Through the Director’s Lens

The Irrawaddy recently interviewed the famous Burmese film director and producer Kyi Soe Tun, winner in 2005 of the Best Director and Best Script awards for his movie “sa hta gan” (Hexagon), a captivating drama which tells the story of six pregnant women.

Kyi Soe Tun has won five academy awards in the Best Director and Best Screenplay categories. He first burst onto the Burmese movie scene in 1977 and has directed no less than 34 films, including the popular dramas about family relationships, “sone yay” (Downstream) and “san yay” (Upstream), as well as the classical historical drama “thu kyun ma khan pyi” (We will no longer be slaves).

He was previously the chairman of the Myanmar Film Association.

Question: Which movie do you think will win a Burmese academy award this year and who are your predictions for best actor and best actress?

Answer: I would rather talk about what I have seen than what I would predict. For me, there’s “ngar dhar, ngar thway, ngar irrawaddy” (My sword, my blood, my Irrawaddy) directed by Tun Aung Zaw. I also loved the Mandalay-based film “koe sal sa thar late mal” (It will be better nine or ten times), “yin nint aung hmway” (Smells good to the heart) and “ah may hnint tha mee myar” (Mother and daughters).

As for directors, I am inspired by Tun Aung Zaw, Maung Yin Aung and Maung Wunna. For actors: Lwin Moe, Lu Minn, Kyaw Ye Aung and Yan Aung. And in the actresses’ category: Myo Thandar Tun, Soe Myat Thu Zar and Khine Thin Kyi.

Q: What are the criteria for selecting academy award winners?

A: The Ministry of Information selects a committee made up of experts in fields such as music, photography and sound. The committee then shortlists the best movies.

Q: I heard there were only ten films shortlisted for awards this year. Why so few?

A: In fact, there are fewer people watching Burmese films, so as a result, fewer movies are being made. When I started in the film industry, there were about 80 films a year being produced in Burma, none of which were made into TV series. Back then, there were no pop and rock concerts either. People just watched films and zat (traditional theater). People now have more choice. They can watch foreign DVDs very cheaply. If they go to the cinema they have to pay bus fares and entry fees. For a family, it costs at least 10,000 kyat (US $8). As in other countries, the audiences have changed.

Q: So, some films don’t make profits?

A: Some films cannot retrieve what they have invested. But they often get it back gradually. “Yin nint aung hmway,” for example, lost in terms of profit. In the film marketplace, audiences like comedies. They’re not so fond of dramas. In Burma, there are about 800 VCDs produced every year, mostly karaoke recordings.

Q: Is there likely to be an increase in the number of films in 2009?

A: I think there will be more films this year. But I mean in terms of quantity, not quality.

Q: So you’re not satisfied with the quality of Burmese movies?

A: No. We lag behind countries like Thailand in technical production. I have had to send some of my movies outside Burma to improve the sound effects. I couldn't do it here. We don't have modern equipment and that detracts from the quality of the film, not only in resolution but in sound quality. We are lagging behind our neighbors.

Q: What are main difficulties in getting Burmese films into the international market?

A: It’s still impossible for us to reach an international audience. In fact, film-making is about national pride. If you look at Korean films, they are promoted as national phenomena. If we don’t regard our films as reflections of our national pride, they will never improve.

Q: Do you have a message for Burma’s rising film industry?

A: I would encourage them not to stay in their own enclosed spaces. Get out of the box and do something more than just making a living. It’s your duty to work for the public.

Q: Any message for movie-goers?

A: As a well-known German poet once said: “Only when the artists improve, will the audience improve. And when the audience improves, the artists will improve.” If we don’t improve, or succeed, we will be forever trapped with tame comedies.