PROGRAMMING
ABU Children’s Drama Co-Production
BBS-Bhutan’s Thinley Dorji with the child talents and on the set, directing the actors.
dren’s Drama Co-Production when its series’ Executive Producer turned up to render assistance.
B
NHK-Japan’s Senior Producer Kei Suzuki was in Bhutan at the end of November to help the BBS- Bhutan team. BBS producer Thinley Yangchen Dorji, her cameraman and soundman were about to embark on their first ever children’s drama – Mr Suzuki’s timely presence gave them access to his vast expertise.
During his four days in Bhutan, Mr Suzuki helped to fine tune the script and direction of the drama. He reworked the drama script with Ms Dorji, heightening the climax scene to arrive at a good resolution.
Although Mr Suzuki assisted Ms Dorji with the direction and adjustment of shots during the filming process, he kept her in charge of the drama and its vision. This helped to boost the confidence of the BBS producer and production crew.
“Having Mr Suzuki on location and available for consultation eased my stress and anxiety,” Ms Dorji said. “He was generous with his professional advice and his keen eye for detail was very helpful. And he helped to draw out an even stronger performance from the child actors.”
42 ABU News
BS-Bhutan and RTB-Brunei recently benefited from their involvement in the ABU Chil-
NHK helps to make children’s drama
must be prepared in order to be able to complete the shot in the minimum number of takes, preferably within a single take,” Mr Suzuki said.
He added that sometimes, the crew’s intense focus on the images resulted in the natural sound being overlooked. “Dialogues and natural sound which are fully recorded will increase the quality of the drama exponentially,” he said.
“Although the BBS staff was small in number, between five and six, Ms Dorji’s enthusiasm was most impressive and I was moved by the sight of her busily running around the site and interacting with children.
NHK-Japan’s Kei Suzuki making his way to a floating village in Brunei.
Immediately after Bhutan, Mr Suzuki headed to Brunei in early December. After his stints in both countries, he offered two suggestions.
“There were instances when the acting had lost momentum after going through many retakes. So one
“RTB had a staff of almost 20 that involved a rescue team. Shooting took place at a floating village and utilised special machinery such as mini-cranes and rails.
“While there was a difference in the number of staff members, the productions of both countries were filled with the joy of creating drama and the children’s acting expressed both innocence and charm. I cannot wait to see the end result.”
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48