Why we need to Switch Off '14?

All's good and well, as far as some art practitioners are concerned.

Daily Seni has interviewed the two key figures behind this campaign, Jurey Latiff and Gibran Agi to address the issues surrounding the campaign.

In explaining why the workforce of the industry needs Switch Off, Jurey explained that basically the campaign is to unite everybody. Normally, each association fights for their own rights as individuals.

Gibran added that Switch Off will consolidate everybody in the creative industry to have a collective voice loud enough to be heard. He added that Switch Off is doing what the industry needs.

Daily Seni asked how the 11 demands were decided and Jurey explained that discussions with the committee have been done twice, concerning all the parties and stakeholders from the industry as 'Switch Off' is for everybody.

However, if the campaign was for every person involved within the creative industry, why have Switch Off experienced negative response from KARYAWAN and PFM? Jurey said that both associations have made a press statement against the campaign before the official press conference from Switch Off which took place Tuesday.

Without sufficient knowledge of what the campaign is fighting for, they have created a misleading and negative image.

Jurey and Gibran clarified that Switch Off is not a movement to undermine the government. The campaign is trying to get the government to understand the plight of the industry.

Gibran further added that the government have tried to assist the industry by establishing FINAS and MCMC but he said that there is not one act that governs the industry coherently.

He elaborated that the present legislations and regulations are scattered and governing matters are isolated. It is a typical case of separating the chaff from the wheat.

“We should have one act that administers the creative content industry in an integrated form," said Gibran.

He also said that the long-term goal of Switch Off is to have a better ecosystem and blueprint for the industry as a whole.

Regarding the Creative Content Industry Act, one pertinent question arises: who would decide on the content of the act; the people of the industry or the government?

Jurey answered the most important thing is for the government to realise the need to have an act. Once the government gives its thumbs up to have an act, the next step is to have a blueprint.

“To prepare the blueprint, the government and industry have to work together.” This would involve a few round of discussions, town-hall meetings, or dialogues from all the stakeholders, including the TV stations.

There were numerous mentions of “ecosystem” to which Daily Seni asked for further explanation. The ecosystem can be explained with the problem with the Intellectual Property (IP) Rights and Royalty in Malaysia. Jurey said that by right, IP belongs to three stakeholders: the producer, actor, and scriptwriter. Therefore, they should be getting royalty for their hard work.

However, when they sell their product to the TV station, they have to surrender all the rights to them. In terms of monetising the IP, the stakeholders do not own the rights anymore to receive royalty.

“We would like to suggest a formula to share the IP for the mutual benefit of the industry.” This is to have a win-win situation where profit can be shared to the ones who deserved it rather than one party taking everything. When this happens, there is no income after the product have been made and sold.

For example, Othman Hafsham, 75, has dabbled in the industry for the last four decades and he has been responsible in creating more than 1000 hours of TV productions.

However, programmes such as Pi Mai Pi Mai Tang Tu and 2+1 sitcom, the IP belong to TV3. “You can watch it on TV3, TV9, Astro, but he did not get any royalty because the IP doesn’t belong to him,” Jurey explained.

The first thing that comes to mind is for an individual of Hafsham's stature should rest his laurels and enjoy his retirement age and royalties that translate into a pension. Allow the younger generation to contribute to the industry.

This is what makes a good ecosystem. However, until now, veteran filmmakers are still working in order for their survival.