{"id":220689,"date":"2026-10-22T08:07:10","date_gmt":"2026-10-22T01:07:10","guid":{"rendered":"https:\/\/www.blj.co.id\/?p=220689"},"modified":"2026-10-22T08:07:53","modified_gmt":"2026-10-22T01:07:53","slug":"when-films-become-engines-of-tourism-and-economic-growth","status":"publish","type":"post","link":"https:\/\/www.blj.co.id\/index.php\/2026\/10\/22\/when-films-become-engines-of-tourism-and-economic-growth\/","title":{"rendered":"When Films Become Engines of Tourism and Economic Growth"},"content":{"rendered":"

(Business Lounge – Travel) My encounter with Terence Cardoz, widely known as Terry in Bollywood and other international film circles, took place at the Sri Lanka MICE Expo in Colombo in October 2026. During six days of travelling in Sri Lanka, I had the opportunity to hear him share the story of his professional journey, his international business experiences, and his vision of how filmmaking can transform the fortunes of tourism destinations. Our conversations revealed a business model that brings together two industries often viewed separately: international film production and tourism.<\/p>\n

Terry is the owner of Divine Holiday Management and Divine Line Production. Through these businesses, he works in co-production and film tourism, connecting filmmakers with destinations that can accommodate their creative ambitions while helping countries promote themselves to international audiences. He believes films can do much more than entertain. They can create employment, stimulate investment, encourage trade, support local businesses, and contribute to economic growth. His contribution to international film tourism was recognized with a Global Icon Award in the Philippines.<\/p>\n

His story is particularly relevant to countries seeking new ways to strengthen their tourism industries. In an increasingly competitive global market, destinations need more than beautiful landscapes and conventional advertising campaigns. They need ways to capture the imagination of international audiences. Cinema, with its ability to tell stories and create emotional connections, offers one such opportunity.<\/p>\n

The Inspiration That Began in Mauritius<\/h4>\n

Terry’s journey into film tourism began in Mauritius, where he worked with a Destination Management Company. His experience in the tourism business introduced him to the practical requirements of welcoming international visitors, coordinating ground services, and working with hotels and other local providers. During this period, he noticed that Mauritius was also attracting film productions.<\/p>\n

The observation sparked an idea that would shape his career. If a destination could attract tourists because of its natural beauty, culture, and hospitality, it could also attract filmmakers searching for distinctive locations. The two industries shared many requirements, including accommodation, transportation, local coordination, and access to specialized services. At the same time, a film could introduce a destination to audiences far beyond the reach of conventional tourism promotion.<\/p>\n

Terry saw an opportunity to combine these activities into a single business model. He established his film production company and began developing his work in film tourism, connecting production requirements with destination management and promotion.<\/p>\n

The concept was commercially attractive, but its execution required a broad understanding of different industries. Film producers work under creative and financial constraints, while destinations must manage permits, infrastructure, public services, and the interests of local communities. Bringing these elements together requires coordination, negotiation, and relationships that extend across borders. What began as an observation in Mauritius eventually developed into an international business built around the idea that filmmaking and tourism can create mutual benefits.<\/p>\n

A Global Network Built on Relationships<\/h4>\n

One of Terry’s most important assets is the network he has developed across international markets. His initial connections came from the tourism industry, particularly hotels and ground handlers. He subsequently expanded his relationships to include tourism boards, film commissions, production companies, and government officials.<\/p>\n

These connections allow him to approach filming as a coordinated international operation. A production company may be searching for a particular coastline, mountain range, historic building, or urban environment. Finding the location is only the beginning. The production also needs to assess accommodation, transportation, equipment, local suppliers, filming permissions, and the overall cost of operating in the destination.<\/p>\n

Terry’s experience across tourism and film production helps him connect these requirements. His objective is to identify destinations that match the filmmaker’s vision while ensuring that the practical arrangements are workable.However, he acknowledges that the process can be challenging. One of the biggest obstacles is finding a budget that matches the ambitions of a production. Filmmakers may have elaborate creative plans, but the available funding can limit their choices of locations, equipment, and production techniques.<\/p>\n

Permissions present another difficulty. Some countries impose restrictions on drone operations, action sequences, and filming in particular areas. Unclear procedures or lengthy approval processes can add costs and uncertainty to a production.<\/p>\n

These challenges highlight an important distinction, a destination may be attractive to tourists without necessarily being easy for international filmmakers to use. To compete effectively, countries must combine compelling locations with efficient administration, reliable services, and clear filming regulations.<\/p>\n

Why Film Tourism Can Transform Local Economies<\/h4>\n

During our conversations in Sri Lanka, Terry repeatedly emphasized the economic potential of film tourism. For him, its significance extends well beyond the number of visitors who might recognize a location after watching a movie. A film production can generate immediate spending across numerous sectors. Hotels accommodate cast and crew members, restaurants provide meals, transportation companies move people and equipment, and local suppliers deliver technical services. Larger projects may require construction contractors, security personnel, catering companies, drivers, guides, and additional workers.<\/p>\n

These expenditures can support businesses that have little direct involvement in the entertainment industry. A local transport operator, for example, may benefit from a production crew working in the area, while small accommodation providers and restaurants can gain additional customers during filming.<\/p>\n

The longer-term opportunity comes from the film’s ability to showcase a destination to international audiences. Viewers may become interested in a beach, mountain, city, or historic site featured in a production. That curiosity can eventually translate into travel, benefiting tour operators, airlines, hotels, restaurants, and local attractions.Unlike conventional advertising, films introduce destinations through stories. Audiences encounter places as part of a narrative, potentially developing an emotional connection with the landscape and culture portrayed on screen.<\/p>\n

Nevertheless, the economic benefits are not automatic. International exposure must be supported by accessible transportation, quality tourism services, destination management, and effective marketing. Countries also need to ensure that local communities and businesses can participate in the opportunities generated by production spending and subsequent visitor demand.<\/p>\n

Terry believes governments can encourage this process by offering cash incentives, facilitating permits, supporting production logistics, and providing competitive accommodation arrangements. Such measures can make destinations more attractive to producers deciding where to invest their budgets.<\/p>\n

International Projects and Recognition<\/h4>\n

Among the projects that Terry considers particularly meaningful is his film KARMA<\/em>, which was shot in New York and received multiple international awards. The project became an important milestone in his career and demonstrated the demands of coordinating creative ambitions with international production requirements.<\/p>\n

He also worked on a music video filmed in Thailand that attracted more than 140 million views. The scale of that audience illustrates how audiovisual content can reach people across national boundaries and introduce them to locations they may never have considered visiting.<\/p>\n

For destinations, such exposure can be valuable because it combines entertainment with an indirect form of promotion. Viewers may discover unfamiliar scenery, architecture, or cultural settings while watching a film or music video, then seek additional information about the locations.<\/p>\n

Terry’s Global Icon Award in the Philippines further recognized his contribution to international film tourism. His professional experience has reinforced his belief that the film industry can become a practical partner in destination development, particularly for countries looking to expand their international visibility.The wider objective is to encourage productions to explore destinations beyond the established filming center. Countries with distinctive landscapes and cultures can potentially attract more projects if they provide the right commercial and administrative environment.<\/p>\n

Why Some Destinations Compete More Aggressively<\/h4>\n

Terry has observed that countries approach film tourism differently. Destinations with already well-established tourism industries may not always place a high priority on attracting film productions. Their existing international reputation and visitor demand can reduce the perceived urgency of competing for projects.<\/p>\n

Other countries are more proactive because they see filmmaking as a means of accelerating economic development. They may offer financial incentives, government assistance, subsidized accommodation, or support with location arrangements and permits.The competition is not based on scenery alone. Producers compare filming costs, regulations, infrastructure, safety, accessibility, and the reliability of local services. A destination with beautiful landscapes may lose a project if the administrative process is complicated or the production costs are substantially higher than those of competing locations.<\/p>\n

For emerging destinations, this creates an opportunity to differentiate themselves. A well-designed film policy can help reduce uncertainty, improve coordination, and make it easier for production companies to evaluate the commercial benefits of filming in a particular country.Terry wants to develop larger-budget productions and direct them towards destinations that could benefit from the additional business activity. Rather than concentrating projects exclusively in countries that already dominate international production, he hopes to create opportunities for places seeking stronger tourism demand and broader economic growth.<\/p>\n

New Productions in the Philippines and Hungary<\/h4>\n

Terry is currently working on a musical and a motorcycle action film planned for production in the Philippines, as well as a horror film intended to be shot in Hungary. Each genre offers different possibilities for destination promotion. A musical can showcase landscapes, architecture, and cultural settings through performances and visual storytelling. A motorcycle action film can highlight roads, coastlines, and distinctive urban environments, while a horror production can use forests, historic buildings, or atmospheric locations to establish its visual identity.<\/p>\n

For the producer, choosing a location is a creative and financial decision. The destination must serve the story while meeting the practical requirements of the production. For the host country, the project can generate immediate expenditure and provide international exposure through the eventual release.<\/p>\n

Terry’s ambition is to move towards bigger-budget projects and bring more of them to countries that need additional economic opportunities. Achieving that goal requires strong relationships with production companies, governments, tourism authorities, and local service providers.<\/p>\n

Indonesia’s Opportunity to Enter the Global Film Tourism Market<\/h4>\n

Indonesia was another important subject in our discussions. Following a recent visit to Jakarta, Terry identified considerable potential in the country’s geographical and cultural diversity. Indonesia offers tropical islands, mountains, coastlines, forests, historic districts, modern cities, and cultural environments that could accommodate a wide range of international productions.<\/p>\n

These assets could appeal to filmmakers producing action movies, romantic dramas, adventure films, horror stories, musicals, and international television programs. Indonesia’s distinctive cultural heritage also offers opportunities for productions seeking settings that cannot easily be replicated elsewhere. Yet Terry raised a question that deserves serious attention, although Indonesia is an attractive tourism destination, is it equally attractive as a place to make films?<\/p>\n

The distinction is important. A country can possess excellent tourism infrastructure but still present difficulties for production teams. Filmmakers may need permission to operate drones, close roads, stage action sequences, film in protected areas, or work at locations managed by different government institutions. They also need reliable information about costs, accommodation, transportation, and the time required to obtain approvals.<\/p>\n

During his visit to Jakarta, Terry met Indonesia’s Minister of Tourism, Widiyanti Putri Wardhana, and Coordinating Minister for Economic Affairs Airlangga Hartarto. He explained the potential benefits of film tourism, including employment, investment, business activity, and stronger international visibility.<\/p>\n

According to Terry, both officials responded positively and indicated that a film policy would be drafted to attract Bollywood and other international filmmakers to Indonesia. Such a policy could become an important step towards connecting the country’s tourism assets with the global film industry. Its effectiveness, however, would depend on the final policy design, implementation, and coordination among the relevant institutions.<\/p>\n

Indonesia could strengthen its position by establishing transparent filming procedures, providing clear guidance on permits, improving coordination between national and regional authorities, and considering incentives for productions that deliver measurable local economic benefits. Cooperation among tourism boards, film commissions, local governments, hotels, and production-service providers would also help reduce the operational burden on filmmakers.<\/p>\n

The country does not necessarily need to compete only through subsidies. Its combination of diverse locations, cultural richness, and hospitality could become a stronger commercial advantage if supported by dependable administration and professional production services.<\/p>\n

From Beautiful Locations to Lasting Economic Value<\/h4>\n

The real opportunity is to treat film tourism as an economic ecosystem rather than a short-term promotional campaign. A production can generate immediate spending, but its long-term value depends on whether the destination can turn screen exposure into visitor demand, investment, and sustainable business opportunities.<\/p>\n

Indonesia could begin by identifying priority filming locations and preparing practical information about accessibility, accommodation, transportation, regulations, and available production services. Local suppliers could receive training to meet international production requirements, while tourism operators could develop itineraries around locations featured in films.<\/p>\n

The benefits should extend beyond major hotels and large businesses. Drivers, guides, caterers, small accommodation providers, craftspeople, and local communities could participate in the supply chain. This would help ensure that international productions generate economic opportunities across a wider range of businesses.<\/p>\n

\"Terence<\/p>\n

Environmental and cultural protection must remain part of the strategy. Filming in sensitive natural areas and heritage sites requires appropriate safeguards so that commercial activity does not undermine the assets that make Indonesia attractive in the first place. The objective is not simply to persuade international filmmakers to visit Indonesia. It is to create an environment in which productions can operate efficiently, local businesses can benefit from their presence, and audiences around the world can discover the country through the stories they watch.<\/p>\n

Lessons From Six Days in Sri Lanka<\/h2>\n

My six days of travelling in Sri Lanka in October 2026 provided an opportunity to reflect on the relationship between international business, tourism, and destination development. Meeting Terry at the Sri Lanka MICE Expo in Colombo and hearing him describe his professional journey offered a practical perspective on how the film industry can contribute to a country’s economic ambitions.<\/p>\n

His story began with an observation in Mauritius, developed through international business relationships, and evolved into a career connecting film production with tourism promotion. What makes his approach interesting is the emphasis on cooperation: filmmakers need locations and production support, while destinations need investment, employment, and international recognition.<\/p>\n

For Indonesia, the potential is substantial. Its natural landscapes and cultural diversity provide many of the ingredients required to attract international productions. The challenge is to turn those advantages into a competitive proposition through clear policies, efficient permits, professional local services, and partnerships that deliver value to both filmmakers and host communities.<\/p>\n

Terry’s ambition to direct larger productions towards countries seeking economic opportunities offers a useful perspective on how the global film industry can support tourism development. If Indonesia can establish the right conditions, international productions could become a source of business activity extending far beyond the filming period itself.<\/p>\n

A film may last two hours on a cinema screen, but the economic opportunities it creates can continue for years. By connecting stories with places and audiences with destinations, film tourism offers Indonesia another avenue to strengthen its international tourism position, attract investment, create jobs, and support local economic growth.<\/p>\n","protected":false},"excerpt":{"rendered":"

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