ni Maricris Valdez Nicasio
KAWALAN ng local content na magugustuhang panoorin ng mga Pinoy mula sa mga local producers. Ito ang ibinigay na dahilan ni dating Film Development Council of the Philippines (FDCP) chairperson Liza Diño ukol sa mungkahing i-ban ang mga Korean series sa Pilipinas.sa suporta
Nag-ugat ito sa naging pahayag kamakailan ni Sen. Jinggoy Estrada dahil sa tagumpay ng mga K-drama sa bansa at sa epekto nito sa local television and movie industry.
Idinaan ni Liza sa kanyang Facebook account ang saloobin dito. May titulo iyong ON KDRAMAS AND MOVIES VS FILIPINO CONTENT.
Aniya, “We are losing our very own audiences to Korean content because there aren’t enough local producers who produce the kind of content that Filipino audiences prefer to watch and consume.
“So instead of banning their works, tingnan muna natin ang sarili nating bakuran and think of ways to improve our own outputs. We should challenge ourselves by learning their way of doing things. Adopt their best practices.
“Pag nanonood ka ng Kdrama, you feel na iniisip nila ang audience kasi alam mong pinaganda ang production. Glossy. Maganda ang ilaw. Well-developed plots and stories.
“Maganda ang pacing. Yung sound design and music, nakakaantig. You feel VALUED as an audience because they INVEST in their productions. Not just money but time as well. Hindi mukhang minadali.
“They also take pride of their culture. You see it reflected in their content. Very intentional -from food, to fashion, to their beautiful locations—they use kdramas and movies to promote their culture.
“Ang core challenge ng local entertainment industry is FUNDING—both from the government and the private sector,” paliwanag pa ng dating beauty queen.
Sinabi rin nh misis ni Ice Seguerra na malaking factor ang solid support ng Korean government sa kanilang entertainment industry.
“Korea thrives because there is SUBSTANTIAL government funding to finance small to ambitious projects–from incentives to investments. Korean Film Council’s budget is 5 Billion a year. Sa FDCP, I started with 76 Million in 2016, after 6 years, 290 Million a year. Still not enough.
“Korean content also benefits from huge investments from the private sector—Mga korporasyon ang nag-iinvest sa mga Kdramas kaya ang taas ng production value ng mga content nila.
“How can we expect investments to come in kung tayo mismo, hindi nag-iinvest ng TAMA sa mga pelikulang ginagawa natin? Imbis na gastahan ng naaayon sa budget, pinapaliit ang konsepto para makatipid.
“Let’s be more ambitious. Let’s respect our workers. In Korea, may sistema. Writers, filmmakers, actors and crew are paid appropriately, their rights protected, kaya yung environment nila conducive to being creative.
“Common phrases like ‘pwede na yan,’ ‘bahala na sa post, ito lang ang budget natin eh,’ and ‘Basta matawid natin ok na yan, maganda naman ang istorya’ have become barriers to our ability to elevate our ways of making films.
“We all know that we are better than what we produce, so let’s invest in developing better-quality content.
“But Rome was not built in a day. It took 20 years for South Korea to reach global success. But they did it with a goal: strike a balance between art and commerce and reach global success by making films that represent the best of their industry, whether commercial or art films.
“The name of the game now is to innovate, collaborate, and elevate. Let’s work with them, not against them,” sabi pa ni Liza.