LiteraCity

Today theSun highlights my interview with Zikri Rahman, Nurul Aizam and Ridhwan Saidi on their interesting project LiteraCity: Kuala Lumpur  Literary Fragments

Headline: Turning the Pages On KL City 
By Bissme S

OUR NATION’S capital, Kuala Lumpur, takes centrestage in a unique new publication that is the brainchild of local writers Zikri Rahman, Nurul Aizam and Ridhwan Saidi. 
LiteraCity: Kuala Lumpur  Literary Fragments is their attempt to depict the city through the lens of Malaysian literature, focusing on novels, short stories, poems and plays. 
“We hope that the book will excite readers to hold open discussions about [the nature of] our city,” Zikri says. 
“We are trying to explore the connection between space and 
literature. We are looking at how imagination helps to [create] a place. We wanted to do re search [that we could] share with the masses, not just with  academics.” 
Zikri was the one who came up with the idea, and Ridhwan and Nurul joined him on the project, which took about a year to complete.  
Both Ridhwan and Zikri contributed their own essays to the book. They also interviewed about 30 local artists, writers and activists to discuss these luminaries’ favourite literary works that featured Kuala Lumpur. Unfortunately, due to space constraints, they were only able to include 10 interviews in LiteraCity. 
Despite this, the book managed to reference or discuss 150 works of literature spanning 45 years, from 1970 to 2015. It is the team’s hope that LiteraCity will help shine a light on some of the more obscure titles mentioned, and perhaps even encourage readers to search these works out. 
Zikri added that the team was unable to include works in languages other than Bahasa Malaysia or English, because the team “lacked the mastery” of other languages. 
I found the interviews in the book very intriguing and eyeopening. To me, the best is the interview with national laureate A. Samad Said, in which he gives an insight into his early years as an author. 
A. Samad says: “During my time, the writer is first a journalist. Becoming a journalist makes it easier to reflect on events and meet people. From there, we shape it into drama, short stories, poems and we insert our thoughts, opinions and messages.” 
He also shares his own memories of the city, including why a certain location in Kampung Baru is known  colloquially as Jambatan Gesel, and even recalled when his own “mischievous nature” drove him to explore the notorious ‘belakang mati’ (dead-end) areas in Kuala Lumpur, where he would talk to prostitutes. 
In another interview, writer and literary critic Chuah Guat Eng points out the tendency for writers of novels set in contemporary Kuala Lumpur to touch on crime and co rruption. She adds that in her own stories, she uses the city as a metaphor. In her early writing, the city is used to illustrate the impact development has had on the environment. 
Meanwhile, award-winning author Wan Nor Azriq in his interview describes a short story that caught my attention – Dari Luar Kurungan by Razak Mamat. The plot centres on the main character who visits Zoo Negara and feels pity for the caged animals. He then opens all the cage doors to allow the animals to escape. Azriq also mentions Roslan Jomel, whose short stories focus on characters in the city who feel isolated and alienated. 
Publisher Amir Muhammad, in his interview, points out two plays by Jit Murad – Gold Rain and Hailstones, which focuses on the lives of the rich, young urban folk, as well as A Flight Delayed, which takes place at KLIA (Kuala Lumpur International Airport).   Amir adds that A Flight Delayed could very well be the first play to take place in KLIA. 
Controversial author Faisal Tehrani also appears in LiteraCity, where he discusses his short story, Perempuan Anggerik, which touches on the racial riots that took place in Kuala Lumpur in 1969. He recalls: “I relied on my mother’s stories when she [was] working at Kuala Lumpur Hospital. She would tell me about staying back to handle the emergency cases.” 
LiteraCity is an unflinching look at the good, the bad, and the ugly of Kuala Lumpur. Nurul, who edited the book, points out that readers can see the changes in the landscape of Kuala Lumpur over the four decades, through the works mentioned in the interviews. 
“I cannot see the KL the same way any more after getting involved in this project,” she says. 
“I can [now] feel the richness of KL. I can feel [the city] is more vibrant.”

Footnote : LiteraCity is now available at most bookstores at RM30.

Adiwiraku

Film director Eric Ong talks to theSun about his first feature film Adiwiraku that tells a true story of a teacher making difference in the live of her students .... Read the full story here

 
 Headline: To Gigku With  Love 
By Bissme S

CHERYL ANN FERNANDO left the comfort of her home in Kuala Lumpur to teach English in a rural school in Sungei Petani, Kedah, from 2013 to 2015. She faced countless problems such as poverty, absenteeism, and family conflicts among her students. Despite all that, she was determined to help her students overcome their fear of speaking in English. To give them more
confidence, she set up an English Choral Speaking team to take part in a competition.
“She was teaching high school students who could not even spell properly,” says 52year-old Eric Ong, who was so inspired by her determination that he turned her struggles into a film, Adiwiraku.  The two-hour biopic opens in cinemas on March 9.
Ong adds: “Instead of just complaining and [trying to shift responsibility], she took matters into her own hands and found ways to change the situation for the better. Her story is very inspirational. 
"Today, our society is filled with critics and complainers. They are eager to point out the flaws in our system, in our laws, and in our society.  Criticism and complaints do not lead anywhere. We should be more like Cheryl Ann.
“Whenever we see a flaw, instead of just  complaining and  criticising, perhaps we should find  solutions to make the  situation better.”
Playing Cheryl Ann in Adiwiraku is local model and actress Sangeeta Krishnasamy. Others in the cast include Xavier Fong, Wan Azlyn, Farra Safwan, Ahmad Adnin Zidane, Irdina Tasmin, Balqis Sani, and Rizal Fahmi. Ong has also cast some of Cheryl Ann’s real-life students in the film.
“I [gave] them some acting workshops before they faced the camera,” he says.
“They were excited to be in the film. They were telling their own story. I was really satisfied with their performances.
“It’s a unique  experience for me to have people playing themselves in a biopic that I am directing. It is an experience that I will  treasure for the rest of my life.”
What about the real Cheryl Ann?
“She visited the set during filming,” Ong said.
“She was making sure my production team and I did not abuse her students (laughs).
“She cried after  watching the film. I am sure the  audience will cry, too.”
Ong recalls his favourite scene in Adiwiraku where a student, who has been missing Cheryl Ann’s classes for the last three months, suddenly reappears. The hardworking and brilliant student  easily catches up on what she has  missed in her absence.
“Then, the student goes missing again,” Ong says.
“This time, Cheryl Ann manages to track her  working at a gas station. She keeps reminding the girl about the importance of education in order for her to have a better future.
“Then, the student shocks Cheryl Ann with one question: ‘Have you ever gone without food for three days?’
“The student adds: ‘If I die from starvation, what future will I have?’ “Her answer leaves Cheryl Ann speechless. We cannot understand someone’s misery till we live in their shoes.”
Adiwiraku is Ong’s first feature film. He has more than 15 years of experience working in Malaysia, Singapore, the Philippines and Indonesia producing television programmes ranging across various genres. Ong studied films at Universiti Malaya. He has always wanted to be a filmmaker.
But it was his grandfather who first instilled the love for films in him. “During my school  holidays, I would stay with my grandfather,” says the Malaysian-born Ong, who has been living in Singapore for the last 10 years.  
“There was a cinema behind my grandfather’s house, so my grandfather and I would go watch films almost every day.”
The young Ong even befriended Ali, the cinema’s ticket collector, who secretly allowed him into the cinema for free several times.
“Ali even brought me to see what was going on behind the big screen,” he says.
“I even got to watch some movies ‘backwards’.”
Ong is now planning to direct his second feature film, another biopic that takes place in Sarawak. He refuses to reveal too much about the film, especially on its subject. 
“All I can say is that my film will highlight an inspiring story that touches on racial harmony,” he says with a smile.

Arifin Putra & Reza Rahadian

Today theSun published my interview with two award winning actors from Indonesia, Arifin Putra and Reza Rahadian. Read the full story below

Headline: Actors without Boundaries
By Bissme S

AWARD-WINNING Indonesian actors Arifin Putra and Reza Rahadian were in Bangkok recently to promote the second season of the HBO Asia series, Halfworlds. They were the only actors from the first season to return to the show, reprising their roles as demons who regard the human race as their number one enemy.
Asked what made him take up the role again, Arifin, 29, joked: “The producers forced me at gunpoint to reprise my role.”
But he admitted to having grown fond of the story, and loving the whole universe that the cast and crew built up last year.
“So when they asked me to return for season two, I did not have to think long to say yes.”   
When asked what is the difference between the two seasons, he said: “In season one, the characters are driven by fear, whereas in season two, [they] are driven by hope.”
His character, Barata, is also less grim and more optimistic in the new season.
For Reza, 29, what he loves most about Halfworlds is that he got the chance to work with actors from other Asian countries. In season one, he worked alongside actors from Malaysia and Singapore while in this season, he shared the screen with actors from Thailand and the Philippines.    
“There is a lot of ‘cross culture’ taking place on the set, and I love that,” Reza said.
“I want to be an actor without boundaries.” 
He added that his character, Tony, has far more intense action scenes this time around. Interestingly, both actors had initially never wanted to make acting their career. Arifin had followed his older sister to a television commercial shoot in 2000, and was asked to become an extra.
“I loved the fact that I could earn pocket money while having fun,” he said. 
That experience sparked his interest in pursuing a career in the
entertainment scene. After seven years in television, Arifin made his film debut in the Indonesian romantic comedy, Lost in Love, in 2008.
But the roles that really shot him to stardom were that of a psychopathic cannibal in Macabre(2009), and his turn as the overly-ambitious son of a mob boss in The Raid 2: Berandal (2014).
As for Reza, he had wanted to be a national swimmer. When this dream failed to materialise, he took up acting seriously.
Like Arifin, Reza started his acting career on television before
taking on film roles.  The role that put him on the map was that of former Indonesian President B.J. Habibie in Habibie & Ainun(2012), and its prequel,Rudy Habibie(2016).
To get into the skin of his character, Reza spent more than seven hours interviewing the former president. The actor is also rumoured to be taking on the role again a third time in a future film.
Aside from their nationality and acting backgrounds, both actors
also share a mixed parentage. Reza’s dad is Iranian and his mum, Indonesian.  
“I never had any kind of conflict [about] whether I’m Iranian or
Indonesian,” he said.
“Since I was born and [raised] in Indonesia, I’m Indonesian.”
But it was different for Arifin who was born in Mainz, Germany,
before moving to Jakarta at the tender age of three.
“For the Germans, I was not German enough, and for the Indonesians, I am not Indonesian enough,” he lamented.
Initially, Arifin was confused about his identity. But with time, he
learned to appreciate the diversity of his heritage. 
The two said that the competition between actors in Indonesia is intense but healthy.
“It gives you a reason not to stay in your comfort zone, and you will always be learning and improving,” said Reza.  
But they lamented the fact that the same old faces are dominating
the film awards, and said the Indonesian film industry is in dire
need of new blood to inject excitement and prolong its longevity.     
Reza pointed out that many young actors prefer to act in television series because they get paid more compared to films.
However, he said: “In television, when one role makes you famous,
you will be [typecast]. You will keep doing the same old stuff on
television. You do not push yourself out of your comfort zone.
“In films, you have a chance to play a variety [of roles].” 
Reza stressed that one needs to be a little patient to enjoy the
rewards that films can give, and sadly, patience is one thing missing
from the younger generation of actors.
Arifin added that some producers are only keen to hire actors who have many followers on social media.
“It is sad if an actor get chosen for a role [just] because he has high
number of [followers], and not because of his talent,” he said.
“You must understand you may have thousands of followers in your social media, but it does not necessarily translate into money. They may not necessarily buy tickets to your films.”  
As for their future plans, Reza expressed a desire to sit in the
director’s chair – he has already helmed three short films – while
Arifin wants to be a film producer. 

Mislina Mustaffa & Trust

Another interesting interview with the performer cum activist  Mislina Mustaffa who has just released her next book Are You  Talking About  Trust, Mislina Mustaffa?  

Headline : Journey To Find Herself 
By Bissme S

Three years ago, Mislina Mustaffa received a plane ticket to watch the World Cup in Brazil as a birthday gift from a close friend. Her journey, however, did not end in Brazil. 
For two years, the outspoken actress and activist continued on her way, visiting other parts of world such as Colombia, Cuba, Jamaica, Scotland, Maritius, and many more. 
Mislina then jotted down her travel experiences in a book, Are You Talking About Trust, Mislina Mustaffa?. 
The book breaks from literary convention by bearing no page numbers, and not carrying the title on its cover. In a recent interview, the 46-year-old talks about the revelations she gained on her soul searching journey around the world, as well as her views on how she’s come to terms with her own vulnerabilities.
 
Can you tell us more about your book? 

My book is more about the inner journey of a traveller. Many travellers do not speak about this inner journey because it can be ugly and painful. 
I always thought I was the most radical woman … I always thought I was so strong, and that I could survive anywhere in the world. This journey has forced me to acknowledge my vulnerable side. I learned that you can be strong and vulnerable at the same time. 
In the past, when I was sad, I ignored this emotion. I [kept] myself busy so [that] I would not think about my sadness. But not any more. Now, whenever I feel sad, I learn to sit down and feel the sadness. I’m honouring my sadness. 
Strong is me, and sadness is me, too. To accept myself, I have learned to love the ugly and the beautiful side of me.

Do you think readers can accept the radical way your book is presented?   

My book’s title is Are You Talking About Trust, Mislina Mustaffa?. So, I must trust myself and have the courage to present something different and experimental. I must also trust that my readers will take what I am serving. 
As an artiste, I love experimenting. In an experiment, nothing is guaranteed, and everything can go wrong. It is always very delicious to experiment with something that people are afraid [of] … Experimenting gives you freedom.

*Your mother died while you were in Brazil. People criticised you for not returning home for her funeral. 

 First of all, my value does not increase or decrease based on people’s respect. I have gone beyond the belief that you have to be with someone because you love that person. 
Before my mother died, we talked a lot about life. My mother wanted a career. She wanted to be a teacher. She wanted to travel. But my mother came from a period where her father believed a woman [only needed a basic education]. She did not get to pursue her dreams. She became a housewife. But she always encouraged me and my siblings to pursue our dreams. If I had not gone on that trip, she would have been upset and disappointed. I listened to what my mother wanted, and that can be called love. 
I brought my mother’s spirit along [in my travels]. And it is not rare to find me speaking to my mother whenever I see something beautiful.
 
Tell us one emotion that has changed drastically because of your travel? 

My relationship with God has changed from fear to love. In Brazil, I visited [the statue of] Christ the Redeemer. There were a handful of tourists taking pictures of Jesus and praying. 
It was the World Cup season in Brazil at that time and out of the blue, a group of famous footballers visited the place. Suddenly, the tourists’ focus was on the footballers. Everyone was crowding around the footballers ... the tourists were cheering and screaming. The atmosphere was almost like a party. Once the footballers left, their attention returned to Jesus. 
If a similar situation were to happen in Malaysia, you can bet it will become a controversy, and their behaviour will be seen as disrespecting God. 
Personally, I like to believe in a loving God. I really believe that God understands these people have no malicious intent to disrespect Him. They were just too happy to see their football idols, and a good God will want his followers to be happy.   
 
You are also a performer. Are you doing any interesting performances? 

I am venturing into something that is call body movement. I am using bodies ‘that are not suitable for dancing’. I am encouraging these bodies to move. I want everyone to appreciate their bodies in whatever shape [they] are in ... to appreciate their own soul. I want them to know a soul is always beautiful … a soul never gets ugly.
 

(the many faces of Mislina Mustaffa) 

Eka Kurniawan

 Indonesian  Eka Kurniawan, 41, is an internationally acclaimed author whose novels have been translated into more than 20 languages. 
In 2015, his Beauty is a Wound (translated from his first novel, Cinta Itu Luka) was included in the list of 100 notable books by The New York Times. 
Last year, Eka became the first Indonesian author to be nominated for a Man Booker International Prize for his second novel, Man Tiger. 
His third novel, Seperti Dendam, Rindu Harus Dibayar Tuntas will be translated into English soon. It is expected to create waves as well. The novelist was in Kuala Lumpur recently to talk about his writing journey with Malaysian fans. In this exclusive interview, Eka shared with theSun his feelings about his art. 

Has your life changed after receiving the nomination for The Man Booker International Prize? 

A lot of journalists wanted to interview me then and I received a lot of invitations to talk at literary events. The literary world [also] treated me differently. Personally, I’m still the same person. I’m still driving my daughter (six-yearold Kidung Kinanti Kurniawan) to school and fetching her back. I am still reading a lot of books.

Do you think there is a higher expectation to produce another award-winning novel? 

It is a good thing that people have expectations of me. Even without that, I [always] put a certain pressure on myself. I’m always pushing the bar higher each time I write a new novel. 

Do Western readers react to your books differently compared to Indonesian readers? 

Western readers talked more about the political landscape of Indonesia and the supernatural elements [in my books] while Indonesian readers focus more on the relationship and sexual elements. But it is their right to interpret my books in any way they want.” 

Some said your novels contain a lot of sexually explicit scenes. 

Some have stopped reading my books because of the sexual elements. But if I were to tone down on the explicit sex scenes, other readers will be disappointed. I have learnt that I cannot please everyone and that I should write the novel the way it should be written. 
The sex scenes in my novels are necessary in the story I am writing. For example, in Cinta Itu Luka, my main character is a comfort woman so it will be illogical if I did not have any sex scenes. 
In my latest and fourth novel titled O, [there are no] sex scenes. It is just a fable about a monkey who wants to be a man.

 Your novels featured supernatural elements. Do you believe in the Supernatural? 

I do not want to believe in the supernatural but sometimes, I can’t help myself. Recently, there was a demonstration in Jakarta where I lived. A distant relative sent me coconut water to drink. He said if I drink the coconut water, I will be safe from any harm (from the demonstration). I did not believe him. But in the end, I drank it. I would like to believe that I drank the coconut water because it was a hot day and it tasted sweet.” (laughs) 

When did you realise you wanted to take writing seriously as a career? 

I was reading Hunger (by Knut Hamsun) and it was about a starving writer. In the end, the starving writer gave up writing and went to look for a proper job. That novel inspired me to be a writer. I wanted to prove that the character in the novel was wrong for not pursuing his dream to be a writer.” (laughs) 

What’s your view on the Malaysian literary scene? 

I do not know much about the Malaysian literary scene. I only read a small number of Malaysian novels. It is sad that we have the same language, but there is barrier between us. We do not know each other’s books and each other’s writers. I hope in the future, more Indonesians will read Malaysian literature and more Malaysians will read Indonesian literature. There should be more interaction between Malaysian and Indonesian writers. 

Your wife, Ratih Kumala, is also an award-winning writer. Do both of you discuss literature? 

Sometimes, I recommend some good books for her to read and she does the same. She read all my works before they get published. She does some minor corrections and offered some suggestions. [But] we talk more about household things and our daughter than literature. 

 

Abang Jay

 Today theSun published my interview with Abang Jay who talks about  make up scene in the Malaysian film industry....   

 Headline : Adding A Magic Touch
By Bissme S

FAIZUL ZOULKIFLI – Abang Jay to the many who know him – has been a makeup artist for seven years in the local film industry. Some of the films he was involved in included Cun, Papadom, Sinaran and Jwanita. The 48-year-old has also worked on some of the wellknown faces in the industry including Ogy Ahmad Daud, Ning Baizura and Vanidah Imran. 
Still, this makeup artist has never stopped learning more about his craft. Three years ago, at the age of 45, he took 12 weeks off to attend a course in makeup for TV and film at the Delamar Academy in London. “You are never too old to pursue knowledge and improve yourself,” he says at a recent one-to-one interview with theSun.
“A lot of my classmates [at that course] were much younger than me. But that did not stop me from improving my skill as a makeup artist. Over there [in the UK], they do not look at your age. They look instead at your talent, your creativity and your dedication. I have gained a lot of new knowledge with this adventure of mine.”
Abang Jay again returned to the UK last year for a fourmonth course on character and prosthetics makeup at the well-known Gorton Studio in Aylesbury. He explains that most makeup artists will opt for a ready-made moustache or ready-made bald cap when required for an actor’s role. But the courses he had attended had taught him to make a moustache and bald cap from scratch.
He says: “I have to take correct measurements of the actor’s head to ensure the bald cap will fit him perfectly.”
It was the same with the moustache. He had to measure the space where he had to stick the moustache. All this measuring ensured that the bald cap and moustache would be more realistic on his clients, indirectly, creating a more realistic look for the character.But doing it requires a lot of detail work and perseverance.
“You learn to be precise.” 
Now armed with a better understanding of prosthetics and makeup, Abang Jay can literally transform someone into as beautiful or as ugly a person as he wants. He can also tackle alien or horror looks with no problem.
Abang Jay has also picked up many tips and tricks of the trade from award-winning makeup artists at international makeup trade shows called IMATs in London.   
“The conversations and exchange of ideas had given me many ideas to improve my makeup techniques,” he says.
“I want to tell youngsters out there that the job of a makeup artist in the film industry is not just finding the right lipstick and the right foundation. The scope is much wider. It is about making your characters appear believable.”
He urges aspiring makeup artists to go out there and enhance their knowledge.
“Do not just stay put in your comfort zone.”
He feels that when you have learned the makeup skill inside out, you can always try his luck overseas, even in Hollywood.
“The film industry all over the world is always looking for a good creative makeup artist,” he says, adding that he is seriously toying with the idea of working in London. But he warns anyone against thinking that studying in a foreign country is so glamorous.
“You must be prepared to work hard,” he says.
“Sometimes, I had to get up as early as 5.30 in the morning and my day ended late at night.”
He adds that he would love to share what he has learned in the UK with young Malaysian makeup artists. One thing he finds that needs to change in Malaysia is racial selection.
He says it’s somehow a norm for Indian artistes to go to an Indian makeup artist, the Chinese to a Chinese and the Malay to a Malay.
“We need to change that,” he stresses.
“We should not care about the race of the makeup artist as long as the person is talented. A makeup artist should be able to handle all kinds of skin colour without any prejudice."

Some of Abang Jay' s works 

2016 Quote-able Quotes

Soon we will be saying goodbye to 2016 and hello 2017. Before that happens, I would love to highlights the quote-able quotes from my interviews in theSun for the year 2016. 

1) Bront Palarae, actor 

“You should not get too happy with your highs and you should not get too down with your lows. The feelings of rejection and dejection are part and parcel of the job. When I first joined the entertainment industry, everyone kept telling me that it is a dog-eat dog world, and that I should not trust anyone; that genuine friendships do not exist here and people are eager to backstab you. Well, I have made some great friends in the entertainment industry. Nothing works without trust." 

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2)Julian Jayaseela, author  cum film producer 

“My family was so poor that we could not afford a television. So my eight siblings and I spent most of our time reading. We got excited about books. On hindsight, I must be thankful that there was no television in my house. Perhaps I would not have become an ardent reader.”

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3) Syamsul Yusof, film director 

"When I started my career, I had actors who disrespected me on the set. I had critics who doubted me. But if you want to be successful in your field, you have to develop a thick skin, and learn to ignore your critics.If you are in the film business, you will always have to face the critics. Even great films like Avatar have critics. You cannot impress everyone.”

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4)U- Wei, film director 

"I cannot give up because filmmaking is the only thing I know how to do. But there are times I’ve asked myself: ‘Why am I doing this? Am I a machoistic?’ Before I became a filmmaker, I only thought women bleed. Now I know I am wrong. Filmmakers bleed, too." 

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5) Eka Kurniawan, author   

“Consciously or unconsciously, a writer always has messages in the stories. But the writer must understand that readers may interpret these message differently [from the original intent]. The readers may not see things the same way [as the writer]. The writer has no control over how his readers would interpret his stories. But I strong believes a story should not become a sermon.Once a story becomes a sermon, the story is no longer interesting."

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7) Wan Hanafi Su, actor  

“Most producers are only interested in making commercial movies because they want to make profits. Money should not be their only aim to make movies. Don’t they want to make a film where people will remember them many years later?” 

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8)Iedil Putra, actor  

"Sometimes the industry can kill your spirit, and there are times I feel jaded being a Malaysian actor. It is difficult to get good scripts and good roles. Sometimes, you have to accept roles that you are not happy with because you have to put food on the table. In some productions, I am given a script just a day before the shoot. Sometimes, the script gets written on the set just hours before shooting begins. How do you expect an actor to get into his character just hours before the shoot? But I am passionate about what I do, and you don’t give up on what you are passionate about. You just stick with it.” 

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9)  Fahmi Mustaffa, author 

“We live in an absurd world, where we are [always] looking for answers. We are always curious to know if there is a higher power up there, watching [us]. I find most of us worship religion, and not God. Personally, I believe nothing should come between you and God, not even religion.” 

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10) Norhayati Kaprawi, documentary maker cum activist.

 “The interpretation of Islam should not be monopolised by the conservatives only. Islam is close to my heart. I do not believe Islam is oppressive. I do not believe Islam is violent. That is what I want to show in my documentaries.” 

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11) Shaheizy Sam actor 

“I never thought I would last [this] long in the movie industry. Producers are always looking out for tall, fair and handsome actors. I do not fulfil those requirements. But thanks to [shorter actors like] Al Pacino and Tom Cruise, I learned that height has nothing to do with acting ability. They are successful actors. I need to be like them and be extremely good in what I am doing.” 

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12) Saharil Hasrin Sanin author 

“I am jealous of authors who can sit and write for hours, transferring their thoughts on to the computer.I can’t do what they do. I go to the gym quite frequently and let me tell you, for me, working out the muscles is less tiring than working out the mind. ” 

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13) Harith Iskander, comedian.  

“It was in 2010 when my father passed away in February and three weeks later, my mother passed away in March. My father was 76 and my mother was 82. They had lived their lives to the fullest. When they died, the reason for me to live disappeared. Thank God, my wife entered the picture in the same year and [gave] me a reason to carry on with my life.”

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14) Mahadi J. Murat, film director 

"Filmmakers must not be restricted to just making certain types of films. They have a responsibility to provide alternative movies from [the] mainstream. There is a [substantial percentage] of audiences who are looking for different genres, and filmmakers must fulfil this need. How many times have we met movie fans who said that they do not watch Malay movies because they do not like the [content]? We need to change that. We can only do that if we tackle different themes. Besides, the audience’s mood is difficult to predict. Look at The Journey (2014), which is about an apek tua (old Chinese man) who is busy preparing for his daughter’s wedding. Where’s the commercial appeal of this storyline?But interestingly enough, [it] became a box-office hit and touched many hearts. "

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15) Syafiq Yusof, film maker 

“We are always under the impression that if you do good things, then good things will come your way. But sometimes, life does not work that way. Maybe, there is no fairness in the world. You can go [mad] thinking about [that]. Maybe the good things ... will be given to you when you are in heaven.” 

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16) Nadiya Nissa, actress 

“Some production managers will call you and just ask you if you are free on certain dates to act in their projects. Then, they will ask you about your [fees]. But they will not tell you about the script and your role. The script will be given to you just three days before the shoot. In some cases, you only get the script on the set. These people just want you to come on the set, and [say] the dialogue. They do not care if you fit in the role or not. They do not care if you can give a good performance or not.It just goes to show the industry does not respect actors. This can be very demoralising. You begin to question why should you put your heart and soul in your role, when such attitudes exist. All I can do for now is to develop a thick skin, ignore such attitudes and only hope the industry will change for the better."

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17) Zikri Rahman, activist 

“We all have a certain negative mindset about migrant workers. We tend to associate them with crimes. We always hear complaints from Malaysians that they are smelly. [But] most of us do not understand the conditions they are living in. Sometimes, 20 migrant workers are living in one apartment ... [where] they have to share three  bathrooms.Sometimes, two of the bathrooms are not in  working condition [and they end up having] to share one bathroom. [How can we expect them to maintain hygiene] living in such pathetic conditions?Almost every day, we hear stories about migrants  dying in construction sites. They [are dying] while helping us build our city.”

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