Respondent Profile
Out of the nine respondents only one female staff was interviewed (refer to Table 5.3). Seven
of the respondents were younger than 25-years-old, and two were aged younger than 30. Five
respondents had worked more than two years with the company, and the rest worked with the
company for between one to two years. Each respondent represented a different department
of the company, from Marketing and Sales, Modelling, Layout and Script Writing, to Animating,
Music, Rendering, and Compositing.
All respondents obtained training and education from local or international universities in a
Creative Industries discipline, and their highest education level was a Bachelor’s degree. The
majority of the respondents attended a local tertiary institution. Two respondents earned their
degrees from Malaysia Multimedia University (MMU), Cyberjaya, while the remaining staff
studied at Universiti Teknologi Mara (UiTM), Universiti Kuala Lumpur (UniKL), and Universiti
Teknikal Malaysia (UTEM). Three of the staff (Kevin, Azfarin and Safizan) completed their
diploma at private local higher institutions (two at Lim Kok Wing University College, and one at
One Academy). Later, the respondents went abroad to earn their degrees, two (Asfarin and
Safizan) went to RMIT, Melbourne, while Kevin went to University of Hampshire, UK.
Table 5.3: Respondents Profile for Les’Copaque Production Sdn. Bhd.
Respondent Post and Department Age Sex Years of
working
Education background
Ehsan Head of Marketing & Sales 24 M 3 Bachelor Degree (MMU)
Syed Head of Modelling 22 M 2&1/2 Bachelor Degree (UniKL)
Fuad Head of Layout 24 M 3 Bachelor Degree (MMU)
Ida Script Writer 24 F 1&1/2 Bachelor Degree (UiTM)
Faiz Head of Modelling 22 M 2&1/2 Bachelor Degree (UniKL)
Kevin Animator 25 M 8-months Bachelor Degree (Uni of
Hampshire, UK)
Azfaren Music Composer 26 M 2 Bachelor Degree (RMIT)
Raffe Lead and Rendering Artist 24 M 1&1/2 Bachelor Degree (UTEM)
Safarizan Head of Compositing 29 M 2&1/2 Bachelor Degree (RMIT)
This data suggests that to obtain a higher level of education, overseas higher institutions are
still major choices among Malaysian creative industries workers particularly in English
speaking countries like Australia, New Zealand, the United Kingdom (UK) and United States
(US). These countries remain the major countries for Malaysian students to get their education
due to the practical expertise of teachers, and the high quality of education in general.
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According to Verbik and Lansanowski (2007) from 1996-2006, Malaysia remained one of the
ten countries most likely to send students to Australia, New Zealand, the UK and US. The
same report stated that Malaysia is becoming one of the emerging contenders—apart from
China and Singapore—in attracting international students.
To prepare itself as a global player in the education market, the Malaysian government has
been sending Malaysian academics abroad for more than two decades. Through its Ministry of
Higher Education (MOHE), the government has been sending tutors and lecturers from public
universities overseas to obtain their postgraduate education, particularly in new areas such as
animation and tourism. On completion of their study, these tutors and lecturers return to
Malaysia as industry experts. Also, other government and semi government agencies send
their staff abroad to obtain higher education to prepare Malaysia to become a key player in the
Asian region. In five to ten years, there will be more expertise in animation and tourism in
Malaysia. However, at the moment there are not enough professionals in these two sectors.
Working Environment
When asked about the working environment at LCP, all respondents gave similar answers.
Generally, they are satisfied with the working environment at LCP due to the open concept of
the company. All respondents stress how they work as a team, like a big family, and support
each other. In television, newspaper and magazine interviews, the CEO and other directors of
the company also stress the openness adopted in their company. The company’s
management have created a relaxing environment for their staff by organising events such as
monthly themed dress-ups (see Figure 5.3.1), and company field trips around Malaysia.
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Figure 5.3b: Dress theme day “Headwear”
(Les’Copaque 2010).
In addition, the company allows their staff to work in other departments and be involved in
their film and television series. At least one senior respondent, (Fuad), has worked at two
departments in the company. Before working with the layout department, he worked with the
merchandising department. The company blog shows their staff members were also involved
in production activities like working as voice actors.
To generate creative ideas with their staff, LCP meet weekly and monthly. Also, they use other
methods—including discussion, brain storming, and in-house training—to encourage
contribution of ideas to strengthen their products. All staff members are encouraged through
many communication mediums to give ideas and comments at any time and on any aspects of
the company. Occasionally for staff development, LCP sends their staff within Malaysia and
abroad for training, and to attend conferences, expos, festivals, fairs, seminars, and
workshops. With the help of government organisations—particularly Multimedia Development
Corporation (MDeC)—the staff can upgrade their knowledge of the latest software in the
market, and sometimes are invited to speak at local and international seminars relating to
creative industries and multimedia. LCP’s official blog shows that the company is working
closely with MDeC to give their staff local and international training and exposure by attending
big events such as the Cannes Film Festival, and the IPCCA creative contest. MDeC also
provided a rendering machine to the company when they were in the process of producing
their first 3D film, and offered advice, particularly on marketing their products. MDeC has
played a significant role in providing a platform for LCP staff development, particularly at
international level.
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Evolving an animation sector that offers entertainment elements to viewers requires a more
relaxed and open working environment. As Florida (2005, 9-14) states in his book, people
working in the entertainment industry do not like rules and regulations that might prevent them
from coming up with creative ideas in their work. In order to generate high quality imaginative
ideas, people involved in the entertainment industry should be given more freedom with their
working style and environment. The working environment at LCP is designed to encourage
staff to offer their best performance in order to create products that meet the desires of the
market. Companies involved in ICT and entertainment sectors globally are known for having a
different style of management. Normally they do not have strict working hours and dress
codes. Since LCP is a private company in the entertainment industry’s animation sector, their
management style is different from the traditional modes of operation. With more than ninety
per cent of the staff under thirty-years-old, LCP has created a management style that is
suitable to their nature of work. Most staff members have an ICT background and understand
what they need and want from their workplace in order to deliver the best ideas for their
animation products. Their operation is run in accordance with the global practises of most
other animation studios. This type of management is also being implemented by other key
players of ICT companies in the world, such as Google. This is what LCP is implementing in
their daily operation and management.
Location
When I asked the management and staff about why their office was located in Shah Alam and
not in the capital city of MSC (Cyberjaya), they said that to them Cyberjaya is not the only
place to be creative in their work; they can become creative where ever they are. Syed who
represented the company’s management, responded that:
...the opportunity here is good... Shah Alam is actually a growing capital for business, so
it’s better than Cyber, because... The lifestyle... The life in Cyber is a bit, a bit secluded
and very... limited... Shah Alam is a bit in the middle of everywhere, so it’s easier...
Another reason for the company to have their operation in Shah Alam and not in Cyberjaya is
its proximity with Kuala Lumpur. While Cyberjaya is in the middle of nowhere, Shah Alam has
lively communities and societies, which is good for LCP’s products and services particularly
for its merchandising products and services. There is nothing visible and interesting in
Cyberjaya to attract people to live there. There are no trees, shopping malls, hybrid
communities, or reasons to go there, except for work.
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Figure 5.3c: Les’Copaque Production Operation Building in Shah Alam
(Les’Copaque 2010).
Many staff members have been to Cyberjaya or studied in the city before. On the evidence of
their experience, they prefer their current location rather than Cyberjaya. They enjoyed the
organic environment of Shah Alam rather than the cluster-style of Cyberjaya because their
products and services are family-focused. Shah Alam, which is a mature, developed city,
offers greater advantages, particularly in selling their merchandise. Although Cyberjaya
provides a faster Internet connection, LCP are not outsourcing their products and services,
therefore a high-speed Internet connection is not their main priority. At the moment, LCP has
no plan to move their operation to Cyberjaya because they can do their work at their present
location or anywhere they want to. However, staff members noted that despite some changes
to the city for the past five years there has not been as much change as they expected.
Importantly, although Cyberjaya has all the right facilities for ICT or animation companies to
allow effective operation, it does not have other facilities to attract people to stay there. This
needs more attention from the government.

Sector or Industry
During the interviews, management and staff talked often about creative industries and
animation while describing their field. Also, the majority discussed Malaysian culture,
particularly in differentiating their products from others. Document analysis reveals that
creativity and culture have also often been mentioned by top management, such as their CEO.
All agreed that they are primarily involved in the creative industries, with a strong element of
Malaysian culture being incorporated in their products and services. Their animation series
and 3D animated film applied Malaysian culture basically on three major ethnic groups in the
country (Malay, Chinese and Indian).
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When asked to what extent Malaysian culture is being adapted in their products, Ida stated
that:
For me, I can see that if you watched Cartoon Networks there are so many kinds of
cartoons you know: cartoons like Ben 10; and then they have cartoon like Samurai
Jack, which is from Japan. People want to see different things. I really believe that.
When you reached one level, people will get bored with all those same ideas and they
want something new, something fresh. For me, I think Malaysia is still new, is still
young and very fresh in ideas. But I really think that our content can go global because
people want to see what Malaysia wants to bring to global; they really want to see our
culture and we have Malays, we have Chinese, we have Indians. We live happily, we
live together.
Figure 5.3d: Les’Copaque main characters consisted of three major ethnic in Malaysia
(Les’Copaque 2010).
After the launch of the MSC in the 1990s, the government spent billions of dollars training
Malaysians ICT by sending them abroad, mostly to the US. One pioneer of this project, Hasnul
Hadi, who works for MDeC, reported that because the country was starting from ground zero,
building a multimedia hub took a substantial effort both in design and implementation (Plantec
2009). The government had to train a sophisticated workforce from scratch, and the country
had to start an entire university (Malaysia Multimedia University) in 1996, to ensure they could
train the people properly to handle incoming investment opportunities. To date, the
government still trains their work force with the help from local and international experts.
Further, Hadi notes that the government acknowledges China and India are more advanced
than Malaysia in many aspects, but Malaysia also wants to play a part in this competitive
sector (Plantec 2009).
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Although multiethnic culture is probably LCP’s main advantage in bringing their animation
products to the world, Malaysia should not depend on this advantage too much. At present,
many countries in the world are also claiming that they are multiethnic and religious. Soon this
aspect will not be exclusive to just Malaysia. In addition, bringing this local culture to a global
market is challenging, particularly when competing with more advanced animation products in
Europe, Japan, and the US. Perhaps the global market will not understand Malaysian culture
in the same way as the local or regional market. This could be a great challenge for LCP in
marketing market their animation products outside the region. With the strong global presence
of Japanese animation and anime for more than a decade in the market, LCP animation
products could be under threat. However, perhaps after all these years the market wants new
and fresh ideas, and LCP animation products can meet those requirements. With the positive
reaction they received from countries in India, Southeast Asia, and Turkey, there is arguably a
strong future waiting for them in this sector, although it is not without challenge.
Expectation and Future Plan for the Company
LCP has many future plans, but some cannot be disclosed during the interview because they
are still in the discussion stage. Among others, their future plans are to open a Upin dan Ipin
theme park, or franchise this concept to others. Unfortunately, LCP respondents were not
authorised to elaborate on the plan. From the document analysis gathered by this study, the
LCP CEO, Hj Burhanuddin Md Razi (Raja Azaham 2009) revealed that the company is not
going to run the operation of the theme park; rather, they will market their licence and idea to
establish the park. The CEO later commented (after translation):
Upin and Ipin theme park is what we really hope to build and we are in the process of
looking for those who are interested to make this into reality. I think it is about time for
Malaysia to have theme park with Malaysian identity, and not following Western ideas
because we have to be proud of our own product
(Raja Azaham 2009)
In the same interview, the CEO (Raja Azaham 2009) announced future plans such as Hindi
language voiceovers for certain films, their second 3D animation film, Upin dan Ipin: Angkasa
(Upin and Ipin: Outer Space), which will target the international market by focussing on global
issues, and a film called Zaitun, a biopic about Malay singer, Zaitun Sameon.
Respondents also were asked about their expectations and hopes for LCP, and all had
different answers, but with the same basic themes. Some hoped to make their company a
Malaysian World Disney (Ehsan); to become Malaysia’s key player in multimedia productions
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and special effects (Syed); to show the Malaysian multiethnic culture to the world (Ida); to
expand into the global market (Fuad); to venture into different products like action films,
magazines, and comics in the same way as Pixar and Disney (Faiz); to become a Malaysian
icon that binds all Malaysians together despite their differences (Azfaren); to become more
competitive with other international companies, and to become well-known like Pixar (Rafee);
and to create more job opportunities for Malaysian multimedia graduates (Saff).
Musical composer, Azfaren gave a slightly different answer:
We have Malays, Chinese and Indians, so it is so complex and there’s nothing that
binds everyone together. There’s nothing like one Malaysian icon, so we want to
create something for this, you know. So it’s a big mission, lah. So it’s not just cartoon.
I’m so proud to be part of this company because we are creating something that
contributes towards this. Everybody contributes. We don’t have to be doctor or
engineer. Creative people also can contribute something, so at least it shows that we
are, we Malaysians are balanced; we have the creative side and other side, so we
have that balance. We want to show that creative people also can contribute
something to the country.
These expectations coincide with those of most people in the animation sector. No
respondents gave answers that differed that greatly from one another. This showed that the
staff expected the company to focus on expanding their products and services around the
animation sector, including expansion into other animation-related sectors. While their scope
of interest is mostly limited to animation, this is good since they are focussed on their sector
and playing to their strengths. Their expectations are realistic and achievable for their
company.
There has been positive progress in much of LCP’s plan at the time of writing this thesis.
Some of their future plans are connected closely to animation sector, and some are not
directly connected to the sector. Special caution must be given to their plan to diversify their
products and services because as a young company they should concentrate on building up a
solid foundation rather than expanding in the areas that they have no expertise in. Since the
animation sector is a highly competitive sector—particularly when considering mature and
advanced countries in the region such as China, Japan and South Korea—LCP’s plan for their
future should be different from what these countries are offering in the market. Working
together with companies from these countries means building strong connections with the
sector in those countries. This is discussed in detail later in this chapter.
Company’s Mission
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Generally, all respondents were found to be working towards the company’s mission and
objectives. Among the objectives mentioned are, showing the Malaysian public about the
potential of creative industries; creating a platform for young creative talents to practise and
show their creativity; acting as a stepping stone for their staff to start their own business in
creative industries; and introducing Malaysian multiethnic culture to the world.
All the staff stressed the company’s mission to showcase Malaysian culture through globally
released feature films. Azfaren associates himself closely with the company’s logo which is
the frog under the coconut shell:
I do... because, especially with our logo... frog...”katak bawah tempurung” (Malay
phrase to describe frog under the coconut shell), I always thought about that you
know... Especially for Malays, they have to be more open minded. I feel like, I’m
comfortable with this, so that’s why I’m here and work here rather than working abroad,
because I don’t see myself just as a music composer, but as Malaysian... And to keep
our culture alive, like recording our culture, so we have this, this recording how these
kids growing up in kampong... This visual makes me feel arrr... being part of it...
In the many newspaper interviews done with LCP’s top management staff, this point has
always been stressed—Malaysia’s culture is the important element they wanted to express in
their creative and animation products.
On the company’s portfolio from their website, and in an interview with InTECH, a local
technology magazine, the Creative and Marketing Director of LCP, Mohd Nizam Abdul Razak,
(Patrick 2008) was reported as saying he believes international markets will be interested in
Malaysian culture. Further, LCP wishes to produce more IPs, and assist more companies in
Malaysia to get involved in animation and multimedia products.
Creative Industries Development in Malaysia
When asked their opinion on the development and progress of the creative industries in
Malaysia, all respondents gave positive answers. At the same time, they also realised how
competitive this sector is, and that there is more work to be done in order for their products to
compete on the international market. Ehsan who represented the management of the
company observed:
Creative Industries is actually exhilarating because the work and the development you
see right now right, it’s up significantly for the past three years. We have a lot of
animation works to be looking forward to actually. All of it is not being mentioned yet
because it is not finalised yet, but it has a greater future in animation as well in other
aspects in Malaysia.
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When asked what makes their products more successful than other animated films and
television series produced in Malaysia, the staff argued that their company’s products are
what the public wanted, that they had quality products due to three years of market research,
the right timing and luck, and unique characters.
As Saff responded:
I think perhaps because Upin and Ipin are cute (laugh) Maybe, lah, because if you ask
the school children, right, we had several research on our film, it is not like... It is not
one year project. We started in 2005, after three years, after we had tested the market
and all, after feedback, now only we managed to reach this level, lah. Because the
important thing is the pre-production, lah. Our management also played their role.
The LCP staff seemed to have high confidence in the growth of animation sector in Malaysia
and the rest of the region, especially with their products, which they said are different from
what the market currently offers. However, because their products are different and include a
strong element of Malaysian culture, it might be harder for them to enter a bigger market. The
countries around the region are bombarded with western films, TV series, books, comics,
magazines, and merchandising that are aggressively being marketed. Malaysian cultural
elements that LCP embed in their products could be problematic for audiences from other
countries to understand (Muthalib 2007). Nevertheless, LCP animation series and 3D films
have received significant positive responses from South East Asian audiences and other
Asian countries. This is a good sign that their products could be marketed further, at the very
least in the Asian region.
Today, LCP is still depending heavily on the government and other Malaysian private
companies for funding and support, without which, their growth and expansion could be
affected. They have identified this issue and are starting to find their own financial resources
with international companies from China and South Korea (3D World Magazine 2010, 70). By
working together with the companies from these countries, LCP can study the market and
learn about animation sector development in these countries. This can ensure that LCP
remains competitive in the region, and becomes more productive with their products and
services. However, competing with established animation products from developed countries
is not a particularly easy task. Even with continuous support from the Malaysian government
and private companies, LCP faces a significant struggle to compete with other animation
companies in the region and world.
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Another market that the government is approaching and promoting is the global Muslim
market. Recently, the Malaysian government has moved in promoting and developing the
country to become a world “halal hub”—a smart move considering its steady growth. Halal is
one of the most important concepts in Islam and it means “permissible” with a market
estimated worth US$150 billion (Fischer 2008). The concept covers food as well as non-food
products and aspects such as slaughtering, storage, display, preparation, hygiene and
sanitation (Shafie & Othman 2006). The Malaysian government has initiated many projects to
become the market leader for halal products and services, including Islamic finance and
insurance. MDeC has worked together with Al-Jazeera to produce the animated television
series, Saladdin (the story of a famous Muslim war hero and his clash with the Crusaders in
Jerusalem). While the Malaysian private sector is also playing an active role in projects such
as The Islamic Fashion Festival (Pak 2009), the adaptation of Islamic finance practices by
Malaysian commercial banks (Rosly & Abu Bakar 2003), and halal cosmetics for Muslim (Abd
Aziz, Amin & Isa 2010). Malaysian content products are suitable for the Muslim market. With
low levels of violence and almost no obscenity—particularly in their animation, film and
television products—Malaysia can enter this niche market with little difficulty. In fact, one of
the main creations from LCP has Muslim characters, and their scripts are influenced
substantially by Malaysian Muslim lifestyles. However, not all market players in Malaysia are
keen to be associated with its culture. Some refuse to be recognised as Malaysian and avoid
associations with its cultural image.