ROH

Roh is a slow burn horror thriller that I watched recently. I Interviewed the director as well as the leading lady ... 

Headline; Horror From The Past 
By Bissme S

After watching the slow-burn horror film Roh, I was overwhelmed by a sense of helplessness. According to the filmmakers, that means they have done their job.

“There are things you cannot control in life,” says Emir Ezwan, 40, who directed and wrote the screenplay for Roh.

“Sometimes you have to ‘berserah’ (surrender to fate). The whole universe does not revolve around you.”

Made on a budget of RM360,000, the film premiered at the Singapore International Film Festival late last year, and opens in Malaysian cinemas on March 19.

The cast includes Farah Ahmad, Mhia Farhana, Harith Haziq, Namron, Junainah M. Lojong and Putri Syahidah Nurqaseh.

The story takes place in an unspecified time, focusing on a mother and her two young children who stay in a house located in the jungle, living somewhat isolated from society.

They find a young girl roaming around their backyard, and take her into their home.

The following morning, in the most eerie manner, the young girl makes a prediction that everyone in the family will die.

After making the prediction, she slashes her own throat.

Things then get worse for the family of three. Will the prediction come true? Who will die, and who will survive?

Director Emir says: “I want my audience to feel like they are watching folklore or an urban legend.”

He felt that keeping the time period the film is set in vague would help him achieve this goal.

He says: “I want my story to feel like a myth.”

Describing his feelings after completing his first feature film, Emir, who holds a Bachelor in Computer and Electronics Engineering, says: “It is like an orchestra. You have to manage everyone. You have to depend on your team to deliver what you have in your mind.

“Directing is different from writing. When you are writing, you are alone and you do not collaborate with anyone.”

One wonders if he is happy with how Roh turned out?

Laughing, he says: “It is like having a kid. It is what it is. You have to be proud of your kid, no matter what.”

In 2016, he directed a 13-minute short film titled RM10, based on a short story by Regina Ibrahim. Done in one take, the short film focused on how a bank note is passed from one hand to another over one night in a busy bustling city.

The short film won numerous awards at several film festivals including Festival Film Malaysia, Cinema Grand Prix, Speechless Film Festival and Dakino International Film Festival.

Coming back to Roh, I find everyone delivered credible performances, especially Namron who plays a mysterious stranger who seems to be searching for something sinister in the forest. Revealing too much about his character will only spoil the fun for the audience.

The other plus point of the film is the director successfully created an atmosphere of creepiness in the film, from beginning to end.

Yet, I feel the slow pacing of the film might not sit well with the majority of Malaysian audiences, who tend to prefer that everything be presented in a fast and furious manner.

Emir has a justification for the film’s pace. He says: “Sometimes, as a filmmaker, you have to give something to your audience that they are not familiar with.”

This view is supported by leading actress Farah, who plays the mother. She believes audiences will not have any difficulty accepting the pacing of the film.

“Over time, Malaysian audiences have become more clever [and can] accept a film like Roh,” says Farah, 43, who started her career in the theatre scene before moving to the big screen.

“We are presenting a very different kind of horror,” adds Farah, who began acting way back in 1998 and has been in the entertainment industry for more than two decades.

She admits that the hardest thing she had to face during filming were the mosquitoes at the location shoot in Banting.

With a laugh, she says: “Everyone in the cast will say the same thing, and the worst is that you can never negotiate with mosquitoes to leave you alone.”

Interestingly the actress portraying her daughter in the film is also her real-life daughter, 13-year-old Mhia. This is the third time the mother-and-daughter duo have acted together.

Ironically, the first time the two acted together was in a telefilm where Farah starred as a grandmother to Mhia!

Their second joint effort was in a short film where Farah played an adopted mother to Mhia.

“I love working with my daughter,” she says.

In Roh, their characters’ relationship is very tense, and filled with hostility.

“There was a scene in the film where we have an argument and my daughter had to call me ‘bodoh’ (stupid),” she says.

“My daughter could not bring herself to call me bodoh. She even cried on the set.”

It took her some time to convince her daughter to carry out the scene, and in the end, everything worked out perfectly.

Sherry Alhadad

Sherry Alhadad is a talented personality. She talks about her childhood years and the fat shaming she had faced in the entertainment career 

 

Headline: Born to Entertain
By Bissme S 

ACTRESS and TV presenter Shariffah Mariam Syed Abdullah Al Hadad, better known as Sherry Alhadad, has a wicked sense of humour that brightens up any room.

It’s no wonder that this funny girl is currently one of the most sought after TV presenters and emcees.

She has always dreamed of entertaining people and bringing bright smiles to their faces.

She has a diploma in acting, as well as a degree in directing from Akademi Seni Warisan Kebangsaan (Aswara).

She first made her name on the stage, before moving to the screen, with roles in both telefilms and feature films such as Rembat, My Stupid Boss and Gol & Gincu Vol. 2.

She is also busy preparing for her stage show in mid-June titled Perempuan Power where she will be performing comedy sketches.

* Describe your childhood years.

“I am the youngest among four children. I was not shy. I had an active imagination. I loved to watch television. I would re-enact what I saw on television. I would even perform in front of strangers.”

*What is your worst childhood memory?

“When I was nine, my father, who had retired from the army, died from a stroke. I was very close to him. His death affected me very much.”

*You have acted on stage and on screen. What is your favourite medium?

“I am more alive on the stage. I love the idea that on the stage, you have to tell the story from beginning to end chronologically, therefore you have to be in character from beginning to end.

“This is not the case with the screen. You shoot your scenes randomly. You may shoot the last scene on the first day of your shoot. The film editor will paste all the scenes together in his lab.

So I feel you [cannot stay] in character onscreen.

“I also love the fact that you get instant reactions onstage. You can feed on the energy from your audience and it motivates you to give a more robust performance.

“Frankly speaking, I have problems watching myself onscreen. I get annoyed ... My gestures are so exaggerated. When you do theatre, everything has to be big, from your emotions to your expression.

Sometimes, foolishly, I bring this element to the screen and what works for the stage will not work for the screen.”

*You have been subjected to fat shaming several times in your career. How do you feel about that?

“When I was studying in Aswara, I went to audition for plays that the students were directing. I was never chosen. I understood their motivation for not taking me. So I created my own opportunities.

“I directed a play called Kalaulah Kalau, where it was a solo show where I talked about my desire to be a thin woman, in a funny manner. Everyone loved the play and began to see me in a different light.

“I remember the first time I hosted an entertainment television show, everyone was just talking about my size on social media. They told the producer to get rid of me because of my size. Nobody talked about the good job I was doing.

“Of course I felt sad that people judged me [over my appearance]. It hurt to read all those harsh comments.

“But I refused to let them break me. I refused to play the victim of circumstances.

“I am not the kind of person who will cry in one corner, and complain why life has been unfair to me.

“You just need to learn to rise above all that.

“You need to love yourself first before others can love you.”

* You turned 36 this year. The entertainment industry is known to have an ageist attitude. Are you afraid you will get fewer opportunities as you grow older?

“I used to be afraid of that. I thought that when I turn 40, my career will be over. Now I do not think so.

“I believe I can always go behind the camera, as a producer, director and screenwriter.

“I have directed stage plays before. I have written for stage productions. I can direct more stage plays. I can write more plays.

“Who knows? I might want to direct my first screen production.

“I have started a production house with Farah Rani (a stage actress) and Shamaine Othman (film director-cum-stand up comedian) called Perempuan Productions.

“We produced our first telefilm Gang last year.”

* Would you like to change anything about your career?

“Onstage, I do play a great variety of roles. But onscreen, I always get stereotyped. I only get comedy roles. I would like that to change.

“For example, I would like to play a role like the one Kathy Bates did in [1990 psychological horror film] Misery.”

* In Misery, there is a scene where Kathy Bates smashed the legs of her captive with a sledgehammer. Whose legs would you like to smash if given the chance to do so?

“Your legs. You are a writer, too, just like the character in the film [laughs].”

Naim Daniel

I have interviewed the singer Naim Daniel and he is full inspiration. Here is the story 

Headline :The People's Sweetheart  

By Bissme S

THE higher we are placed, the more humbly we should walk. This saying aptly describes 22-year-old singer-songwriter Naim Daniel, who recently saw success knock at his door.

He was declared the champion of the 34th edition of popular song competition Anugerah Juara Lagu, which took place at Axiata Arena, Bukit Jalil in February this year. He performed his award-winning song Sumpah to a standing ovation.

His win came as a surprise to all, as Naim was the definite dark horse of the competition.

But not everyone was impressed by his success. A veteran TV host and actor aggressively questioned the validity of his victory on social media.

Naim could have easily returned a venomous reply, and an ugly tweet war would have erupted between the two celebrities.

But the young man took the high road. He thanked the veteran celebrity for his advice, and promised to be a better performer.

Everyone was impressed by the young man’s maturity, and his ability to remain calm in the face of harsh criticism.

He tells theSun: “You have the power to be good ... You have the power to be bad ... You have the power to be kind. It is all at the tip of your finger. We are feeding on negativity too much these days. We need more good vibes in the world at the moment.”

He pointed out that three years ago when he was a struggling singer, he posted some of his songs on social media, which also earned him plenty of criticism.

“The listeners on social media can be extremely blunt,” he says.

“A few even suggested that I should stop singing altogether. My family had a hard time reading those harsh comments. My mother even cried.”

Honestly, he admits that some comments were hurtful. But once again, he took the high road and refused to engage with his vicious social media critics.

“It costs zero ringgit to be kind,” he says. “I really love the phrase ‘Kill them with kindness’. Besides, I have chosen to be a singer, and as a singer, you are dealing with so many comments, every day. You cannot please everyone. Listening to criticism is a part of your job. You adapt to the situation. You have to suck it up, no matter how hard it gets. That is the life I have signed up for.”

His showmanship at the competition was admired and highly praised. He wore makeup to look like a 2D animated character to perform Sumpah.

Some have said he reminded them of the late legendary singer Sudirman, who always put extra effort in his showmanship.

Sudirman famously wore a costume made from the Malaysian flag, and even performed dressed as Charlie Chaplin.

Naim is extremely grateful for the comparison.

He says: “I grew up listening to him. I am a big fan. Sudirman is the people’s sweetheart. When you are the people’s sweetheart, they want to protect you. It will be great if people remember me the way they remember [him]. I want to be [their] sweetheart, too.”

One wonders if his next Anugerah Juara Lagu performance will be just as grand.

“I have always believed that art is to express, not to impress,” he says.

“When you are impressing your audience, it is no longer art. My main aim is to make the audience [feel] connected to my song.”

His steady sense of maturity can be explained by the fact that he started out his career as a child artiste at the age of eight.

Naim, who has acted in more than 100 telefilms, feature films and commercials, says: “I got the chance to hang out with the senior actors on the set while waiting for my scene. I saw how they handled their careers. I learned from them.”

The story of how Naim started his entertainment career is pure serendipity. His parents worked as caterers on film sets, and he would often follow them to work.

At the time, film director Fairuz Loy was searching for a child actor for the telefilm Igauan Semalam, and he decided to hire Naim.

“I am an accidental actor,” he says.

But it is a totally different story when it comes to singing.

He explains: “From young, I dreamed of becoming a singer. I was always singing in front of the mirror with the comb as my mic. I was pretending I was entertaining a huge crowd.”

Naim has even earned a diploma in music. He plans on cutting his first album soon, with nine songs, and expresses a keen interest at starting a restaurant business that serves traditional Malay food.

“I’ve never liked fast food,” he says.

“I love home cooked food, like sambal ikan bilis and udang sambal.”

One can expect these dishes to be fixtures on the menu at any restaurant he opens in the future.

When he is not working, he always spends his time with his family.

“I love staying at home and arguing with my mother,” jokes Naim, who has three other siblings.

“When I am not around, my mother feels bored. She said that she has no one to argue with.”

It can be seen that both mother and son have a charming, warm relationship.

“My mother still ‘suap’ (handfeeds) me,” he says with a huge laugh.

Tiara Jacquelina

Headline: Her Own Version 

By Bissme S

TIARA JACQUELINA can be considered the ‘Andrew Lloyd Webber of Malaysia’. Like the celebrated musical theatre genius, she has churned out a handful of entertaining and memorable musicals.

Her career took off in 1988 with her leading role in the horror film Lukisan Berlumur Darah directed by Torro Margens.

She even shared the screen with Patricia Arquette and Frances McDormand in the 1995 Hollywood-produced film, Beyond Rangoon.

That same year, Tiara was named best actress at the 12th Malaysian Film Festival for her role in Ringgit Kasorrga, a controversial film that highlighted a sex scandal between a politician and a model.

But what propelled her to stardom was the 2004 epic fantasy period film Puteri Gunug Ledang. Tiara starred as Gusti Putri, a Javanese princess who falls in love with the Malay warrior Hang Tuah, played by singer M. Nasir. But their love story is full of hurdles and obstacles.

The film received rave reviews and went on to win five awards at the Malaysian Film Festival the following year, including for best director and best screenplay.

The film also earned Tiara the best producer award at the Asian Festival of First Films in Singapore, and the best actress award at the Asia-Pacific Film Festival in South Korea.

Two years later, she was instrumental in turning the film into a musical theatre production, Puteri Gunung Ledang The Musical. Tiara reprised her role as Gusti Putri, with Stephen Rahman-Hughes playing Hang Tuah.

The musical proved to be an even bigger hit than the film, winning seven awards at the 5th Annual Boh Cameronian Arts Awards. From 2006 to 2009, Puteri Gunung Ledang The Musical was staged in Kuala Lumpur three times, and once in Singapore.

Under her company Enfiniti Sdn Bhd, Tiara has produced other musicals –
P. Ramlee The Musical, The Secret Life Of Nora and MUD: The Story of Kuala Lumpur.

Two years ago, Tiara took another risk by directing a stage adaptation of the 2016 film Ola Bola, about the Malaysian football team which qualified for the 1980 Olympics.

Many people doubted she would be able to translate a sports film into a musical production, but the spectacle that was Ola Bola The Musical impressed everyone, including the original film’s director Chiu Keng Guan.

Next year, Tiara will revisit the musical that started it all, Puteri Gunung Ledang The Musical. This time, she will be directing the production, which she plans to stage at Istana Budaya next July.

In this exclusive interview with theSun, she spoke about her journey thus far.

What can we expect from this restaging of Puteri Gunung Ledang The Musical?

“The musical was already a success. I could have restaged Puteri [unchanged]. But I did not want to do that.

“It is easy to repeat something. It is easy to get attached to something that is familiar. When you get attached to things, you can never move on with life. From young, I taught myself to never get attached to things.

“I would like to bring new elements to the show. I am planning to bring a new choreographer, a new interior designer, a new music arranger, and so on. When you change, you will get a new feel. I am planning to make the musical more authentic.”

You are searching for new talents to play Puteri Gunung Ledang and Hang Tuah. Have you found them?

“I have auditioned hundreds of people. Famous celebrities with millions of followers have expressed a desire to play the roles, and were willing to attend the auditions. Or, [complete unknowns] could play Puteri and Hang Tuah.

“Unfortunately, I have not found my Puteri, nor my Hang Tuah. Having [singing talent] is not enough. You have to sing with emotion, constantly, for at least 30 shows.

“That is not easy thing to do. It takes a different set of skills to be a musical star. They are hardest roles I have ever cast.”

What are you looking for in the new Puteri and Hang Tuah?

“My Hang Tuah has to embody the ultimate Malay warrior. In the olden days, Malay warriors were men of their word. A promise is something they held on too.

“My Puteri has to be graceful and has an inner strength. She should be head strong, yet, there should be some fragility to her.”

You put your stamp on the role of Puteri Gunung Ledang. Can audiences accept another actress in the role?

“One of my challenges as a director is to make the audience accept the new actress. It is just like the James Bond films. [Initially] audiences will have a hard time accepting the new Bond.

“You cannot expect Sean Connery to play James Bond forever. The same goes for Puteri Gunung Ledang. You cannot expect me to play Puteri Gunung Ledang forever.

“I am planning to make Puteri Gunung Ledang a long lasting brand, and 30 years from now, you will be seeing more of Puteri Gunung Ledang out there.”

Where do you get the confidence to dream big and do the impossible?

“I think I am just wired that way. I remember my school teachers always wanted me to conform. But I refused to. “My teachers said that nothing good would come from me, because I never listened to the rules. But I believed [it would], [precisely] because I never listen to the rules.

“I want to leave behind a body of work that I can be proud of.”

Describe your childhood.

“I was always the girl who challenged the boys to a basketball game. I raced the boys downhill on my bicycle. I was the kid who jumped across the widest monsoon drains.

“My parents never forced me to do girly things. My dad (a palm oil estate manager) was a dominant figure during my childhood. I always followed him around.

“I joined him when he played snooker, and sports like tennis and swimming. He taught me how to ride a motorbike. I was more of a tomboy. I was not the kind of girl who sat still.”

Describe your personality.

“I am focused. I am sure about what I want in life. I will stop at nothing to get it. I was born with the gift of vision. I am bold. I always challenge myself. I can be impatient when someone tells me that something is not possible, when I know all avenues have not been explored.

“I am a perfectionist. It can be a strength or a weakness. A lot of the time, people say you have to accept that some things cannot be perfect, and I cannot accept that.

“My attention to detail is my biggest fault. I cannot help being involved in every aspect of the production ... I am a control freak.”

You have been dabbling in painting. Are you going to exhibit your work?

Painting releases me from being a control freak. The painting technique I use is called flow painting. Sometimes I cannot control where the paint goes, nor the outcome of my work.

“Through painting, I have learned that sometimes I have to allow things to happen organically, and all I have to do is sit back and watch the results and just enjoy them.”

Happy Deepavali 2019

Six dancers from Sutra Foundation Outreach Programme gave a striking pose at Sri Mahimariamman Temple at Jalan Tun HS Lee Kuala Lumpur. They joins theSun to wish the reader a Happy Deepavali 

Shirazdeen Karim & Siti Nurhaliza

SHIRAZDEEN KARIM has always wanted to work with Malaysia’s Queen of Song Datuk Seri Siti Nurhaliza, who has won more than 200 awards and performed over 50 concerts in her 23 years in the music industry.

The executive producer at Shiraz Projects has been chasing Siti since 2007 to do a concert tour.

Now, his persistence has finally paid off as he is in the midst of organising for the songstress a four-nation concert tour, billed as the Datuk Seri Siti Nurhaliza On Tour.

Already confirmed are concerts at Istora Senayan in Jakarta, Indonesia, on Feb 21; Singapore Expo in Singapore on March 2; and Arena Axiata in Kuala Lumpur on March 16.

Still in negotiation is a stop at London’s Royal Albert Hall on April 21, which is hoped to be the tour’s grand finale. This will be the second time Siti is performing at this prestigious stage, since her first show there in 2005.

Shirazdeen announced this at a press conference in Kuala Lumpur recently.

The producer is taking every step to make sure this will be a concert to remember. He has boldly set a budget of more than RM10 million, making it possibly the highest budget for a tour for any Malaysian singer.

The performance will feature some 30 musicians, 12 dancers, and more than 24 songs. The talented Joseph Gonzales has been hired as the artistic director and will be aided by other well-known choreographers such as Joseph Gonzales, Imran, Naim Syahrazad, Fauzi Amiruddin, and Daila Abdul Samad.

Shirazdeen is also bringing in a bassist, drummer, guitarist as well as a vocal coach from America.

On the decision to hire international musicians to support a tour by one of Malaysia’s most famous artistes, Shirazdeen said it is not that he “does not trust” Malaysian musicians, but he wants to push the boundaries for this concert tour.

“We can learn something from these foreign musicians.”

He also plans to shoot a behind-the-scenes documentary of the tour under the direction of concert creative director Anusha Peterson. The documentary, They Call Me Siti, is planned for release in cinemas nationwide towards the end of the year.

Shirazdeen has no fear that he would not be able to recoup the RM10 million he is putting into this concert tour. He strongly believes Siti’s fans will flock to see the concert, and also the documentary when it hits the cinemas.

He recalls an interesting conversation he had with a taxi driver a few years ago when he was in Jakarta.

He said: “The taxi driver said if Malaysia and Indonesia ever go to war, there are two things Indonesia needs to save from Malaysia. First, it is Upin and Ipin, and second, is Siti Nurhaliza.”

Siti said she is overwhelmed by the preparation that Shiraz Projects has put into her upcoming concert tour.

“Even after 50 concerts, I still feel nervous about doing another concert,” said the singer, who turns 40 this year.

“But nervous is good. It pushes you to give your best. Overconfidence sometimes makes you a slacker.”

This concert tour will also mark her return to the stage after having given birth to her baby girl, Siti Aafiyah Khalid, on March 19 last year.

There were some who thought motherhood would put a stop to her singing career, but Siti intends to prove them wrong.

“So many singers who are mothers, like Celine Dion, have put on successful concerts and I want to do the same,” she said. “Motherhood has spurred me to be a more active singer.”

She added that she will be bringing her daughter along on the concert tour.

To prepare for the tour, Siti is building up her stamina with exercises, as well as undergoing extra dancing and vocal classes to enhance her skills. She also intends to bring her weight down to 60kg by the start of the tour.

Tickets for her concerts will range from RM155 to RM1,295 for venues in Malaysia, with an equivalent price range for international tour stops.

Those who purchase the RM1,295 tickets will not only receive some exciting merchandise, but also get a chance to meet Siti in person a day after the concert.

Out of 100 tickets in that price range, 10 selected ticket-holders will also get the chance to go behind the stage hours before the concert begins to see how the concert is put together and meet Siti in her dressing room.

For more, visit the websites for Shiraz Projects or MyTicket.Asia.

Lawrence Jayaraj.

Headline: A Family's Pain
by Bissme S


ONE woman’s quest to discover what really happened to her mother forms the foundation for The Story of Kam Agong, a 30-minute documentary by first-time filmmaker and activist Lawrence Jayaraj. 
The film focuses on Agnes Padan, an ethnic Lun Bawang from Sarawak, who takes a journey back to her childhood village of Long Semadoh to piece together what really happened to her mother, Kam Agong. 
Kam Agong passed away in 2002 at the age of 44, soon after giving birth to her eighth child, a boy named Jordan, at the Lawas district hospital. 
The delivery was difficult, and she underwent a complicated caesarean procedure. Instead of consulting a gynaecologist, doctors at the government hospital discharged Kam Agong and instructed her to return to her village over 100km away, where she died 28 days later. 
Through the documentary, the audience discovers that her death was caused by medical negligence. 
For 49-year-old Lawrence, the story is personal to him, as Kam Agong’s daughter Agnes is his wife. 
Lawrence recalls: “My mother-in-law was a loving person. She loved to sing. She liked to teach people how to sing. I have brought her to Kuala Lumpur, and introduced her to my family and my friends. Everyone loved her.” 
After Kam Agong’s death, her husband Padan Labo, a padi farmer who is now training to be a pastor, was totally devastated by her passing. “He was completely lost, and did not know what to do next,” says Lawrence. 
The documentary gives a glimpse of how Kam Agong’s death affected her family, particularly her younger children. The family even considered giving newborn Jordan up for adoption, as no one could look after him. 
Lawrence and Agnes were against the idea, and decided to adopt him themselves. 
In 2004, Kam Agong’s family sued the hospital for negligence. They won the case in 2008, but since then very little has changed for the mothers of rural Sarawak, who still have to travel for many hours to get proper maternity care. 
“Justice is not all about dollars and cents,” Lawrence says. 
He hopes his documentary will open people’s eyes to the deplorable standard of maternity care in Sarawak. 
“We have one of the world’s tallest buildings in our country, yet remote places in Sarawak are still struggling with poor maternal care. 
“We want someone, probably an NGO or a politician, to advocate for better maternity care for Sarawak. 
“The federal government has used natural resources from Sarawak to bring development to the country, so why can’t they provide proper medical facilities in Sarawak? 
“We do not want mothers from poor families to go through what Kam Agong endured.” 
The Story of Kam Agong came about earlier this year when Lawrence pitched his idea to the FreedomFilmFest (FFF), and won a grant from the annual human rights film festival to make the film. 
Filming began in July, and involved interviews with Kam Agong’s family and friends in Long Semadoh. 
The film features dialogue in the native Lun Bawang language, with English subtitles. 
“I wanted to show the different ethnicities that exist in Malaysia,” Lawrence says. “I want my interviewees to feel they [belong] in our country.” 
There are some who believe life and death is in God’s hands, and that includes Kam Agong’s situation, but Lawrence strongly disagrees. 
“What happened to my mother-in-law is not takdir (fate),” Lawrence says. 
“The doctor who performed the caesarean on my mother-in-law was not a gynaecologist. A crime was committed against her. 
“Whoever says my mother-in-law’s death is takdir, I would like to put him on a surgery table and let an unqualified doctor perform surgery on him.” 
The Story of Kam Agong will premiere at the FreedomFilmFest at PJ Live Arts in Petaling Jaya from this Saturday to Oct 6. 
For his next documentary, Lawrence wants to focus on drug use among youngsters in Lawas, Sarawak. 
“There has been a recent report that some teachers in Lawas were caught for selling drugs to their students,” he says. 
Expect another interesting documentary that opens our eyes and our hearts.