Learn Your ABCs: B for Bince Mulyono


Bince Mulyono, who prefers to be known as Binz, is somewhat of an anomaly among her generation. Now in her mid-50s, Binz has never been married. She has always been more comfortable conversing about work and planning future collaborations, and finds it hard to make small talk. Whether through a string of coincidences or destiny, Binz became a career woman. She climbed ladder after ladder — retail, insurance, corporate — before finally entering the film scene as a site producer under the tutelage of award-winning Indonesian film director Garin Nugroho.

Binz is not someone who leaves a strong impression — unless you pay attention. At a party, you’ll find her sitting closer to the corner, not quite because she’s shy but because she simply prefers to observe: studying the people around her and analysing how they interact with each other. Beneath her calm and gentle demeanour is a remarkable woman with a great sense of adventure and the wisdom to navigate any place she sets her foot in: the jungles of Kalimantan, the dirty alleyways of Jakarta, the bureaucratic offices of Indonesia’s governors, or even the then Tsunami struck villages of Aceh.

I remember meeting Binz for the first time in 2010. She was hosting a screening of Metamorfoblus, her documentary featuring Indonesian rock band, Slank, known for their devoted fan base, explicitly political lyrics, and a long history of drug abuse. When the screening ended, she made her rounds to thank everyone who came to the screening. I could tell she was exhausted but she still had the biggest smile on her face. She greeted every Slank fan who came, shook their hands, and attentively listened to their stories of how Slank had been a big part of their life.

This interview was originally conducted in Bahasa Indonesia and has been translated, edited ,and condensed for clarity. For the original Indonesian transcript, please see below.

Leonie      You were not trained in the film industry. How did you become a producer?

Binz      I believe everyone has their own path. After graduating from college, I started my career in retail working for Guess and then Benetton. Unexpectedly, I was then offered a position at an international insurance company from Australia. I joined the company and stayed there for 6-7 years until they went bankrupt. After that, I was again, unexpectedly, offered a job at a production house founded by Indonesian director, Garin Nugroho. 

My first job in the film industry was to accompany one of the actors, Anjasmara, during the entire shooting period. The only brief I was given was to keep the actor entertained so he’d be agreeable to the shoot timeline, even if it meant shooting until the wee hours of the morning. I’d chat with him all the time and made sure his requests (usually food cravings) were fulfilled. I wasn’t his manager but not quite his assistant either.

My first actual project was organising a film workshop for high school and college students. I had to lead different teams — from the cameraman, the editors, and even the mentors from Institut Kesenian Jakarta (the Jakarta Art Institute) — without prior knowledge of films at all. Back then, all I knew was how to watch and enjoy movies. It was quite nerve-racking. Fortunately, the event was quite successful and Mas (a Javanese term to address someone older, similar to an elder brother) Garin offered me a full-time position as his staff.

I remembered — after I accepted the position — he called me and 2-3 other newcomers to the meeting room and started lecturing out of nowhere. He taught us very basic stuff like what different film genres there are and operational and production processes. He delivered three years' worth of film school education in just one orientation session.  And then he immediately sent us to the field.

Leonie      Like when you were sent to Aceh?

Binz      Yes. The tsunami had hit Aceh in December 2004; right around mid January 2005, Mas Garin asked if I wanted to go to Aceh. I remember the conversation very well. He said, “I’m sending you to Aceh. It’s only for three days. You can help set up the operation, find accommodation, logistics, etc. for the film crew that’s coming.” I was shocked, “Aceh? For three days?” I was scared because the situation had not calmed down yet: earthquakes were still happening and the situation was still quite tense. But I went anyway. As it turned out, my time at Aceh really changed me as a person.

I saw with my own eyes how we can really lose everything in a matter of seconds — people who lived in big houses but still ended up with nothing, people who wore thick gold bracelets but ended up lying dead on the street. Parents lost their children. Children lost their parents.

Binz's first Aceh visit in 2005 following the December 2014 tsunami.

Binz's first Aceh visit in 2005 following the December 2014 tsunami.

Meeting Jackie Chan and Miss World in Aceh, 2005.

Meeting Jackie Chan and Miss World in Aceh, 2005.

In fact, one of my local crew [members who] had only recently brought his wife to Aceh to meet his parents had also lost his wife and kid. He saw both of them swept away by the water. It was really sad.

Witnessing all that made me realise how insignificant humans actually are — we’re nothing compared to the force of nature. Amidst all the destruction, I also saw what people would describe as miracles. I saw with my own eyes how various houses of worship managed to withstand the earthquakes and the tsunami. Many of them were located at the heart of the settlement that was hit the hardest. Everything else perished but the houses of worship remained, be it mosques, churches, or temples. Whether I wanted to or not, I slowly came to accept the magnitude of God’s power and how, at the end of the day, all religion truly leads to the same creator. Perhaps that’s why I could never grasp how people use religion to easily explain what happened in Aceh. If the tsunami in Aceh was indeed a warning from God, it wasn’t a warning to a specific religion but to everyone.

Leonie      You witnessed all that in three days?

Binz      Well, the three day assignment was extended to a year. Initially, I only produced short films for the refugees still living on campsites. The objective was to provide entertainment and provide what little comfort we could to the refugees since many of them were distraught and traumatised by the event.

We would prepare a script and ask them to act in the movie. The script was always very short and simple, like learning how to wash your hands properly, prepping a meal, washing clothes etc., so they could easily act out the roles. We’d shoot in the day, edited the raw footage in the evening, and then screen the movie the next day. It was incredible to see the survivors laughing and enjoying themselves even if only for a moment.

You know, Mas Garin never asked if I wanted to stay. He just kept sending more crews and assigning us more projects. I only packed for three days so I was very unprepared. None of the stores were open and I had to ask the Jakarta team to send all my stuff over. They even bought me a new bag because I couldn’t find any here!

In that one year, we travelled to various campsites and were always on the move. It wasn’t always easy to enter those sites. We encountered a few rejections too. The residents were suspicious of outsiders, but it was part of my responsibilities to get us in even when we were rejected.

Filming with United Nations Development Programme (UNDP) in Aceh, 2015.

Filming with United Nations Development Programme (UNDP) in Aceh, 2015.

Leonie      And just how did you do it?

Binz      During my time there, Mas Garin taught me a lot of local wisdom. I used to call him and asked for advice but he would only say, “When in Rome, do as the Romans do.” Since it was custom for women to wear hijabs in Aceh, I began to don a hijab. I wasn’t used to wearing a kerudung so I’d only wear it when I needed to visit locations or meet people and I’d take it off as soon as I got into the car. It was so hot! I’m used to it now but it was really hard then.

Leonie      Let me get this straight: you were thrown into ground zero without knowing the landscape and somehow miraculously managed to get connected and find the resources you needed?

Binz      Well, you need to ask questions and be creative to get things done. I would visit all the offices, community centres, and whatnot to introduce myself. One time I needed dancers so I stopped by the cultural centre and asked them to come by our office. We didn’t actually have an office then so I had to rush and find rent a space for 40 million rupiah a month to host our contacts and guests when they stopped by. It was through those meetings I ended up hiring my assistant. She was very bright and easy-going. She became my bridge whenever I stumbled into a language barrier. Acehnese have their own accent and dialect and the language bears little resemblance to the Indonesian language. I can understand Malay easily but Acehnese is something I can’t quite grasp even till today.

Leonie      Let’s talk about your team. How big was your team in Aceh?

Binz      There were 16 of us. I was the only female; the remaining 15 were male.

Aceh Expedition with Nespresso & Jungle Run Production.

Aceh Expedition with Nespresso & Jungle Run Production.

Leonie      How were the dynamics?

Binz      Well, it’s like a mother hen caring for her chicks. One of my editors was almost divorced during his time in Aceh and I had to step in as a third party. His family back in Jakarta needed money urgently but they thought they could only get paid at the end of the project. They fought a lot as a result. I had to scold him for not checking with me before matters got worse, then I [arranged to ] make sure his wife received his pay every month.

During the fasting time, we also often got in trouble because some of the crew members would eat out on the street instead of in the car. I became the middleman and solved any conflicts that arose between the locals and my crew.

Leonie      And how did you deal with conflicts that came your way?

Binz      If you’re dealing with someone who is explosive and can’t contain their anger, it is always best to keep quiet first. If they rant, just nod and listen. The first words out of my mouth would always be an apology even if we were not at fault. I’ll try to handle the situation calmly and slowly explain the misunderstanding to the other party. Usually, they’ll end up inviting me and the crew to eat dinner at their homes after. Of course, this concept of understanding local wisdom is not something unique to Aceh. I carry this philosophy at the back of my mind and apply it to every situation I find myself in. As a producer, my main responsibility is to ensure that shoots can go on without a hitch regardless of any hiccups that may come up. And in order to do my job well, I had to learn to navigate both street politics and formal bureaucracy.

Leonie      Street politics? Can you elaborate?

Binz      [laughs] Welcome to Indonesia. Say you want to shoot in a warehouse in area A. You don’t only need to get permission from the warehouse owner and the local government. You also need to know which street gangster is in charge of the neighbourhood and the parking lot. A month before the actual shoot, I’ll casually walk around the area and drop by nearby warung (coffeeshops) to get information. Then, I’ll invite all the street gangsters, the owners, the local district officials, and the police to a meeting to negotiate a “package” price to shoot in the neighbourhood. I’ll make sure to bring one or two folks from the warung to the meeting too as my back-up.

Leonie      It seems you learn on the job with everything you do. Is there anything you learned from your university education that is applicable to the work you do now?

Binz      I handle a lot of legal contracts, so you can say that relates to my college education. But, honestly, everything I know, I learned myself or was taught by others on the job. I graduated with a degree in law — criminology, to be exact. I wanted to be a fashion designer but my dad forbade me from attending fashion school. He’d often tell me, “Why did I send you to expensive schools if all you want to be is a seamstress?!” He couldn’t understand the difference between a fashion designer and seamstress; it was all the same to him. He came from a much older generation so the only acceptable professions to him were a doctor, lawyer, or civil officer.


Leonie      Do you have any regrets about not following your dream?

Binz      That desire to be a fashion designer is still here, but I can’t really design for others, so whenever I design clothes, I only do it for myself. I often buy fabrics and ask a seamstress to sew my designs. Honestly, if I could turn back time, I would beg my dad to send me to fashion school. [But] I don’t really have regrets. Sure, I get frustrated, especially when I see how much the Indonesian fashion scene has grown. Nevertheless, if I look back on my life, I have no regrets.

Shooting with Seahorse (Ghost Fleet) from U.S.A, October 2016.  

Shooting with Seahorse (Ghost Fleet) from U.S.A, October 2016.  

I like being in the film industry. I like what I do as every project has its own challenges. I get to work with a completely different team in a completely different location. It’s fun! I always learn a lot and end up making friends from all over.

More importantly, I really do believe everyone has their own path. I didn’t even want to take law. It was my last option, one that was suggested to be me by the admin at my high school. I wasn’t sure what to fill for my last option so the staff just casually told me to fill it with law at a university in Solo.

Funnily enough, when I [visited] the campus on my first day, I had a sort of déjà vu. I’d never been to the campus but I felt as if I had been there before. I told my friend, “Hey, I think if we go up this staircase, head to the third floor, and turn right twice, we’ll reach a musholla (musalla).” I saw it in my head like I knew the place. And true enough, when we went up, we found the musholla. I took it as a sign that it was meant to be.

Leonie      I take it you believe in nasib (fate)?

Binz      Yeah. Nasib (fate) and takdir (destiny). [That] there are destinies you can’t change and fate that you can change. I truly believe we can change our fate with prayer. We just don’t know when that fate will be changed.

Bince Mulyono is the second interviewee of Learn Your ABCs, an original series by Public Culture. This interview was originally conducted in Bahasa Indonesia and has been translated, edited ,and condensed for clarity. For the original Indonesian transcript, please see below. Illustrated by Ivana Belianska

Leonie      Tante Binz tidak ada background di dunia perfilman tapi tiba-tiba masuk ke dunia itu. How did you end up as a producer?

Binz       Aku percaya semua orang tuh  memang punya jalannya masing-masing. Sebenernya, aku dulu ingin jadi fashion designer tapi tidak dibolehkan bapak. Aku lulus dari fakultas hukum, bidangku sebenernya kriminologi. Tapi setelah kuliah, mungkin memang masih suka fashion, jadi aku masuk ke dunia retail. Aku kerja di Guess dan Benetton. Dengan tidak terduga-duga, aku ditawari pekerjaan di international insurance yang aslinya dari Australia. Aku tetap dengan perushaan itu selama kurang lebih tujuh tahun. Setelah bangkrut, entah darimana, aku ditawari kerja di production house nya Mas Garin. Beliau adalah sutradara Indonesia yang termasuk dikenal juga, tapi mungkin kurang dikenal di lingkaran luar.

Pekerjaanku tuh jadi teman bicara Anjasmara. Selama periode shooting. Pekerjaanku hanya disuruh jadi teman ngobrol supaya dia tidak bosan dan mau ikut shooting sampai subuh. Dia bosan pokoknya aku turutin. Manager bukan, asisten bukan.

Projek pertamaku setelah itu disuruh meng-organise workshop perfilman untuk anak kuliah dan SMA. Memang aku memegang banyak tim yang ikut membantu: tim editor, tim kamera, mentor-mentor dari IKJ, tapi deg-degan juga karena aku tidak tahu apa-apa soal film. Tahunya cuman nonton film! Kebetulan, acaranya dinilai cukup sukses dan aku officially diterima jadi pegawai tetap Mas Garin.

Aku ingat, ketika aku diterima, aku beserta 2-3 anak baru yang lain tiba-tiba dipanggil ke sebuah ruangan untuk meeting. Dia langsung mulai mengajar … mulai dari yang dasar seperti perbedaan genre-genre film sampai proses pembuatan film, proses produksi, dan sebagainya. Kuliah film tiga tahun itu dia ajari kami dalam satu hari orientasi. Setelah orientasi itu, kami langsung diterjunkan ke lapangan.

Leonie      Seperti waktu dikirim ke Aceh?

Binz      Iya. Jadi, Tsunami di Aceh itu kan December 2004. Persis pertengahan January 2005, Mas Garin menawarkan aku untuk ke Aceh. Aku masih ingat percakapan kita. Dia bilang,  “Aku kirim kamu ya ke Aceh. Tiga hari saja. Pokoknya cari tempat buat set-up dan lokasi untuk anak-anak tinggal.” Aku kaget, “Hah? Tiga hari?” Takut juga karena waktu itu kan masih ada gempa, masih banyak korban, dan situasi belum juga tenang. Tapi, memang di Aceh itulah aku berubah menjadi pribadi yang berbeda.

Aku melihat dengan mataku sendiri bagaimana kita bisa kehilangan semuanya dalam hitungan detik. bagaimana orang bisa punya rumah besar dan megah tetapi semuanya lenyap dalam hitungan detik, orang dengan kencrengan emas yang mati dan terbaring di jalan. Orang tua kehilangan anaknya, anak kehilangan orang tuanya. Terus ada juga crew lokasiku yang baru saja membawa istrinya ke Aceh untuk diperkenalkan ke orang tuanya. Dia harus melihat sendiri isterinya dan anaknya terbawa arus air juga. Memang sedih sekali.

Tapi, melihat semua itu membuatku sadar bahwa ternyata kita tuh ya ga ada apa-apanya, apalagi kalau dibandingkan dengan alam. Di samping semua kehancuran itu, aku juga melihat banyak … apa ya … mungkin orang akan bilang itu keajaiban. Aku melihat sendiri rumah ibadah yang tetap berdiri kokoh di tengah-tengah pemukiman yang sudah rata. Ya masjid, gereja, kleneteng – semua tidak ada yang hancur. Mau tidak mau, aku pun jadi menerima kekuatan Tuhan dan bahwa agama itu ya sebenernya sama saja, semuanya berbalik ke Tuhan yang sama. Makanya aku tuh suka bingung kalau orang sudah bawa-bawa agama untuk menjelaskan apa yang terjadi di Aceh. Kalau tsunami itu tanda dari Tuhan, ya bukan untuk menghukum sekedar satu amaga tetapi semua manusia.

Leonie      Tante melihat itu semua dalam tiga hari?

Binz      Yah, projek tiga hari itu akhirnya jadi setahun. Awalnya, aku hanya dikirim untuk membuat film dengan refugees di camp yang juga akan diputar untuk meng-entertain refugees itu. Kita mengajak main refugees itu untuk berperan dalam film pendek dengan naskah yang kita buat di tempat. Ceritanya sangat simple… cara mencuci tangan yang benar, cara menyiapkan makanan, dan sebagainya. Pokoknya, apapun yang dapat mereka perankan dengan gampang. Kalau kita shoot hari ini, malam kita edit, dan besokannya akan kita tayangkan di refugee sites itu. Goalnya ya hanya untuk menghibur survivors-survivors itu karena pada saat itu masih banyak masyarakat yang trauma dengan air. Banyak juga yang masih susah komunikasi karena mereka masih memproses dan belum siap untuk bicara.

Noni tahu, setelah tiga hari lewat, Mas Garin bahkan tidak bertanya apakah aku masih mau tinggal di Aceh. Dia langsung mengirim crew film yang lain, dana, dan semua kebutuhanku. Baju yang aku pack itu hanya untuk tiga hari. Jadi aku harus minta tolong tim di Jakarta untuk mengirim baju, tas, dan semua kebutuhan keseharianku karena masih belum ada tempat untuk belanja.

Selama setahun itu, kita selalu pindah-pindah lokasi. Mulai dari refugee camps sampai ke pemukiman yang terpelosok. Kadang, tidak gampang juga untuk masuk ke tempat-tempat itu. Ada penolakan juga. Mereka tidak percaya sama orang luar. Tugasku yah mencari jalan untuk masuk meskipun ditolak.

Leonie      Jadi bagaimana caranya?

Binz      Dari situ aku diajari oleh Mas Garin tentang local wisdom. Aku suka nelpon dan minta tolong Mas Garin tapi dia cuman akan bilang, “Dimana kamu berada, kamu harus seperti orang itu.” Kalau di Aceh orang pakai kerudung, ya berarti aku pun harus pakai kerudung – meskipun saat itu aku belum terbiasa pakai kerudung. Biasanya, aku pakai kerudung hanya kalau harus ketemu orang, lalu begitu sampai mobil, aku langsung lepas lagi kerudungku. Panas! Yah, kalau sekarang sih sudah biasa.

Leonie      Let me get this straight, tante Binz dikirim ke ground zero, tidak kenal siapa-siapa, tidak tahu landscapenya bagaimana, tapi tante tetap berhasil ketemu koneksi dan sebagainya?

Binz      Ya, harus kreatif dan berani bertanya. Aku sering ke kantor-kantor, pusat kebudayaan, wartek, apapun deh, untuk kenalan. Waktu itu aku butuh penari, jadi aku ke tempat kebudayaan  dan mengajak mereka untuk main ke kantor. Sebenernya lagitu belum ada kantor, jadi aku harus buru buru cari kantor juga. Kita sewa kantor yang setiap bulannya bayar 40 juta. Melalui itu, aku bertemu asistenku di Aceh. Dia kerja di Balai Kebudayaan dan sering datang untuk ngobrol. Orangnya ramah dan ceria. Dia menjadi jembatan bahasaku ketika aku harus masuk ke pemukiman dan berkomunikasi dengan penduduk setempat. Bahasa Aceh itu bahkan tidak mirip Bahasa Melayu. Kalau Bahasa Melayu, ya kita masi ngerti lah ya. Pronounciationnya (Bahasa Aceh) pun aku masih ga bisa sampe sekarang. Susah.

Leonie      Let’s talk about your team. Tim di Aceh itu seberapa besar?

Binz      Sekitar 16 orang. Aku perempuan sendiri. Yang lain semuanya laki-laki.

Leonie      Bagaimana dinamikanya?

Binz      Ya kayak ibu-ibu ngurusin anak banyak aja. Ada editor aku yang pernah mau diceraikan sama isterinya. Dia perlu uang dan mengira bahwa uangnya hanya bisa didapat setelah selesai projek. Mereka ribut terus. Aku marahi editorku itu, kok nggak ngomong. Aku jelaskan bahwa ya kalau dia memang perlu, aku bisa atur supaya uangnya keluar duluan. Jadi gajinya kukirim penuh ke isteri setiap bulan.

Kalau bulan puasa, kita juga sering dapat masalah karena anak-anak makan di warung dan tidak masuk ke mobil. Roleku jadinya untuk membantu menyelesaikan-masalah di lokasi antara crew dan masyarakat setempat karena perbedaan kultur. Pokoknya ada masalah, ya aku di depan.

Leonie      Dan bagaimana cara tante Binz meng-handle konflik yang datang?

Binz      Kalau menghadapi orang yang lagi marah terus, paling bener ya didiemin dan didengerin aja. Kalau dia marah-marah, pokoknya aku siap ngangguk dan dengerin. Perkataan pertama yang keluar dari mulut aku selalu permohonan minta maaf. Suaraku sengaja low dan pelan-pelan aku mencoba menjelaskan kesalahpahamannya sampai akhirnya mereka jadi akrab denganku dan mengundang aku beserta crew untung datang makan. Bukan hanya di Aceh saja, tapi prinsip untuk mengenal local wisdom ini memang aku bawa kemanapun aku merantau untuk shooting. Tugas utamaku sebagai produser ya untuk make sure bahwa shooting akan tetap bisa berlangsung apapun hambatannya. Supaya aku bisa melaksanakan pekerjaanku dengan baik, aku harus bisa menavigasi baik politik jalanan maupun birokrasi pemerintah.

Leonie      Politik jalanan?

Binz      (tertawa) Yah, kan namanya juga Indonesia. Selamat datang di Indonesia! Misalkan mau shooting di daerah A, sebelum ngurus surat ke kantor RT/RW, aku harus tau dan kenal dulu preman yang megang area itu siapa. Jauh sebelum shooting mulai, mungkin sekitar sebulan, biasa aku sudah mulai mendatangi warung-warung di sekitar untuk cari informasi. Siapa si RT atau RWnya, siapa sih yang punya jalanan, siapa yang harus di amplopkan supaya shooting day nya lancer. Semua pihak (baik ketua RT/RW, polisi, maupun preman jalanan) sudah aku rapatkan dulu untuk nego harga. Kalau warga kenal sama mukaku, biasanya harga sewa lokasi jadi tidak terlalu tinggi. Aku selalu bawa satu dua orang dari warung untuk jadi back-up.

Leonie      Sepertinya semua yang dipraktekan itu belajar on the job ya. Apakah ada yang tante Binz belajar ketika kuliah yang sebenernya useful dalam pekerjaan?

Binz      Aku memang sering ngurus kontrak, baik itu kontrak asuransi ataupun kontrak film. Tapi, apapun yang aku kerjakan kebanyakan ya belajar otodidak. Sebenernya, aku lulus S1 di bidang hukum, kirimonologi tepatnya. Aku selalu kepingin jadi fashion designer tapi kebetulan ayahku tidak pernah ngijinin daftar sekolah fashion. Beliau selalu bilang, "Ngapain aku nyekolahin kamu mahal-mahal kalo cuman mau jadi tukang jahit?!" Beliau tidak bisa paham perbedaan jadi tukang jahit sama jadi fashion designer itu apa. Menurut dia sama saja. Memang beliau ya termasuk generasi yang lebih jadul ya. Bapakku taunya kan profesi itu dokter, pengacara atau petugas sipil.

Leonie      Do you have any regrets about not following your dream?

Binz      Masih ada keinginan itu sampai sekarang. Tapi aku tidak bisa merancang untuk orang lain, jadi aku melakukannya hanya khusus untuk diriku sendiri. Aku suka beli kain sendiri dan menyuruh orang untuk menjaitin sesuai visiku. Jujur, kalau aku bisa kembali lagi, aku akan memaksa bapakku untuk menyekolahkan aku di jurusan fashion. Memang kalau aku liat perkembangan fashion di Indonesia, aku kadang sebel kok dulu aku ga maksa minta disekolahin. Tapi, kalau liat perjalanan hidupku, ya nyesel si enggak

Sampai sekarang, aku suka di dunia film. Aku suka karena setiap projek mempunyai tantangan yang berbeda: bekerja dengan tim yang berbeda, di lokasi yang berbeda, dan menurutku itu sangat asik. Aku selalu belajar banyak dan juga punya teman banyak di daerah daerah yang berbeda.

Ujung-ujungnya, ya, aku percaya setiap orang memang ada jalannya sendiri. Mengambil hukum itu bahkan bukan ideku. Jurusan hukum itu sebenernya pilihan tata usaha. Waktu ngisi formulir, aku bingung harus ngisi apa untuk pilhan terakhir. staff tata usaha yang bilang suruh ngambil hukum di Solo.

Cerita lucu, ketika aku mulai kuliah, aku tidak tahu sama sekali universitasnya itu dimana, fakultasnya dimana, tetapi, ketika aku datang ke sekolahku itu aku seperti déjà vu – bedanya aku memang seperti pernah hadir di sana dan bukan hanya déjà vu saja. Saat itu, aku penasaran dan aku ingin tahu apakah itu hanya kebetulan belaka atau bukan. Aku bilang ke temenku, “Kayaknya, kalau kita naik ke lantai tiga, terus kita belok kanan terus belok kanan lagi, pasti ada musholla, ke sana yuk.” Dan bener aja, waktu aku kesana, bener ada musholla. Jadi saat itu, aku berpikir, oh mungkin memang aku harusnya di sini.

Leonie       Jadi, tante percaya dengan nasib?

Binz      Ya. Nasib dan takdir (destiny). Tapi ada takdir yang tidak bisa dirubah dan ada nasib yang bisa dirubah. Aku percaya sekali kalau kita bisa merubah