Hafiz Rancajale: Work for Cinema, the Name of Love

Hafiz Rancajale: Work for Cinema, the Name of Love
Forum Lenteng arguably take unpopular measures. The films they produced various documentaries and experimental, which is a lot of talk about the daily life of the Indonesian people from the lower middle layer. Even so, the work they’ve crossed the globe in various film festivals abroad. Their recent work is Tales Rangkas collaborations Lenteng directing five members of the Forum, which has been screened at CPH Dox 2011, Copenhagen, Denmark, one of the prestigious documentary film festivals in the world.hafiz_article_wawancara
Hafiz told him about the activities of the community, the Indonesian cinemassacre film past to present, and cinema that has become part of everyday life.
Film Indonesia (FI): Please tell me the beginning of your interest in the film medium?
Rancajale Hafiz (Hafiz): Since childhood I have been so interested in the visual. I love to watch movies. But like the little boy the same age, who watched the films hero. My father was a painter, just at that time I do not understand what the painting. I just knew it was a painting drawn a blank canvas and then sold, wrong. Not to understand that painting was no concept of a theory or history. To my knowledge, my father could draw a nice, new context until there. When in IKJ, I was studying art, a small campus, where people know each other and that’s where I first knew with Riri [Riza], Lance, Harry Dagoe, and others.
In 1990 there were regular film screenings on campus IKJ. Initially I was just a fad and because of childhood hobby of watching, I regularly play to IKJ mini studio and library where I became a regular customer. The time stages still hang out with the children majors movies.
At the end of 1990, there was a friend of mine who took to the CCF Salemba to watch a movie. At the time, the film in the CCF one full week, three screenings each day, and all who played the celluloid format and no video. I remember once a film screened at the time and fascinated me was Une Femme Est Une Femme her Jean-Luc Godard. Godard play the highly visual and editing, the whole movie I kept muttering to myself, “Well, the hell movie.” Because he has a background art, I realized there were more visual charm of the film. From there the beginning of my interest in film.
When compared with a painting, which contains only one frame, in the film there are 24 frames per second. It means that there are millions of frames in a movie. Finally I made the movie a study group in 1991 along with Riri Riza, Lance, Harry Dagoe, and Pandapotan. The group is not formal, limited to groups who like to watch. Although just a bunch of students who knowledgeably about the film, formed an intensity. We also had to make a film journal publication only once and at that time we discussed the Martin Scorsese to completion. Sort of the initial phase that makes us realize that cinema is not just entertainment, but also can be seen in the context as a product of culture, education, and visual knowledge. A kind of cross-disciplinary between literature, painting, philosophy, and so on.
FI: Then why the documentary?
Hafiz: Actually, for me there is no difference between documentary and fiction, but the documentary is more challenging for me. In it there is no load construction a steady production in the working process, and there is a kind of awe emergence of a surprise at every stage of manufacture. We find the idea of ​​for example when you want to document a mother, then we write an idea of ​​the context of what we want to read from the mother. When shooting, the mother may not be talking about the same thing at different times, sitting in the same way than we thought at first. Moreover, in the editing process, surprises continue to emerge. We must reconstruct again the footage we got and mengimajinasikannya become a movie.
In fiction is also certainly no surprises, but we can already forecast earlier. Suppose this dialogue will be spoken, while in the documentary we can not force people to talk about it. Storyboard also no. In addition the documentary also much cheaper cost of production. We can use a simple video camera, no need lighting, just what can be captured with the camera.
In my perspective, both fiction and documentary alike cultural products have their problems. So I personally read the film over to how filmmakers express and construct the movie.

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