Kids Can Act: Hi Khairudin, firstly I would like to say that it is an honour to be speaking to you as a respected and one of the most well-liked figures in the television and film industry. First question, why act?

 

Khairudin: Initially my parents sent me for the audition that was in 1978 back then. But they sent me 2 years earlier 1976 audition for a radio workshop, children workshop, so I didn't manage to pull through but they sent me again in 1978. If you ask me why act I would like to thank my parents. So in 1978 I went, I pulled through and I went through for 2 years radio workshop, acting, singing and dancing as well. Don't ask me why dancing in a radio workshop, because it's not visually seen right? But they have this workshop then, so for 2 years I was in the workshop. I think I only knew why I wanted to act only after the workshop, because before that I didn't know why as my parents sent me. But during the workshop it somehow cultivated interest in me to do something in this industry.

 

KCA: So I guess your parents were very supportive?

 

K: Yes, very, very, very supportive. What I can remember then in 1978 I was in primary one, now I'm 43. Up to primary 5 they would be sending me, and waiting for me after the rehearsals. They were very supportive.

 

KCA: The workshop was the only form of training that you had?

 

K: I was in Lasalle, I have a Diploma in Drama and Theatre Studies, I have an Honours from WAPA Western Academy of Performing Arts doing creative arts basically. Proper training la. I am a professional trainer as well, I can train acting but not singing and definitely not dancing no more now. Acting yes.

 

KCA: But as a child that was the only form of training you had?

 

K: Oh yes, during that time that was the only form of training. But after that from 1978 to 1980 I was in radio, after that I was pulled out of radio to join TV. So in 1981 to 1983 I joined the TV children's workshop, they have workshop every week as well. After that they didn't have any workshop at all. So it was show time basically. Almost all the kids shows they would call me. Not only me la. My group of people, the ones who are still active, think about 2 or 3 of us in the industry.

 

KCA: Why was there a stoppage in the workshops at that time?

 

K: Oh well, I m not too sure with that. I think it was the management call I guess.

Because we were busy with shows so maybe they thought it was not necessary to have workshops for us. But there were workshops for new kids who were coming in 1984, 1985.

If I am not mistaken it was 1982 that was when the Mat Yoyo children's programme came in.

But I was involved in children's programme before Mat Yoyo. Before that they had kids shows. But another programme, so-called the main programme that I anchored with the rest of the kids was called Lima Sekawan, it was quite popular back then. But Mat Yoyo was across the island. I was only a guest not the main person for Mat Yoyo. After Mat Yoyo we had other kids programme as well. We have yearly Hari Raya, Hari Raya Haji shows and all that. Almost every year I was kids programmes, until I cracked my voice. I think I stopped doing kids show when I was in secondary 2. Then started to do adult shows, like Sandiwara, dramas all that.

 

KCA: Out of all the shows that you were in, which one are you most proud of?

 

K: Do I need to say one? No right? Because I always take a serious note for whatever I do for TV.  To me, it is a profession. I realised this when I was in secondary 2, where I joined a theatre group. That was where I started the real acting, singing and dancing. It is an arts discipline. I think it is a profession. So if you ask me, none of them I'm specifically proud of.

All of them, I am very proud of.

 

KCA: What do you find most meaningful by starting to act at such a young age?

 

K: I think the discipline that we cultivated in us. Because back then all the trainers were very fierce. One thing we were trained not to be late, discipline. We knew some technical stuff back then which I think kids the same age as us would not know, like 'what is mid shots what is close ups'. We were very advanced, if I didn't join the workshops, I wouldn't learn discipline. It kept me thinking, because for acting we have improvisations. We need to be on our feet all the time to think creatively. I think that is very meaningful to me. I'm the only child. I don't have other siblings. If I were at home, I think I would be talking to myself.

 

KCA: What were your favourite moments acting as a child?

 

K: When we were together during exam periods. That was the time when we had rehearsals, we were told to take break for 1 hour and go and study. All of us studied together at that time, but not all the time, depending on the producers. Sometimes the producers really wanted us to rehearse even though it was during the exam period. So it was time management.

 

Basically, I grew in set, grew up in sets. Back then, children programmes for Hari Raya shows, for example if the recording is on Friday or Saturday we have to be rehearsing one month before. Not daily, but maybe 3 times a week for dance steps.

 

So, it was a second home. That's the part which is meaningful to me. Like I told you, if I were at home I would be alone. But if I am with friends I could mingle around. That was the moment which I think I would cherish.

 

KCA: So I guess it's the company that mattered. You made many good friends during your time as a kid?

 

K: Of course, of course. I made lots of friends. Until know, 3,4 of us are still in the industry. One of them film director in Malaysia. Another one, she's doing a lot of kids workshops for schools.

 

KCA: If you could choose one word or a phrase to describe your childhood, what would it be?

 

K: Fun, exciting - learning process.

 

KCA: Do you think you missed out of certain things that an ordinary childhood would encompass?

 

K: No man, I doubt la. Like I said, If I am on my own, I would miss the acting part. if I am at home alone, I don't think I would be having fun.

 

KCA: But compared to an ordinary school kid?

 

K: Well I don't think so. Yes I agree with you our rehearsals and trainings were very hectic.

Because what were others kids doing? Playgrounds? Not that interesting to me!

 

KCA: Probably play soccer?

 

K: Yes, I played soccer in school.

 

KCA: How would you describe the acting environment (support be it technical or emotional support, facilities, people relations, on set, behind the scenes etc) in the past when you were acting as a child?

 

K: Probably when I was a kid they were more strict towards us. Back then we were like, 'I don't like this uncle, I don't like this auntie', at that point in time. But now after I think about it, I think it is the system which that me. If you ask me, there is not much change.

 

But technically of course yes, like different cameras. We used to have big audio recorders and we shot of films last time, unlike now we shoot on tapes and cards. That is the difference in terms of technicality.

 

In terms of people, I think most of the people like the aunties, kakaks, abangs, they are still working, I still see them. So I think not much of a difference. When we were kids, of course they would treat us like kids. 'Okay quiet, don't talk, shut up.' But to me that was the learning process. Now we are all friends already. I think quite a lot of them are still in Mediacorp working. I am still dealing with them. When they were an assistant producer then, now there are still an assistant producer. Maybe you ask why they are not promoting, but I think they don't care about the title. I think what's more important is the salary. I think for sure their salary ...  because it has been 20, 30 years they have been working there. Now I still see them, and we have a strong bond, they understand us. I must be very thankful to all of them, training us, even though the APs were not the ones training us, per say, but they were the ones who really took care of us. Welfare wise I think they were very strict about it if let's say we get sick. I remember when I was having a fever, they immediately called my parents to bring me back home.

 

KCA: I guess we can say that you were very well taken care of?

 

K: Oh yes on my part yes, with the rest as well. Normal la, punishment all that, 'stand at the corner', we were very naughty then. I can admit that. For example we finish our rehearsals at 7 then we would call our parents at 9, because we wanted to play catching first in the studio. We actually broke some props. we ran, hid, the people were looking for us. We were not suppose to play catching in the Mediacorp studio, but we did.

 

KCA: How did you deal with the fame/popularity/celebrity status especially at such a young age?

 

K: To be honest for the Malay community, it is not as big as the Chinese community, as in for the artistes. Even now, they know me, they will say,  'ah hi', it's not like I am Zoe Tay or Fann Wong. For Zoe Tay and Fann Wong I don't think they can actually go out there and shop comfortably when they were popular. But if you ask me, it is just a normal thing, maybe I have more friends, you know kids, 'hey i saw you on TV, can i be your friend?', that kind of stuff. And back then we don't have Twitter, Instagram, Facebook and all that. I received a lot of letters from fans but not many. But everyday there would be one.

 

KCA: You were a very popular kid?

 

K: Not very la. But people know me. Even now, I wouldn't say that I am very popular. Like I said only the Malay community would know me. Unless I am in the mainstream Channel 5,  Channel 8. Another thing also, maybe it's me, I don't really care. I can take MRT, bus, I can wear slippers, maybe that's me also. I don't have the feeling of being a celebrity but I know how to carry myself. I wouldn't be too proud, whatever it is I always tell myself to be humble.

 

KCA: What are you doing currently? Tell us more about your job.

 

K: Right now I am still performing. I have my live show now, every Tuesday, 8.30pm. I do a lot of hosting now. TV 50 years as well, talks about the past 50 years. I do a lot of directing for other companies and for my company. Right now we are producing a programme. We do a lot of corporate videos, commercials not big commercials but small commercials like for property agents. I do have a company, a theatre company, it is not a non-profitable one, a profitable one. it s called Anak Wayang LLP. Every week I will do acting workshops for kids and adults as well.

 

KCA: Do you think your experience as a child actor was vital in determining your career today?

 

K: Oh of course, like I said, last time if I wasn't in the scene then, I wouldn't know the meaning of discipline the seriousness and professionalism of acting. That actually drove me to pursue my studies. I had nowhere else to go. I mean not literally nowhere else to go, but I didn't know what other things I liked to do, besides this. So that's why I pursued my studies. Lasalle for 3 years then theatre studies. Then another 2 years in WAPA Western Academy of Performing Arts in Perth Australia.

 

KCA: the media industry was your calling since young?

 

Oh yes, I eat, breathe and even shit. But that's the life. I have plans in future. I would like to teach but same thing, media what else. In future, I would like to teach.

 

KCA: Was there any point in time during your life that you considered other career options?

 

K: Ok this is what happened, back then when I was in secondary 4 I fared badly in my O levels because I had some personal problems. My parents got divorced. It really affected me, so I failed badly in my O levels and I retook my O levels. At that point in time there were financial problems. So I managed to go poly after my O levels, the second retake. But money was the issue, so I took National Trade Certificate 2 (NTC2). There was this engineering institution, I think they call it TATA, where you took up the course and they would pay you $250 a month, but it was bonded for 2 years. So I took it up because of money. I had no money, it was really hard. My dad left us, I was with my mum only. My mum was the sole bread winner at that point in time. So I took up the engineering course, then I took up NTC2.

 

I was suppose to complete another 3 years in the engineering industry. 3 years then I would get my craft man cert. After 2 years, we were already sent out to companies after the 2 years of course. So every month I would get $250, that was my pocket money. I wanted the pocket money and that was why instead of going to poly, I made my decision. Stupid decision basically.

 

After 2 years working, I was in Leica, the lens maker. I couldn't make it, I really couldn't make it. I said this is not my line. So I broke my bond and I had to pay back $5000. I didn't have money at that time, but I worked so I had some savings and managed to pay like $2000 first and then by instalments. After that 4 stupid years of doing other things, I made up my mind to enrol myself into Lasalle. In fact before enrolling, after the second O level, I think I was able to join mechanical engineering, poly at that time. I was eligible but couldn't because of the money issues.

 

Then a friend of mine from Lasalle asked me,  'why not join Lasalle since you are from the Arts?'. But Lasalle at that point in time wasn't aided by the government, it was still privatised. The fee was I think $500 per month. I thought I only had $250 a month but I needed to pay $500. So I said forget about Lasalle, so I joined TATA for 4 years, only then I had some salary and savings.

 

Even though I didn't complete my craft man in the engineering line, I decided to join Lasalle after that. And even though I had the down payment for the fee for the first semester, but I didn't know where I was going to get the money for the rest of the 3 years. But I still went ahead. I was barred for coming into school for 3 months by the management because I didn't pay my fee. But my dean called me up and told me, 'go in by the back gate because I want you to be in school'. So for 3 months I played hide and seek with the management. Because he said based on my results he didn't want me to skip school. it wasn't me who wanted to skip school. When I was in Lasalle for the first day, that was the first time that I can say I really loved to go to school.  So I thought this is it!

 

The engineering line was one which I tried but I think I failed. So it's not for me.

 

KCA: Ultimately you still stuck with the media industry.

 

K: After I graduated I didn't really go straight into the media industry or performing. I joined DBS Land to work in Clarke quay for 2 years to work in the corporate world. I did not do any performance at all during that year. Back then my mum asked me why are you taking Diploma in Drama? You could go to poly and take Diploma in Engineering. Back then we didn't know what was going to happen to us after we graduated. Back then there was only NAC, National Arts Council. Let's say you pass you can work at National Arts Council or become a full time actor or actress or theatre. But in terms of survivability, I don't think it is viable at that point in time. Unlike now we have SOTA, maybe you can become a lecturer. But with a Diploma at the point in time I don't think I could come back to Lasalle to lecture. It was still vague at that point in time. But I still took the risk.

 

I think the morale of the story is if you have the passion it's not about the security, what awaits you in the future, but if you really love something. it is proven, until now I am still surviving. I still can earn some salary every month. But I took the risk, then I worked in the corporate world for 2 years. after that I resigned from Clarke Quay DBS Land, then I joined a theatre group to become a marketing manager for their shows. Then I started from there. Lasalle is theatre not TV, but acting wise it helped then when I do more acting. because we were taught the acting system and all that.

 

KCA: You mentioned that you have interaction with children on the sets you are on now. As a past child actor do you treat them with special care since you have gone through similar experiences?

 

K: Of course, of course. I always believe that talent is always better to start at a tender age of 7 or 8. that is the best. And you can actually see this kids whether they are talented or not when they are 4 or 5, when they communicate interact with adults. There again, what I have learnt about especially kids like 7, 8 years old. Even though in future they wouldn't be like what I am now be an actor or actress, somehow in acting it is very therapeutic. Because it instils confidence and also strong values on interaction when you grow up.  I think that is why the government also encourages. You have a lot of enrichment classes. The main objective is to instil some self confidence. I think it is very therapeutic. Even though they don't grow up to be actors, it will give them a good experience when they get themselves involved in acting shows or enrichment classes. But I think it also depends on which enrichment classes they join, because right now I see a lot of enrichment classes which are commercialised, it's not really teaching them to be good.

 

KCA: I think we all agree that you are an extremely well liked media personality, having about 14,000 Likes on your Facebook fan page? For curiousity sake, why the need for 3 Facebook pages?

 

K: Oh, it is technical actually, not because of a need. At first I opened up the personal Facebook, there is a limit of 5000 fans, after that people cannot join. Actually I didn't want to do the page, but because of my friends, as you can see the admin is an Indian guy who created for me. I said, 'no la, don't need la, because I so paiseh,  I don't want to have all this'. But he said just create and it went up to 14,000 but it's not that many la. Why 3? Because, I think some of this people they prefer to go to a personal Facebook rather than a page.

 

So now I am asking my staff to PM them to go to my page. I am planning to close up the other 2 because it is a hassle to have 3 personal Facebook pages, which is actually not necessary, because a fan page would be sufficient. Maybe these people think  that for a fan page I wouldn't be talking to them directly, unlike the personal Facebook. Maybe because of that they prefer to add me on my personal Facebook. There are some of these people on my personal Facebook but not on my fan page.

 

KCA: So it is actually more than 14,000 Likes?

 

K: Yes I think so la.

 

KCA: From our research, we found that you are an avid user of social media, having accounts with Twitter, Blogger, Youtube and not forgetting an Instagram account with 11,000 followers. How important a role do you think these social media platforms have played in your life as a person in the media industry?

 

K: Very important. One is about networking, in terms how people receive you. Sometimes I do get constructive feedback but so far it is a worrying thing because I only receive comments like, 'you are very good etc.' I prefer to have criticism. But mostly I think 80% of them really like, that is why they Liked. But I would prefer to have constructive criticism instead of normal likes. That is one the networking, the importance of social media.

 

Two is to promote, I think even the station now, most of the programmes that I am in, even Suria has its own Instagram. And now I think MDA is encouraging stations and production houses, happens that I have my own production house, I think it is very important to have one, because not only that we can communicate with the consumers or audience, we can communicate with broadcasters all over the world, on a company level. For my company Gridmedia, we do have our own webpage and Facebook. I think that is very important nowadays. I think those are the 2 things why I am very active on social media and not so much about being glamorous, I think it is a need for us to have social media. it has an impact.

 

Even now I am doing a new programmme, it is called Dagangan, it means trade, we created a so-called small reality show. Because the station and commission asked to do a programme. On top of that we are suppose to do another 8 episode of webisode, so only a 3 min type of webisode. Instead of using the programme host to host the webisode, I actually created a new competition to find a new host out there to audition and select 10. The winner of this 10 will be the host of the webisode. The response was very overwhelming. The onliners get to vote who will be the winner for the host of the webisode. It is ongoing now. We have 10 hosts. We actually audition them. About 70 came for the audition and we selected 10. We shot them and they presented for 1.5minutes.  Then people get to vote for them. The winner will be the host for my webisode. To me, why I am having this webisode  competition is to promote my TV programme later on. So I think it is a good tool to use. So it is proven, social media is very important. Very, very important.

 

KCA: It is also common for other actors or celebrities to be owning these social media pages, but what are your thoughts on child actors using these platforms?

 

K: You mean now?

 

KCA: Yes, there are quite a number of kids having their own fan pages as well.

 

K: Oh really? I don't know because last time we didn't have Facebook. I am not too sure, I just hope the parents will monitor it. To be frank, for my Facebook there are a lot of offers like, 'eh you want to come to my house, I'm alone', which I didn't want. Online is very dangerous for kids. I think it is good for them to have such fan page because I think they need it. I mean like you guys, you'll say that, 'you are well-liked', based on the numbers on my page. Even though you do not know me, but, 'you got 14,000 Likes so that means people like you a lot'. Based on that, sometimes, it is important for us as celebrities or as an artiste to have Facebook, which goes to say for the kids. I have my own kids as well, I am very strict with my kids when it comes to Internet. I actually monitor them. So I think it is best for their parents to monitor them. it is good to have as a child celebrity. The risk of having people online and all that. I am sure that the parents have heard about the risk the nets and all that. Just have to be monitored.

 

KCA: What kind of value or contribution do you think child actors bring to the production?

 

K: Honesty. Being a child we are very honest, we were honest. I think that is the most important thing in the industry. Even now, I think being honest and being professional is very important. Even back then when we were told to be professional, yes we did, we followed suit what they wanted. So, automatically we were professionals back then. When it was time for rehearsals we would rehearse. When it was time for play we would play. During the exam time, we made full use of the breaks that were given to us.

 

KCA: 3 Rs. Recognition, Remuneration and Reward (for child actors), what are your views on these 3 aspects?

Firstly recognition, as compared to adult actors do you think child actors receive enough recognition?

 

K: As in now? I doubt. I don't think so right now. You are talking about Suria context right? I don't think so. I can see the difference between my time and now. I think during my time, people know us more than the kids now. I think probably because there are not many kids shows around? Back then, every Sunday 10am if I am not mistaken, 10am. Back then it was only one channel only Channel 5, we didn't have Suria. There was only one channel, we had 10am kids show, that is why Mat Yoyo was so popular because the Chinese kids, the Indian kids had to watch one channel only. Now we have different channels. Last time we had a number of kids shows which were very consistent. That means when one series of this kids show finishes, there will be a new kids show that will take over the slot. Now I think there are not so many kids shows and recognition for the kids. When I was in the radio show, I got $20 every week for coming in for the workshop. Until secondary 2, I can tell you I could have easily $40,000 in my bank if I did not spend. I was that active you know, if I saved up. back then when I was in secondary 2, it was 1985 or 86, $40,000 was quite a lot for a kid or teenager back then.

 

KCA: But for the kids now? Their remuneration?

 

K: More, but lesser programmes, that is the problem. But those outstanding ones they will join the adult dramas, so they will get more. I think 5 or 6 of them, very frequent faces on adult dramas. There are lesser children programmes now.

 

KCA: How about reward? You were the Best Supporting and Best Actor at the age of 17. Do you think that the kids now receive this kind of reward?

 

K: I think yes, for those outstanding ones. The problem is that there is lesser kids programmes. But those outstanding ones will go to adult so based on adult programmes they will be rewarded for the best child actor, not based on kids programme. So it is a totally different thing right? For me when I was Best Supporting and Actor I was 17, it was in theatre, it was a youth festival. For that one, I would say it was my own initiative to be active in  theatre groups.

 

KCA: Comment on the current status of the television industry in Singapore.  

 

K: You want an honest one or... ? Haha kidding, For Suria, not the mainstream one. They are moving forward with all the multi-platform elements. Like when you do a programme, they want us to integrate with Internet and radio. So multi platform, as we call it. They are moving forward in terms of technicalities, yes also. We were told by the end of this year, we have been sending tapes for programmes  but by the end of this year we don't have to send tapes anymore, we will be sending online programmes, finished programmes via hard disk and all that. So if you ask me, it is moving forward. In terms of content, for Suria, we are still lacking.

 

I would like to envision that our programmes will be shown not only in Singapore, but probably in Malaysia or Indonesia or even other countries. Even though it is being dubbed, but visually people will know that it is from Singapore. I would love to see that. To be fair they are moving forward, but I hope it is not too slow, just that. Content wise, the problem with the content is that probably they need somebody else to do and say it is successful then they will follow suit. But when we try to produce something which is out of the box from what they are doing now which is out of their comfort zone, they will usually reject. Sometimes we see that the successful concept that is being done by other stations is almost like ours, but they still rejected it. But after seeing the concept is successful, then they will follow suit. I think it is not healthy, we really need to be proactive about new stuff, not follow suit others. I am not talking about Suria only, I am talking about other channels as well.

 

You can see. We didn't have any reality shows last time, we didn't have singing competitions last time. But after Singapore Idol, after Voice, after X Factor, then they want to do. I am sure we were creative enough to think of that before that thing came out. But they are not maybe, brave enough to accept new changes or new stuff? I think that should happen regularly rather than waiting for something successful then follow suit.

 

But MDA is very proactive. They even subsidize for production houses who want to go for MIPCOM. Do you know what is MIPCOM? MIPCOM is a festival where all over the world, stations and broadcasters, they will go to Cannes to have a festival like an expo. That's where you can go as a Singapore company to sell your programme to other countries or sell your format or concept. So actually it is a networking festival. MIPCOM. They actually subsidize companies who want to go there. They are very encouraging if you ask me. But for your info, when we went there with the broadcaster or distributor, surprisingly our TV industry, to them our station is like a second or third world country station. We thought we are somebody but when BBC, KBS sees us, they will say, 'oh Singapore?', they look at us as though we are a second or third world country broadcaster, surprisingly. But we still can sell our products. A friend of mine, who has a production company actually sold his product to like Khazakhstan, second world country, third world country, but dubbed it. Still money. That means one run for one programme, one episode, they will pay about USD$300.  But we have to a programme of half an hour. if you ask me, MDA is supporting to develop the industry.

 

KCA: But do you think that MDA is doing sufficient? What do you envision the future of Singapore television to be like?  Will it be as big as the ones in the US or Korea?

 

K: I can see that. But it is not an easy thing, because we are on a multi-racial platform. In fact, if it is being done correctly, I think we can go bigger. Let's say for Malays, if the Malay industry or broadcaster is doing well, we can tag along with Malaysia, very big now, and also Indonesia. And for the Chinese, tag along with China or Hong Kong. it's good. it could be bigger, the spectrum could be bigger because we are on a multi-racial platform. But again it is the talent. We are so small, Singapore, how many talented people will be around to handle such big development or ambition. I don't see that will happen in 10 or 20 years time.

 

KCA: But it will still happen down the road?

 

K: Looking at the rate that the government or MDA is pushing it, yes I think so, it will happen. Maybe not on the broadcasting part, maybe on the film side. Film side now we are doing okay. We have film makers doing film besides Jack Neo. We have MM2 doing a lot of feature films in Singapore. I think the last one was Kiasu and That Girl in Pinafore, released 2 months back. You heard of them? MM2? The one who did Ah Boys to Men. They are quite active in film making. And MDA is quite supportive of film making other than broadcasting. Maybe film making will be making a better development compared to TV. I think in 2014 they will be shifting Mediacorp to Buona Vista, to a new place, new setup , new management, then it will take them longer to develop. But now they are ongoing, doing development.

 

KCA: With such promising development, do you have any words of advice for young budding child actors out there?

 

K: Follow your passion, if you are really passionate about this, just go with it.  Don't be afraid. if they really like this line, then just go. Don't think about what's next. I think it is much, much better right now than back then, during my time. Because if you go to school, at least now they know what to do. A friend of mine who just graduated, my student actually, but we are like friends already, after Lasalle he joined NTU, I think he is teaching aesthetic, being a teacher. Now even NTU accepts Lasalle certificates. Back then, we did not know where to go. So I think there are more avenues now, and it would be better for child actors.