User:Kazar Abdullah

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File:File:Kazar Abdul.jpg thumb Kazar Abdul
Taking a break during The Making of Hoore Hoore

Kazar Abdullah@Ajak Abdullah or real name Abdul Razak Abdullah, born and raised in Bintulu Sarawak. He reside in Kuala Lumpur with his mother, Juhana Bte. Mahmudin since 1997. Before vigorously active in writing, he began as a Talent Coordinator in Cheese Agency, Damansara Jaya,during his sophomore year in college. After college in 2001, he start working at Sage Networks Sdn. Bhd. for five years as Video Editor. During those period he just entirely focus on post production works. Sage Networks Director and owner Samsudin Ghani, realizing Kazar Abdullah passion for writing gave him few chance to writes corporate video script.

Profession[edit]

Currently a fulltime freelance scriptwriter. Beside capable to perform array of tasks in video production works such as video editor and compositor using softwares such as Adobe Premiere and Adobe After Effects. During five years attachment with Sage Networks Sdn. Bhd. has given much knowledges and exposures in post production works. However he find his passion in a form of A4 paper and a pen to narrate down the ideas, to tell the story that worth to tell and share it with the audience.

Screenwriting in the Malaysia film industry[edit]

In Malaysia, the field of film or drama dealing with a big problem due to not having as much expanded identity outside cultural influences, especially from the west. In fact, most local publishers like lifting the image of a negative film or drama as well as unfavorable religion, race and nation. Most of the drama or movie producer Malaysia produced by choosing the non-Malays that emphasizes profitability. In effect, these works do not improve the image of Malay, spreading Islamic values, reinforce and strengthen the unity of faith and the Malay community.Increased government and private television stations gave space to views of Islamic dramas especially when the celebration of Mawlid Islam, Maal Hijrah, Ramadan, Hari Raya Aidil Fitri and Hari Raya Korban. Most of these themed dramas such as family and divine drama Love Medina 1 and 2 (drama series, RTM1), fiction Ehsan (telemovie, TV3), Searching for Khadijah (telemovie, RTM1), boarding Love (Drama Serials, Astro Oasis), Aqso Medina (Drama Serials, TV9), Rafik Ramadan Diary (Drama Serials, TV3) and others. This proves that the missionary drama also become a popular medium of Islamic delivery in the country. However, television stations are still faced with the problem of providing a good script.

Script doctoring[edit]

Many screenwriters also work as full or part-time "script doctors", attempting to better a script to suit the desires of a director or studio. For instance, studio management may have a complaint that the motivations of the characters are unclear or that the dialogue is weak.

Script-doctoring can be quite lucrative, especially for the better known writers. David Mamet and John Sayles, for instance, fund the movies they direct themselves, usually from their own screenplays, by writing and doctoring scripts for others. In fact, some writers make very profitable careers out of being the ninth or tenth writer to work on a piece; in many cases, working on projects that never see exposure to an audience of any size. Script doctoring companies, also known as script consultancies, are also often used by directors, production companies and individual screenwriters. These usually do not offer full re-writes, but are used when a production company or an individual requires feedback on whether or not a script is marketable, how it can be improved, and whether or not it holds any potential for development. Many up and coming screenwriters also "ghost write" projects and allow more established screenwriters to take public credit for the project.

Development process of a project[edit]

After a screenwriter finishes a project, he or she pairs with an industry-based representative, such as a producer, director, literary agent, entertainment lawyer, or an entertainment executive. These partnerships will often pitch their project to investors or others in a position to further a project. Once the script is sold the writer only has the rights that were agreed with the purchaser.[1] A screenwriter becomes credible once their work is recognized, giving the writer the opportunity to earn a higher income.[1] As more films are produced independently (outside the studio system), many up-and-coming screenwriters are turning to pitch fests, screenplay contests and independent development services to gain access to established and credible independent producers. Many development executives are now working independently in order to incubate their own pet projects.

Production involvement[edit]

Screenwriters are rarely involved in the development of a film. Sometimes they come on as advisors, or if they are established, as a producer. Some screenwriters also direct. Although many scripts are sold each year, many do not make it into production because the amount of scripts that are purchased every year outnumber the amount of professional directors that are working in the film and TV industry. When a screenwriter finishes a project and sells it to a film studio, production company, TV network, or producer, he or she often has to continue networking, mainly with directors or executives, and push to have their projects "chosen" and turned into films or TV shows. If interest in a script begins to fade, a project can go dead.

Video game writing[edit]

Video game writing is also considered to be a form of screenwriting. Some film and television writers also work in this industry.

Union[edit]

Most professional screenwriters in Malaysia are unionized and are represented by organizations such as the SWAM. Although membership in the SWAM is recommended, for local screenwriter to join. The SWAM is the final arbiter on awarding writing credit for projects under its jurisdiction. The SWAM also looks upon and verifies film copyright materials. Besides SWAM another organization is CCIG or known as Creative Content Industry Guild. CCIG function of human capital increase professionalism in the creative industry in the country as the government desired. Among the association's mission includes helping improve the quality of the creative industry practitioners, increase national income, ensure product quality and recognized creative industries by helping them penetrate international markets and the archipelago. This association got full funding from the government through the National Film Development Corporation Malaysia (Finas).

See also[edit]

References[edit]

  1. ^ a b Cite error: The named reference Ferguson 2009 was invoked but never defined (see the help page).