What’s the current state of Burmese cinema?
The 1950s-1980s were the glory days of our film industry. At that time, even Indians and Koreans would head to Burma to study film and the Thai film industry hadn’t even started up yet. But the industry ran into trouble in the 80s due to our political situation. Whereas we once had huge fully-equipped post-production houses, later all the equipment was seized and the buildings taken over by the government and used for other purposes. Censorship became so strict that it was the biggest obstacle in the fields of art and film. At that same time, our economy collapsed, which had a devastating impact on local cinema.

What’s the current state of censorship like in Burma?
In the past, the government never directly told me or any other director what to produce, but there were cases when the government would be your main sponsor. We just had to do the best we could. I started one film in 1992 and then didn’t finish it until 2008. Now, since our country has transformed into a democracy, the government has opened up a bit and is more supportive of the scene. Right now there are film companies from the USA, Japan and Germany that are interested in doing business in our country. Also, the Kantana and Technique groups from Bangkok have also shown curiosity. We hope that the Burmese film industry will peak once again.

What’s hot in Burma at the moment?
I’m not sure if it’s just because people are looking for ways to escape their stress, but comedy currently dominates the scene. Korean films and TV series are the hottest, followed by Thai series that we watch at home, on the TV.

Thailand produce internationally-acclaimed films that go almost unnoticed here. Is it a similar case in Burma?
Over the past 10 years, we have had only seven films that have reached an international audience. We need a lot more funding to make good films; also we’re constrained by a lack of international distribution. Burma basically has three types of film: ones that are produced here and only watched domestically; ones filmed in the country using international equipment, with the post-production carried out elsewhere, so it might not even be screened here; and art house productions made domestically but aiming to reach only an international audience. We have a number of new young directors entering the scene, but we need more if the industry is to grow. The internet is having a positive impact on the new generation, inspiring more and more to become artists. I hope we look to emulate countries like India, where the government is so supportive of filmmakers.

What are your thoughts on the Thai King Naresuan film franchise which depicts both Thai and Burmese history?
The Burmese are portrayed as particularly brutal, but actually the Thai and Burmese had so much in common. Thai people may not be aware of some of the mistruths in these films, and we actually have a plan to tell the story from our side; not to rewrite history, just to add more information for the benefit of both countries.

What impact will the ASEAN Economic Community have on the Burmese film industry?
Because we’re the ones who stand to learn, I see only positives. I think the AEC will give us the chance to gain technical know-how and forge connections with other countries. We’ll have a great opportunity to improve ourselves.