been edited by 20 minutes by Universal. Having failed at the U.K. box office, it was further edited by five minutes for U.S. release a year later and Jerry Goldsmith's original orchestral score replaced by a rock score by Tangerine Dream. Interest in the missing footage and score helped to build the film's cult status, which paid off when in 2002, DVD audiences finally saw Legend in a version closer to director Scott's intent.

A year later, David Lynch's highly influential neo-noir thriller Blue Velvet (1986), having initially failed at the box office (because of its limited release in theatres), was revitalized with video releases in the late 1980s and early 1990s. The film became hugely controversial and well-known because of its bizarre, often graphic depiction of small town America and male-female relationships featuring a psychotic Dennis Hopper and his drug-fueled sexual relationship with Dorothy Vallens, played by Isabella Rossellini. Lynch continued his career with various other cult films: Wild at Heart (1990), Lost Highway (1997) and the critically acclaimed Mulholland Dr. (2001) as well as his short lived cult phenomenon television series Twin Peaks (90–91), and its subsequent movie adaptation: Twin Peaks: Fire Walk with Me (1992). Another cult item is the Jim Jarmusch film from 1989 Mystery Train, which includes Joe Strummer and Tom Waits.

Alan Parker's hybrid mystery/horror film, Angel Heart (1987), starring Mickey Rourke and Robert De Niro, fared poorly at the box office, only just breaking even. Despite this, the film became a hit once released on VHS, and has become a cult classic since, known for its spooky tone, Michael Seresin's cinematography, the sad and spooky score by Trevor Jones, and an unusual but effective blend of genres. Two of the movie's producers, Andrew G. Vajna and Mario Kassar, also produced the cult film Jacob's Ladder which had a similar narrative structure, as well as a 'twist' ending.

Michael Lehmann's satirical teenage comedy Heathers (1989), starring Winona Ryder and Christian Slater, was intended to take on the John Hughes teenage films (The Breakfast Club, Sixteen Candles) and give them a much darker, realistic and comedic approach. However, the film was a failure at the box office (mainly because of its limited release). Despite this, it was hugely popular on VHS in the early 1990s and launched cutting-edge dialogue spoken by its characters ('What's your damage?', 'I love my dead, gay son!') into mainstream popular culture. In 1993, the comedy horror Army of Darkness, a sequel to the Evil Dead series, was released. The movie had a considerably higher budget than the prior two Evil Dead films. The budget was estimated to be around $11 million; while Evil Dead II had a budget of $3.5 million and The Evil Dead a budget of $350,000. At the box office, Army of Darkness was not a big success as hoped, only grossing $11,501,093 domestically. After its video release, however, it obtained a cult following, along with the other two films in the trilogy. One of the most successful of the 1990s generation of cult films was the Australian drag queen road saga The Adventures of Priscilla, Queen of the Desert (1994). One of the theaters to show it regularly at midnight was New York's Waverly (also now closed), where Rocky Horror had played for a house record ninety-five weeks. Writer/director Todd Solondz, a favorite cult director, had his first major success with the black comedy Welcome to the Dollhouse (1995), a brutally-honest look at the persecution of a young junior high student by her classmates. His next film was the challenging, controversial dark comedy of sex and perversion in American suburbia—titled Happiness (1998). The Big Lebowski (1998) was a flop on its initial release, yet became a cult classic and has been called "the first cult film of the Internet era."Disney's Atlantis: The Lost Empire (2001) had a disappointing box office performance but is considered to be a "cult favorite" because of its unique art and animation style inspired by comic book artist Mike Mignola.

Older films are also popular on the circuit, appreciated largely in an imposed camp fashion—a midnight movie tradition that goes back to the 1972 revival of the hectoring anti-drug movie Reefer Madness (1938). (Tod Browning's 1932 horror classic Freaks, the original midnight movie revival, is both too dark and too sociologically acute to readily consume as camp.) Where the irony with which Reefer Madness was adopted as a midnight favorite had its roots in a countercultural sensibility, in the latter's place there is now the paradoxical element of nostalgia: the leading revivals currently on the circuit ironically include clearly non-cult films like John Hughes oeuvre—The Breakfast Club (1985), Pretty in Pink (1986), and Ferris Bueller's Day Off (1986), which were major studio productions and popular and financially successful during their original releases, and the teen adventure film The Goonies (1985).

Cult films within a particular culture

Occasionally, a film can become the object of a cult following within a particular region or culture if it has some unusual significance to that region or culture. An example is the cult status of British comedic actor Norman Wisdom's films in Albania. Wisdom's films, in which he usually played a family man worker who outsmarts his boss, were some of the few Western films considered acceptable by the country's communist rulers, thus Albanians grew familiar and attached to Wisdom. Curiously, he and his films are now acquiring nostalgic cult status in Britain. Another example is the place of The Wizard of Oz (1939) in American and British gay culture, although a widely viewed and historically important film in greater American culture. Gay men sometimes refer to themselves as "friends of Dorothy". Singin' in the Rain is another film adopted by American gay culture which used to regularly be shown during the 1980s and early 1990s for extended runs. Slaves of New York, Can't Stop the Music, and A Night in Heaven have also found a cult audience in the gay community.

In the world of anime, the MTV spoof series Ultracity 6060 created by Beavis and Butt-head animator Mike Judge has become a hard-to-acquire cult classic among American anime fans. Judge's gory send-up When Animated Animals Attack is also a cult hit among animation festival fans in North America, as are the works of Don Hertzfeldt (Billy's Balloon, Rejected, The Meaning of Life) and Robert Smigel.

The 1938 anti-marijuana propaganda film Reefer Madness has become a cult film within the stoner subculture due to its humorously sensationalized, outdated and inaccurate descriptions of the effects of marijuana. 20th Century Fox and Legend Films released a colorized version of the film on DVD on April 20, 2004, a reference to its ironic appeal (see 420 (cannabis culture)). The World War II-era Department of Agriculture film Hemp for Victory, encouraging the growing of hemp for war uses, has achieved a similar cult status. Entry-level IT workers and white-collar American workers alike have given Mike Judge's 1999 comedy film Office Space a cult following because of its heroic portrayal of ordinary office employees who become fed up with their jobs, make a stand, and try to overthrow the very corporation for which they work. Belgian cult movie Man Bites Dog with Benoit Poelvoorde and the surrealist movie Camping Cosmos starring cult figures like Lolo Ferrari, Noël Godin and Arno Hintjens, are an element of the Belgian visual landscape with reminiscences to Belgian Surrealism.

International cult cinema

Asian cinema, particularly Hong Kong martial arts films, such as wuxia, and Japanese tokusatsu, primarily from the Daikaiju Eiga, and anime, also has a cult following in the Western hemisphere. The Kaiju genre of films, most famously the Godzilla films, while enjoying much mainstream popularity in Japan, has a large cult following in the U.S.. Battle Royale has gained cult status in Britain due to the resonance the film has with the disaffected youth of that country. The action film Red Heat (1988) has found a cult audience amongst fluent Russian speakers because of the movie's weak portrayal of the Russian language and stereotypes.

So-bad-they're-good cult films and camp classics

See also: Mystery Science Theater 3000

Many films enjoy cult status because they may be seen as ridiculously awful, for example Plan 9 from Outer Space (1958) or The Room (2003). The critic Michael Medved characterized examples of the "so bad it's good" class of low-budget cult film through books such as The Golden Turkey Awards. These films include such financially fruitless and critically scorned films as "Showgirls", The Lonely Lady, Mommie Dearest, Cool as Ice, Boxing Helena, Manos: The Hands of Fate, North, The Wicker Man, Fatal Deviation, Silent Night, Deadly Night Part 2, and Troll 2, which have become inadvertent comedies to film buffs. Movies have even achieved cult status by successfully imitating the awfulnesses of so-bad-it's-good movies (The Lost Skeleton of Cadavra and Amazon Women on the Moon being just two examples.)

In other cases, little-known or forgotten films from the past are revived as cult films, largely because they may be considered goofy and senseless by modern standards, with laughable special effects and corny plotlines. These include Super Mario Bros., Howard the Duck, Breakin', The Beastmaster, Santa Claus Conquers the Martians, The Creeping Terror, Robot Monster, The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies, Attack of the 50 Foot Woman, The Man Who Saves the World and the works of Edward D. Wood, Jr. The Beastmaster is an example of the strange vectors which can lead to cult filmdom, as its reputation stems as much from ubiquitous cable-TV overplay as anything in the film itself.

These films should not be confused with comedic cult movies like The Toxic Avenger, Bad Taste, Army of Darkness, Murder By Death, Spaceballs, and the films of John Waters, which purposely utilize elements from films "so bad they're good" for comedic effect. This may be seen as related to the artistic style known as "camp".

1945-Malaya Tanpa Melayu

Kisah bermula dari kekalahan Jepun di Tanah Melayu dan Komunis berpisah gabungan dengan British setelah rasa diketepikan dalam banyak hal berkaitan agihan kekuasaan. Orang-orang Melayu mula berpecah kepada beberapa kelompok untuk bersama British,Komunis,saki baki pengaruh aristokrat yang bersekongkol dengan Nipon dan ramainya yang ingin berkuasa atas kapasiti Tanah Melayu adalah untuk Melayu. Timbul penentangan demi penentangan. Golongan yang diketuai oleh aristokrat dan bangsawan Melayu sesetengahnya mula membentuk kesatuan yang menjadikan Raja-Raja Melayu sebagai simbol perjuangan.

Di Baling,Komunis telah menguasai hampir keseluruhan kawasan itu dan menjadikan lelaki Melayu 'mandul' dengan harapan tiada lagi baka Melayu akan dihasilkan di situ. Di sinilah munculnya wirawati Melayu Tengku Soraya Tengku Putih menyeru dan membentuk sebuah unit untuk mengangkat senjata melawan kekejaman dan kerakusan Komunis.

Cerita ini berakhir dengan peristiwa Perjanjian Baling yang menemukan Chin Peng dan Tunku Abdul Rahman Putera Al Haj. Chin Peng yang ditemui Tunku sebenarnya adalah Komander Ke-2 Komunis sahaja kerana Chin Peng yang sebenarnya telah dibunuh setelah dia merogol Tengku Soraya. Peristiwa inilah yang akan diangkat di dalam filem ini.

Filem ini adalah inspirasi dari kesengsaraan Melayu pada zaman tersebut!

FILEM MOTIVASI AKSI PERTAMA D MALAYSIA

INSYAALLAH jika dengan izin Allah filem ini akan menghimpunkan team yg paling baik yg pernag Gue ada. Nilai persahabatan menjadi teras pemilihan team kali ini. Syed Mustaffa, Kamarul Bahrin,Sam Ramley, Khalid Bahari, Pogie Mutiara,Jhon,Azam, Anjaz Asmara,Bain,Ming,The Rental House,Gaya Lab,Ah Pew, Josephin Lew,Yank Kasim,Suraya Hussin,Hung,IzMEY Fuji, Asry Pak Long & Salim merupakan antara nama yg dah melekat di hati GUe ketika ini.

Hero macam biasa lah...untuk sehari dua ni belum ada yg melekat di hati selain dari sahabat Gue Faizal Hussein! Gue telah membulaTKAN tekad untuk mengenengahkan BONIE & MURAD utk industri kita! Pelakon2 lain pun nampaknya telah memenuhi Q yg ada dlm tangan SYED, TOI & sam...Surat BSN keluar Gue roll!

FAIZAL HUSSEIN, BONIE TEH & MURAD ZAIDI dari tangan IMRAN HAJI ISMAIL

KHON MALAY- Buah Tangan Terbaru

ALHAMDULILLAH...Gue akan roll lagi dlm masa terdekat dgn cuba mengekalkan berapa banyak kengkawan yg boleh berkerja bersama Gue. Ini bukan pasal nak tunjuk power atau soal siapa pandai bodek atau apa2 kerana Gue tak ada apa2 yg perlu di buktikan pun! Gue bikin filem sebab memang Gue nak buat benda ni. Gue anggap benda2 lain yang datang selepas dari inisiatif Gue ini sebagai satu 'bonus'...sebab tu lah apa saja rintangan & cabaran yg datang Gue dapat lepas dgn bergayanya...berkat & dgn izin Allah SWT!

Khon Malay, mengisahkan kehidupan sebuah keluarga keturunan Siam yang tinggal di sebuah kampung di daerah Pendang,Kedah. Sejarah keluarga ini ialah mereka membenarkan anak lelaki sulung mereka di jaga dan di pelihara oleh seorang Melayu. Akhirnya anak tersebut membesar mengikit cara Islam dan memeluk agama Islam. Mereka merestuinya!

Manakala sepasang anak yang masih tinggal dengan mereka membesar sebagai seorang lelaki dan perempuan yang mempunyai karekter berbeza dalam menggapai cita-cita masing2. 

Chyintia a/p Dhin Hun akan di gambarkan sebagai seorang perempuan bumiputera Malaysia yang tinggal di sebuah kawasan pedalaman yang sangat jauh dari metropolitan tiba-tiba sahaja menjadi popular serta namanya meniti di bibir setiap peminat bixsing seluruh dunia selepas berjaya menjadi wanita pertama dari Malaysia yang berjaya menjadi peninju terbaik wanita pada kelasnya tersendiri!

Biografi peninju wanita ini akan didokumentasikan dan akan Gue angkat ke layar perak.Insyaallah! 

Ketika ini Gue telah mengujibakat tidak kurang dari 10 artis terkenal bagi menjayakan watak mencabar dan tidak mampu dilepaskan oleh mana2 pelakon wanita tanahair.tetapi buat sementara waktu produksi kami belum mahu mengumumkan siapa yang paling sesuai untuk menjayakan watak ini disamping Faizal Hussein,Murad Zaidi,Ary Muhammad,Rosnah Johari,BoB Aziz Singah,Yank Kasim,Man Bai,Joe Filzzow dan ramai lagi. 

Insyaallah,Gue akan mengumumkannya dalam masa terdekat...-PEACE NO WAR- imranhajiismail 

10 NOVEMBER 2011 - ABU YA KE PAWAGAM SELURUH NEGARA

Akhirnya filem pertama arahan gue,ABU YA-KESESATAN MELANGKAUI BATASAN Part II akan menemui khalayak pada 10 November 2011 ini. Insyaallah, semua orang akan dapat menyaksikan sebuah filem yang lain dari yang lain terutama dari segi adunan ceritanya! sEBAGAI SEBUAH KARYA YANG PERTAMA,filem gue ini bukanlah yang terbaik...ianya sekadar sebuah fiem melayu yang cuba dibuat dengan lebih berani terutamanya dalam melontarkan pemahaman gue tentang sesebuah kreativiti dalam pembikinan filem!

Sudah semestinya ada sesuatu yang telah menjadikan filem ini digredkan sebagai sebuah filem Melayu dibawah klasifikasi 18 tahun ke atas... Sama-sama kita nilai filem ini selepas ianya berada di pawagam nanti!

ABU YA- MILLION EUPHORIA,FINAS,LPF & SINEMA

SALAM Ya SALAM...Saat ini semua pengkarya & penggiat filem tempatan mengeluh dengan Skim Wajib Tayang 1 Minggu 1 Filem Melayu...Jauh dari itu; cara pejadualan & penggiliran yang dibuat oleh FINAS melalui AHLI JAWATANKUASA WAJIB TAYANG juga banyak menimbulkan kekeliruan kepada khalayak!

Tiada sebarang garis panduan baru untuk para penerbit membuat permohonan menyertai Skim Wajib Tayang ini, Lantas ramai yang masih berasa selesa & berpendapat cara penjadualannya masih seperti sedia kala iaitu bergantung kepada sijil A dari LPF!

Benarkah begitu? Kita tunggu dan lihat sejauhmana dasar dan asas ini mempunyai kekebalan dan tidak terdapat ketirisan! Apa yang pasti,ketika ini ada sebuah filem yang memegang sijil A pada Disember 2010 gagal untuk kepanggung dan tarik tersebut diperolehi oleh filem yang memegang sijil A Februari 7 March 2011. Hal ini kerana penerbitnya secara langsung terlibat dengan FINAS! Kedua-duanya adalah Ahli Lembaga FINAS!

Hahahahahahahahahahahahahaaha....apakah nasib filem Gue juga akan ditentukan oleh komiti ini? Minta simpang...

AKHIRNYA...LPF POTONG 2 MINIT FILEM ABU YA-kesesatan melangkaui batasan

SALAM Ya SALAM... Nampaknya selepas berada di LPF selama 10 hari filem pertama arahan gue ABU YA Part II- kesesatan melangkaui batasan; telah diluluskan oleh LPF DENGAN PEMOTONGAN  2 minit 30 saat. ALHAMDULILLAH! Antara scene yang di potong tapis ialah pada reel 2,reel 4 dan reel 5.Ianya melibatkan 6 shot sahaja! Langsung tidak menjejaskan apa cerita yang diangkat ke layar perak ini! Tiada sebarang pemotongan keseluruhan scene dan kepujian sudah semestinya diberikan kepada 1'st Ast Drct-Sam Ramly dan Penyunting kesayangan Gue, Brader Salim Saifuddin yang telah banyak mengenengahkan idea bagi kesuksesan filem ini. Tq to u all!

Sesungguhnya semua scene yang cuba Gue paparkan di dalam filem pertama Gue ini adalah diangkat dengan penuh tanggungjawab & keikhlasan dalam menterjemahkan setiap babak itu dapat dilihat & dirasai oleh panel penapisan! Kewajaran setiap babak juga tidak dapat dipertikaikan kerana diperkuatkan dengan dialog yang sangat memikat ahli lembaga penapisan!

Sebagai sebuah naskah seni yang terlalu rapat dengan kesusateraan moden, tidak keterlaluan Gue katakan ABU YA adalah sebuah hasil kerja seni berkumpulan yang sangat menekan kepada kekuatan kata bual.

Filem ini menjadi lebih cantik dengan persembahan meyakinkan dari FAIZAL HUSSEIN dan dibantu oleh SUHAILLAH SALAM,ADREA ABDULLAH & JUE AZIZ. Watak-watak yang dijayakan oleh YANK KASIM,KHIR MD NOR,ARY MUHAMMAD,ROY MADADA,HALIM RAHMAN & IQBAL MAZLAN ternyata mengangkat ABU YA sebagai HERO ANTAGONIS yang belum pernah dilihat di layar perak lewat eksperementasi dari filem era 60-an 'ISI NERAKA'!

Insyaallah...jika segala-galanya berjalan dengan lancar...filem ini akan menemui penonton pada penghujung November tahun ini!

stillphoto ekslusif ABU YA

Antara koleksi photo ekslusif & terbaik dari filem ini!

TAWI GAGAP & MANAN MAMAK : ROY MADADA & HALIM MAMAK

BOOOOOOOOOOOM! Ini adalah watak paling kontroversi dalam filem ini kerana mereka adalah pasangan kekasih! GAY in the house!

PENGARAH FOTOGRAFI : ZULKIFLI ZAIN

Tidak banyak eksperementasi yang kami lakukan di dalam fiem ini. Gue sebagai pengarah baru dalam industri berasa bersyukur kerana dapat berkerjasama dengan DOP ini kerana ada sedikit kesegaran dalam berkarya dan mempersembahkan sesuatu yang baru kepada khalayak! Sekiranya berkesempatan gue akan cuba untuk berkerjasama lagi dengan DOP ini & sudah semestinya untuk kali yang ke-2 itu nanti kami akan berusaha sedaya upaya melakukan ekperimentasi terutamanya dari sudut sinematografinya!

ALI ZAKARYA : IQBAL MAZLAN

Ini adalah hero filem Melayu yang sedang dalam pembikinan namun dia perlu lebih banyak mengumpul pengalaman di lokasi-lokasi besar jika berhasrat untuk terus 'bermain' di layar perak!

KHONG KHEK KHUAT : BOB SINGAH

Watak ini adalah watak yang paling rapat dengan ABU YA! Ia dijayakan oleh BOB dengan begitu baik!

AMIN JUTA : SABRIE FADZIL

Lantaran pelakon ini sangat 'bagus' dan berada pada kelasnya yang tersendiri;gue sebagai pengarah menggunakan cara yang paling baik semampu gue untuk memanfaatkan setiap kemunculannya supaya menjadi ingatan kepada seluruh khalayak setiap kali menonton filem ini. Kelebihannya di dalam lakonan sangat banyak dan dia antara watak yang para penonton tidak akan berasa puas untuk menonton lakonannya!

AKOB MOROCO : KHIR MD NOR

Aha! karekter dan kebolehan semulajadi disamping pengalaman menjadikan Brader KHIR sebagai pendukung watak yang tidak jemu untuk ditonton!

HUSIN TEMPAYAN : ARY MUHAMMAD

Ini adalah lakonan terbaik dari pelakon ini. Kemunculannya di dalam setiap babak menjadi kesinambungan kepada setiap penceritaan dalam ABU YA!

ALIAS GURUH : YANK KASIM

Antagonis adalah sinonim dengan YANK KASIM & di dalam ABU YA wataknya sangat mencabar kerana dia belum pernah melakonkan antagonis yang bersifat 'cool'. Ini adalah antara watak yang akan menarik minat khalayak untuk menontonnya berulang kali di pawagam.Insyaallah! Alias bermain dengan fizikal dan emosi. Ternyata pemilihan YANK KASIM untuk watak ini paling tepat!

ISTERI KE-2 YANG OBSESI PADA KECANTIKAN: GEENA ALIF

Sebagai pendatang baru dalam industri, pelakon ini perlu melalui beribu-ribu proses lagi untuk memberi cabaran kepada diri sendiri!

ISTERI KE-4 YANG KRONIK : JUE AZIZ

Sememangnya JUE AZIZ tidak perlu diperkenalkan lagi di dalam industri kerana rata-rata wajah dan lakonannya memenuhi stesyen tv tempatan ketika ini.

Sebagai SURAYA yang menjadi isteri ke-4 ABU YA; watak ini gue wujudkan untuk mencantikkan filem dan mendramatikkan perjalanan keseluruhan cerita ini.

Sebagai seorang pengarah gue rasa keseimbangan antara lakonan dan lontaran vokal pelakon ini masih perlu diperkemaskan sekiranya dia ingin meneroka layar besar secara serius!

ISTERI KE-3 BERKETURUNAN PATTANI-ADREA ABDULLAH

Jika ditanya tentang watak & perwatakan di dalam filem ABU YA ini; ADAWIYAH adalah antara watak yang mewarnai perjalanan ceritanya. Seorang perempuan & isteri yang ingin menguasai segala-gala dipersekitarannya tanpa mengambil kira natijah dan bagaimana cara untuk melakukannya!

Sememangnya ramai telah mengetahui bakat dan komitmen Adrea terhadap setiap watak yang dibawanya sebelum ini. Pelakon ini mempunyai masa hadapan yang cerah sekiranya berjaya mencari keasliannya dan cuba menjadi dirinya sendiri!

EMOSI ISTERI PERTAMA...SUHAILLAH SALAM

Watak RUBIYAH di dalam ABU YA yang dibawa oleh SUHAILLAH pasti akan menjadi perbualan pengkritik filem tempatan kerana pelakon ini telah berjaya memainkan emosinya dalam ruang yang sangat terhad! Tanpa banyak melaukan pergerakan dan bahasa tubuhnya,SUHAILLAH telah berjawa menjiwai watak seorang isteri tua yang sedang terseksa secara emosi.

Dia sanggup dan merelakan segala yang dilakukan oleh suaminya dalam usaha untuk mempertahankan dan membuktikan kesetiaan,kasih & sayangnya kepada sebuah ikatan yang dipanggil perkahwinan.

Watak RUBIYAH di dalam filem ini tidak menampakkan sebarang persaingan dengan ketiga-tiga madunya. Watak ini berdiri dengan kekuatan emosi pelakonnya dan pemilihan SUHAILLAH SALAM untuk watak ini adalah sesuatu yang tepat!

BRAVO...FAIZAL HUSSEIN

Pada gue berader ni adalah calon pertama gue untuk bawa watak utama dlm naskah gue kecualilah dia tak free baru gue akan beralih ke hero lain!Komitment tinggi,asas lakonan kukuh & disiplin tahap tertinggi! Persembahannya dalam Abu Ya telah memukau ramai funder dari luar & gue rasa tahun 2011 akan menjadi miliknya kalau dia kekal selektif dalam kemunculannya di layar perak dan meminimakan kemunculannya di layar kaca!

Sebagai pelakon yang tidak perlu diperkenalkan lagi di pentas lakonan tanahair ini gue rasa sangat bertuah apabila dalam filem pertama arahan gue ini mencapai kehendak dan kepuasan Penerbit & Penasihat Penerbitan gue Ybhg Dato Sivamohan.

Keterujaan terhadap karekter Faizal di dalam ABU YA ketika ini sedang menjadi bualan di LPF! Ramai yang mengatakan mutu pengarahan gue dalam mendapatkan mood sebenar ABU YA sangat baik tetapi sebenarnya pada gue...mana-mana pengarah pun mampu melakukan sepertimana yang gue lakukan malahan mungkin lebih baik lagi jika diberikan FAIZAL HUSSEIN!

Gue cuma perlu duduk dengannya seminggu sebelum pengambaran, tiap-tiap hari di lokasi selama 10 minit untuk berbincang babak yang akan dilakonkan keesokkan harinya & akhirnya gue cuma perlu duduk di kerusi pengarah untuk merakan emosi,mood,intonasi dan pergerakan hero gue!

Seperingatan gue, majoreti take yang gue dapat dan gunakan untuk Faizal adalah  one take! Kalau ada 2@3 take pun ternyata take yang pertama adalah yang terbaik untuk filem ini dari Faizal! Itulah SUPERBnya FAIZAL HUSSEIN!

ABU YA-kesesatan melangkaui batasan : Part 11

Perkhabaran dari LPF; hari ni merupakan hari ke-3 filem pertama gue berada di KDN. Katanya terpaksa melalui sekurang-kurangnya satu screening lagi kerana semalam dia orang screening tak cukup komitie tanpa kehadiran panel dari JAKIM. Tak mengapalah...biar dia orang tengok sampai puas hati dulu kerana nanti tak akan timbulperkara berbangkit di belakang hari. Perjalanan ceritanya terlalu mudah tetapi katanya ada menyentuh sensiviti keagamaan! Tak tau lah dari sudut mana yang menyentuh sensiviti keagamaannya. Gue & team bikin filem ini dengan penuh tanggungjawab dan berpaksikan kepada satu TEMA cerita iaitu KETAKSUBAN MEMBABIBUTA KEPADA PEMIMPIN AKAN MENYEBABKAN RUNTUHNYA SESEBUAH KOMUNITI! Pelarisnya adalah Faizal Hussein,Suhaillah Salam,Jue Aziz,Adrea Abdullah,Iqbal Mazlan dan beberapa teman gue yang lain seperti Yank Kasim, Ary Muhammad, Khir Md Nor,Halim Rahman, Roy Madada & Geena Alif.

Cuma mungkin kupasan tentang KESESATAN di dalam filem ini agak terperinci lantaran itulah ianya terpaksa melalui screening berulang kali. Ini adalah petanda kepada gue & team yang filem ini bakal mengundang kontroversi & akan menarik khalayak untuk menonton lebih dari sekali walaupun perjalanan ceritanya agak mellow bagi sesetengah pengkritik!

Gue berharap & amat berkeyakinan yang unit A&P filem ini akan mengambil kesempatan sepenuhnya untuk boomkan filem ini sebelum tayangannya! Insyaallah.

Apa pun harapan yang gue & team sandarkan kami tetap berpijak di bumi yang nyata kerana situasi ketika ini tidak banyak membantu filem-filem tempatan; ditambahkan dengan Skim Wajib Tayang yang telah dikurangkan menjadi 1 minggu 1 filem Melayu dewasa ini.

Filem ini akan buat pertama kalinya menemui khalayak ialah pada 16 September 2011 melalui TAYANGAN DIRAJA yang bakal diumumkan dalam masa terdekat oleh Penerbitnya!  

Gue dah declare movie yg akan gue roll dari tahun  ni sampai disember 2012...so, sekarang inilah gue punye team yg gue kira sesuai dengan jiwa gue untuk buat sesuatu dalam industri! Dia orang ni adalah dari background yang berbeza-beza tetapi mempunyai satu misi,visi dan pandangan yang sama dalam sesuatu yang menjadi 'rahsia besar' sesebuah organisasi! MAAF HANYA GUE YG TAHU BENDA TU- & ianya bukan untuk di kongsi di sini!

Dia orang melekat di jiwa atas faktor yang sangat kuat iaitu BERANI ( gue ada definesi gue sendiri tentang berani jadi gue select ikut suke hati mak bapa gue! SETIA juga gue ambil kira! JUJUR kriteria yang tak gue ketepikan! PROFESIONALISME bukan satu benda yang gue cari kerana ianya akan datang sendiri apabila lu orang tengok my team berkerja! Mereka telah lalui kehidupan yang cukup untuk menjadikan mereka pro dalam bidang masing-masing. Gue tak nak promosi dulu...lu orang boleh tengok bagai mana team ini akan menjadi sebutan dalam industri pada penutup 2012! Tahun 2013 kami akan bersidang untuk postmortem dan menilai ikatan kami samada kami akan teruskan atau akan menjadi 11 syarikat yang membentuk satu konsortium dalam membawa misi kami untuk dikongsi bersama 30 JUTA rakyat Malaysia!

Gue telah melepasi satu fasa untuk mengukuhkan teras dan dasar selama 5 tahun dan kini gue akan membina strukturnya. Insyaallah dengan izinNYA pintu tahun 2013 akan kami buka sama-sama dengan penuh GEMILANG!