The Movie Man

Mike Wiluan - Chief executive, Infinite Studios

Wiluan’s media entertainment and creative services company produces original content including award-winning films and TV programmes – on top of its animation, post-production and visual effects services. In partnership with Ascendas, Infinite Studios launched two of Singapore’s first soundstage facilities last year, along with two more in Batam. Wiluan is also the executive producer for local movies such as 23:59, Tatsumi and Ghost Child.

What’s the outlook for the film industry now?

This is a time of pan-Asian content. Traditionally, Asia has had a tough time selling content worldwide. Action and horror have been more successful, because these are universal languages. This is a time to develop content with Asian cultural sensibilities that can travel well.

One of our latest projects is the tv series Serangoon Road, a collaboration with hbo Asia and Australia’s abc tv. It’s set in 1960s Singapore, an interesting and turbulent time before independence, when a lot of things was happening. The show will be screened in Australia and New Zealand, and probably several Commonwealth countries as well.

There is so much content here, so much folklore and history. Not much makes it to the screen. But you just have to translate in a way that makes sense globally. Make it accessible, and find a way to bridge East and West.

What kind of Asian folklore would you like to see translated on the big screen?

Take pontianak (Malay female vampire) movies. There are maybe 10 pontianak movies a year, all awful. We can beautify that folklore a bit more. Twilight is a teen love story – that’s how you reinvent vampire movies for a younger generation. It’s all about re-inventing an old concept. So pontianaks don’t have to be things that hide in the jungle. Horror can be sexy, young, global, and accessible. We need to find a way to push it further.

You studied filmmaking. Do you prefer the creative side of the business, or the top- and bottom-line aspects of it?

I grew up scriptwriting, editing, and dealing with the ideas side of the business. At heart I’m a creative person. I read all the scripts I produce, and I want to add to it, to make sure the characters have strong arcs.

What are the biggest challenges Asian filmmakers face?

Local producers have never worked in a movie studio before. We recently built soundstage studios and related facilities here. Now I can bring them into the studios, give them that soundstage, and they can create an alternate reality. They can do science fiction, they can do something we have never seen before; they don’t have to always set their story in the kopitiam. My mission here is to provide an avenue for filmmakers in the region, and help them to think big.

Detractors usually say the Singapore movie industry is too small and not going anywhere. Do you agree?

It is very small and fragmented, but I wouldn’t say it’s not going anywhere. If you can survive in this small industry, there is a toughness there that’s to be admired. Singapore filmmakers make do with the resources they have, and they create films with a message and a thought process. There is poetry to Singapore; it’s a somewhat eccentric place with its own language and way of life. And people like Eric Khoo, Kelvin Tong and Royston Tan have captured moments in Singapore’s evolution.

But true filmmaking is about sweat and tears. Will filmmakers do anything it takes to make their movies; will they mortgage their houses? That commitment, that willingness to sit in the trenches and go through the pain – is it here? That’s my question, and that’s the secret of success. It doesn’t just happen like magic.

 

 

The Revivalist

Loh Lik Peng - Hotelier and restaurateur, Unlisted Collections

He’s the man who introduced the concept of “boutique hotels” to Singapore, with his knack for transforming heritage buildings – often derelict ones – into hotspots. His first, Hotel 1929, boasts classic designer chairs – an offshoot of his passion for collecting vintage furniture that started as a student in London – and a different decor theme in every room. Foodies are also well familiar with his award-winning F&B collaborations, including Jing, Esquina and Restaurant Ember.

Your establishments tend to be located in rather unconventional areas. How do you endear yourself to your neighbours?

Hotel 1929, my first hotel, is in what used to be a red-light district in Chinatown. I think our neighbours were a bit confused when we first opened; they thought it was an “hourly rate” hotel. But some of them bought 4d based on the hotel’s name and some combination of those numbers actually turned out to be the winning numbers. People came to congratulate me, thinking I had bought 4d as well. That created a lot of positive vibe and was great pr for us.

We always try to integrate into the neighbourhood we’re in. We localise operations, organise community activities, hold open houses for residents in the neighbourhood, and invite local artists to collaborate with us. I am now developing a hotel in Sydney. It’s a beautiful old 1920s brick building that used to be the headquarters of a brewery and has lots of character. We’re also working on rebranding the St John’s Hotel in London, which I just purchased. That presents a different kind of challenge because it has a very strong identity.

How do you inspire the people you work with?

It’s all about collaboration and really involving them in the process. I take all their ideas seriously – and there are lots of crazy ideas. At the brainstorming stage, I dismiss nothing; there
are no boundaries.

You’re in the business of encouraging people to enjoy life, and you’ve recently become a dad. Any suggestions on improving Singapore’s fertility rate?

There is a cost issue and a time issue. I’m for the Scandinavian model, where childcare and paternity and maternity leave are subsidised. Tax credits for the private sector would help to convince employers to get on board with this.

And for people to have a lot more fun in the bedroom, they have to be less consumed about the day-to-day. Very often their own expectations, like the pressure to get ahead in their careers or worries about the cost of living, get in the way. It’s about changing people’s attitudes. Life is not a giant rat race. 

What aspect of life in Singapore do you think you could improve, if you were given free rein?

I think the experience of getting on a bus in Singapore is uniformly bad – there is just no effort whatsoever to make it more pleasant. It’s very utilitarian – you hop on and huddle on a seat. We could learn from London’s Routemaster buses, which are designed to make the experience much more fun and intimate. I would redesign the buses here by introducing warm lighting, cool seats, and just make everything hipper. There could be different kinds of music playing on different routes, like more Chinese music for buses going to Chinatown and more upbeat music for those going to Orchard Road.

 

 

The New Craftsman

Nathan Yong - Designer and founder, Nathanyongdesign

Having first made his name in furniture design with homegrown Air Division, Yong now heads a multidisciplinary design consultancy that does industrial, interior, architectural and graphic design, as well as product development and branding. The President’s Design Award winner has a portfolio of international clients like Sphaus of Italy and French furniture brand Ligne Roset.

What’s trending in furniture design now?

I see people turning away from bigger, louder, flashier things and showing interest in humble, original storytelling and craft – things that have more substance. Maybe it’s because of the financial crisis, or maybe the younger generation needs fewer things. It’s a good sign, especially if you’re concerned about the environment and what consumerism leads to. Spend more on something that will last for a long time, and retain its design and quality.

Many Singapore designers and retailers seem to love nostalgia these days. Did you spark this trend?

I don’t know if I can claim credit for that. A few years ago, in a corner of my retail store Grafunkt, I displayed a typewriter from the 1970s. It reminded me of my growing up years. Things were just made differently in the past, and these items do influence me. However, no matter what your inspirations are, we are always working within certain parameters – unless you are a design superstar. All industrial design needs intelligence from the marketing team about what clients are looking for.

You’re a big music lover. How does that influence your designs?

Music inspires me in a very abstract way. I like alternative stuff, like Belle and Sebastian, Bon Iver, and Beach House. Beyond that, the tv console from my Line collection was inspired by a 1970s Braun turntable. It has speakers that have a lot of lines, and that sparked my design. The tv console was the first Line piece, and it was picked up by American retailer Design Within Reach. Now the collection is its bestseller and includes other pieces like credenzas and wine bars. I think that out of all my designs, the Line collection has the best potential to become something widely identifiable and appreciated.

You’ve just opened Blackhole, a new lighting shop at Park Mall. Why lights?

More people are starting to appreciate lighting as a design item.

I want to focus on up-and-coming brands that are more design-focused. Some of the brands we stock are Brokis from Slovenia, Niche Modern from New York, and Lee Broom from the UK. My own designs will also be sold there under the Blackhole label. These are all indie brands that have niche designs.

What would you do if you could give any part of Singapore a makeover?

I think that Marina Bay, with the Supertrees and the Ferris wheel, is too showy and almost makes a circus out of Singapore. A park must always evolve organically and be engineered in a natural way. Supertrees are not very thematic; after all it’s not like you can’t grow trees in Singapore. These spots just remind me of the Radiohead song Fake Plastic Tree. For the park, I’d use more natural materials, which still look good as time passes. I feel the current design isn’t very sensitive to the scale and proportion of the area. When I go to parks in Paris or Tokyo, they are always designed in a very humanistic way. Or maybe it’s just the weather here – currently, the park doesn’t have enough shade, specifically shade provided by trees.

 

 

Magic in His Hands

Jerry de Souza - Creative director, Spa Esprit Group

He’s the hands-on creative driver of Spa Esprit Group, which is owned by his long-time friend Cynthia Chua. As the group expands its spa and grooming services and F&B empire, De Souza is the genie in the bottle who creates uber-cool retail and interior design lifestyle spaces – from the quirky Browhaus outlets and the industrial-chic restaurant Open Door Policy, to the popular coffee joints 40 Hands and Tiong Bahru Bakery, and hip restaurant/bar/music store Broadcast HQ.

How do you decide on the unique personality of each of your stores?

I get inspiration from anything and everything, especially my travels. I’m also inspired by new materials I come across, and I’m always driven by the desire to push boundaries. We don’t worry about hurting the brand by not having uniformity. We want to create a unique experience for customers each time they walk into a Spa Esprit Group outlet.

I love new things and I get bored quite easily, so I believe in constantly evolving the look and feel of my designs. In fact, our customers have come to expect this of us – they actually point it out if any of the shops look too similar! This presents new challenges and keeps me on my toes, but that’s what keeps things interesting.

What’s next for Spa Esprit?

We’ve just completed four new outlets at 100 am mall – Strip, Browhaus, Skinny Pizza, and a new coffee concept by Harry Grover called Kiasu Espresso. At the moment, I’m designing an all-male grooming store in Tiong Bahru called We Need a Hero, and a new f&b brand at Ann Siang Hill. It’s all about creating a space that is stylish, yet approachable and accessible.

Your campaigns are known for being quirky and humorous, which are not qualities often associated with Singapore. How else can Singapore brands be made cool for international consumers?

Never be cookie cutter. Always think ahead and be progressive in your designs, while keeping them current and relevant. I think it’s also about bravery – you can’t be scared and stick to what’s conventional. We definitely encounter negative feedback once in a while, but I am glad to say that it is not often. Take Strip, for example. The nature of our business is Brazilian waxing, and I can’t stray away from that. We always try to convey the message through tongue-in-cheek campaigns and visuals. We take all feedback very seriously and try to keep them in mind when doing subsequent campaigns. It’s hard to please everybody but we always try to ensure that the campaigns are fun, witty and clever.

What would you ask your design heroes if you could?

I admire the works of architects Jacques Herzog and Pierre de Meuron, Rem Koolhaas, and Frank Lloyd Wright, industrial designers Marc Newson and Charles and Ray Eames, artist Gerhard Richter, and the designers of the Bauhaus school. I would ask them: “What makes you do what you do?”; “What message are you trying to get out to the world?”; and “How does your design help shape the world?”

 

 

Man with a Plan

Yung Ong - Founder and director of operations, Proof Living

Interior designers like to mix things up once in a while to add pizzazz to living spaces. For Ong, whose parents own the F&B outlet Peranakan Place and office furniture retailer Vanguard Interiors, a successful furniture and lifestyle retail portfolio is about offering diversity. Think luxury designer furniture and accessories at Proof Living with a store-in-store concept for Barbara Barry; standalone Poltrona Frau and BoConcept stores; and home accessories store Gilt & Folly. The latest in his showcase: Crate&Barrel and the more affordable line CB2. He’s now taking these retail ventures beyond Singapore’s shores. 

How did you convince Crate&Barrel to partner with you in Singapore?

We were introduced to representatives from Crate&Barrel through our contacts in the US about two years ago. At that point, they were not looking to expand beyond the US, but we got along so well that our conversations quickly shifted to the possibility of working together to bring the brand to Asia for the first time. That turned out to be a monumental but fulfilling task as the brand has been warmly received. The second Crate&Barrel store at Orchard Gateway is scheduled to open at the end of this year, and we have no doubt that both brands will receive a similar reaction in other Asian markets where we are looking to take the brand in the coming years.

What other new ventures are you working on right now?

Our second Barbara Barry gallery is slated to open in May at Kuala Lumpur’s Gardens Mall. We are looking to grow our footprint in Kuala Lumpur, which we believe is a growing market for sophisticated housewares and furnishings.

We are also exploring several possible locations for our second CB2 store and other brands here in Singapore.

How do you see sustainable development and green living playing out in your industry?

The furniture and houseware industry requires a lot of raw materials because of the size and scale of the products we create. We’re exploring the use of raw material from sustainable sources such as mango wood – the tree only bears fruit for a number of years and is then cut down for new young trees. Such options allow us to make use of material for production, that was once unnecessarily incinerated or destroyed. 

We also receive many requests from customers to help them dispose or trade-in their old furniture. We’re still exploring the feasibility of this initiative, and my hope for the future is that our customers will allow us to recondition their pre-loved furniture and donate these pieces to families in need. Creative upcycling ideas will make them more than just simply “restored” pieces. 

What are the biggest rewards and challenges of working in a family business?

At work, I see my father as more than just Dad. He is also my mentor and boss. It has always been a great challenge for the both of us to balance our work and family lives. Over the years, we’ve come to recognise that we are a lot stronger and more creative when we collaborate as a team and when we respect each other.

 

 

Photos: Stephen Landau / Image Luminaries