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In January this year, Netflix faced a block by Indonesia's biggest internet service provider, which upset its move into the world’s fourth most populated country. The state-owned telecoms firm had concerns about the content Netflix was offering and accused it of failing to have a necessary business permit. Telekom Indonesia said Netflix needed to work with it to ensure objectionable content was removed. So much for the US company boasting that it had added 130 countries, including Indonesia, to its service – taking it almost worldwide. Was it a strategic move that Reed Hastings himself appeared at a pay TV conference get-together in May 2016 on the Indonesian island of Bali? That a last minute Indonesian government representative spoke at the conference as well could have been a lucky break.

Maybe Reed had a chance to rectify the arbitrary world domination strategy Netflix thought was a done deal. What has been a well-calculated move on the other hand is Hooq’s entry into the Southeast Asian republic three months after Netflix’s stumble. First and foremost, Hooq started on the right foot by getting a local veteran on their side. Siboro, a well-respected executive in the local telco and media industry now heads up the Indonesia operations as Country Manager, Hooq Indonesia. Siboro, Country Manager, Hooq Indonesia This who’s who in the local scene most recently served as CEO of a pay TV operator (AoraTV) and CMO of Indosat, the second largest and the only fully integrated telco operator in Indonesia. Cadence crack. It only seemed like a natural progression for Guntur, bringing what some top guns now know as mandatory local knowledge and connection to the table.

INSiGHTS magazine had the chance to catch up with Guntur for some insightful discourse that international players might want to take note of. INSiGHTS magazine: Hooq Indonesia seems to be ahead of the game in the OTT race. What do you think are the top 3 reasons for such success, seeing how Netflix has run into various snags? Siboro: Hooq believes that the key formula to win in the OTT space is payment, pricing and content.

This is not a cookie cutter winning formula but needs to be customised for each country. Those who know Asia well will know that it is not a homogenous region as each country is in different stages of growth and development, which also means they have very different needs and requirements. Hooq's proposition to the customer is to bring them the largest and best catalogue of hollywood and local content with over 35,000 hours of movies and TV series including Hollywood blockbusters and top hits from Sony Pictures, Warner Bros., Disney, Dreamworks, Lionsgate, Miramax and Starz. In order to ensure that the catalogue is relevant to the customer, each country carries a different mix of Hollywood and local content that best suits the customer demands and preferences. In addition, Hooq tries to constantly surprise customers with exclusive titles only available on Hooq and the freshest US TV series dropping in same day as the US telecast. Hooq had also announced its first original content production venture in the Philippines by way of an original mini-series based on the highly acclaimed Pinoy movie On The Job or commonly known in Philippines as OTJ.

Production of the six-episode story revolving around a hard-hitting topic in Philippine society kicked off in June. The release of this original production will also be available later this year in Indonesia.

INSiGHTS magazine: One main pull that Netflix has its original content. Will Hooq Indonesia consider this route as well? Siboro: For Indonesia, Hooq partnered with top local studios, including 13 Entertainment, MNC Contents, Multivision Plus and TRANSMEDIA, to bring to customers local high-grossing films such as AADC and Petualangan Sherina, award winners Sang Penari and Laskar Pelangi, as well as classic films, including Catatan Si Boy and Warkop, together with a host of exclusive movies, FTV movies and TV series.