Malaysian Drama Production Costs Stagnant for 30 Years, Producers Stick to Safe Genres

The production costs for Malaysian dramas have remained unchanged for three decades, a situation that industry stakeholders find increasingly challenging. Despite the growth in the drama production sector for both local television stations and streaming services, the financial investment per episode has not kept pace with inflation or the rising cost of living.

Datuk Azmir Saifuddin Mutalib, CEO of the National Film Development Corporation Malaysia (FINAS), highlighted the stark cost difference between local productions and international counterparts. Malaysian dramas typically receive RM40,000 to RM60,000 per episode from government and private TV stations, while streaming platforms like Viu, iQIYI, and Netflix allocate RM150,000 to RM200,000. In contrast, dramas from the United States and South Korea can cost between A$100,000 and A$200,000 per episode, often due to their global viewership.

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Complaints from local producers are that costs have not increased in 30 years, remaining the same from the 90s until now.

Azmir noted that the stagnant costs are a significant hurdle for local production companies. "Complaints from local producers are that costs have not increased in 30 years, remaining the same from the 90s until now," he stated. This lack of investment discourages companies from producing ambitious or complex series, leading them to stick with safer, more commercially viable genres such as romance, infidelity, and family dramas, which are perceived to guarantee audience reception.

He further commented on the role of television stations in determining content, suggesting they are best positioned to gauge audience demand through trial and error. Azmir believes TV stations need to evolve, citing examples like the BBC and ABC channels, which have transformed from news broadcasters into producers of documentaries and children's content, respectively. He urged Malaysian broadcasters, such as RTM and private channels, to similarly adapt and innovate in their content creation strategies to meet changing audience expectations and foster a more dynamic industry.

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I am sure they have also allocated large funds for complex dramas that did not receive a response. But stories that lean more towards romance and infidelity are the ones that receive a response.