The Callsheet issue 7 2014

ISSUE 07 | 2014

+ DIFF 2014 Opens with 'Hard to Get'

+ TECH FORECAST Looking into the Future of the Film Industry

+ ANIMATION SHORTS Can Africa Find its Voice?

OFFICE ADDRESS129 Mulberry Lane

Leslie AvenueMagaliessig, 2191

Gauteng

POSTAL ADDRESSPO Box 783

Fourways North, 2086

Gauteng

Tel: +27 (0) 82 411 4088Jane Fry

Managing [email protected]

FILM FINANCES SOUTH AFRICA

OFFICE ADDRESS129 Mulberry Lane

Leslie AvenueMagaliessig, 2191

Gauteng

POSTAL ADDRESSPO Box 783

Fourways North, 2086

Gauteng

Tel: +27 (0) 82 411 4088Jane Fry

Managing [email protected]

FILM FINANCES SOUTH AFRICA

CONTENTS | 01www.filmmakerafrica.co.za

4

14

10

28

DIFF 2014 To open with a bang. Will you be there?

Tech at the ForefrontKim Muller looks into her crystal ball, and

discovers that the future is already here.

Short-Form AnimationSouth Africa’s animators strut their stuff;

and the world takes notice.

Cannes 2014 ReviewThe glitz! The glam! The controversy!

2. Kenya Film Commission’s New Film Policy

3. Ogilvy & Mather Johannesburg Wins Ogilvy South Africa’s First Grand Prix

4. Durban International Film Festival Packed with Talent

6. 1st Jack Daniels Commercial Shot in Africa

8. Local Industry Responds to UAV Bans

10. Short Form Animation – Can Africa Find Its Voice?

14. Tech Forecast – Looking into the Future of Film

20. Moneypenny’s 10th Birthday and Networking Function

24. Encounters Documentary Festival

26. A Chat with Hooman Khalili

28. Festival de Cannes Ends on Exhilarating High Notes

32. Cannes Lions SA Party

34. Opportunities

35. The Square: The Downfall of a Regime

36. Kenya: Local Film Gets a Facelift

38. In Production

40. Events

42. Associations

44. Directory

Kenya is fast beginning to change its outlook on the fi lm industry, with the nation’s fi lm commission recently announcing the implementation

of a National Film Policy. The Kenya Film Commission is hoping to encourage foreign fi lm production companies to make fi lms in Kenya by enacting this new policy. The policy will also regulate licensing, examining and classifying of fi lm content.

According to Chris Foot, the fi lm commission’s chairman, the nation is a fast-

growing technology hub in the region and as such, will attract large-scale fi lm productions in the near future. “Filmmaking is a fusion of art and commerce and fi lmmakers need to tell stories that are most likely to generate income,” he told the Broadcast, Film and Music Africa Conference last week.

Licensing fees and infrastructure were cited as the main issues that scared fi lm investors from pumping money into the Kenyan fi lm industry. Foot responded, saying that the new legislation would not only help stimulate the

industry, but it would also streamline it and address challenges created through the rapid change in technology. The commission plans to offer other government incentives, as well as implement and enforce a 60% content rule for local media by taxing imported soap operas and other international programming.

“This policy recommends the development of this sector through legislation and regulation reforms, institutional development, capacity building, marketing, promotion of local content, structured partnerships and facilitating county governments to grow their respective fi lm industries,” Foot said.

He also announced that the commission is looking into setting up a national fi lm school by partnering with established foreign fi lm schools and local indie fi lmmakers. “We are transforming the way we operate to continuously improve our ability to fully support the local fi lm industry,” Foot concluded. The National Film Policy can be found online at www.kenyafi lmcommission.com.

02 | NEWS www.fi lmmakerafrica.co.za

Following a successful stint in Cannes, local comedian David Kau announced through the National Film & Video Foundation (NFVF) that he had signed

a deal with a Los Angeles-based production and distribution company. Archstone Pictures will be involved in his upcoming fi lm ‘Sekwankwetla’, which tells the story of a fl ying township superhero who can go no higher than 10 centimetres.

The NFVF made the announcement the same day that the deal was concluded with the company’s producers Scott Martin and Michael Slifkin. ‘Sekwankwetla’ will be directed by award-winning ‘Yizo Yizo’ producer Teboho Mahlatsi and will be shot on location in KwaZulu-Natal, says Kau. The fi lm will be a co-production between Archstone Pictures, Kau’s Disadvantaged Background Productions and

Mahlatsi’s The Bomb Shelter. “We…have already started negotiations

with the newly established KwaZulu-Natal Film Commission representatives who are also attending the festival to market the province as a best location,” he said in an offi cial statement.

‘Blitz Patrollie’, David Kau and fellow comedian Joey Rasdien’s last production, was screened at the 2013 Festival De Cannes.

Signs International Deal at CannesDavid Kau

‘Sekwankwetla’ tells the story of a fl ying township superhero who can go no higher than 10 centimetres.

““

David Kau

KENYA FILM COMMISSIONto Implement National Film Policy

NEWS | 03www.filmmakerafrica.co.za

is a thrilling challenge to tell a truly international story so full of love, humour and heart.”

The book centres on a young Nigerian woman who immigrates to America for a university education. With what we know of Nyong’o’s background in Mexico and Kenya and her education at Yale, and her triple-threat talent as a director and writer in addition to acting, this sounds right up her alley. Nyong’o was also recently announced as part of the cast in the upcoming ‘Star Wars Episode 7’.

Adiche’s Americanah was selected as one of the Top 10 Books of the Year by The New York Times Book Review, the BBC and Newsday, and also won the 2013 US National Book Critics Circle Award for fiction. “It is such an honour to have the opportunity to bring Ms. Adiche’s brilliant book to the screen,” Nyong’o said in a statement for the Daily News. “Page after page I was struck by [the characters’] stories, whose experiences as African immigrants are so specific and also so imminently relatable. It

Kenya’s golden girl Lupita Nyong’o is teaming up with Brad Pitt to star in and produce a film from the book penned by Chimamanda Adiche, Americanah.

Pitt’s production company, Plan B, produced the movie ‘12 Years A Slave’, for which she won an Academy Award for Best Supporting Actress. Nyong’o is also a filmmaker, having written, produced and directed ‘In My Genes’, a documentary about the treatment of Kenya’s albino population.

Oscar Winner Set to Produce and Star

in ‘Americanah’

On the third day of the Cannes Lions Festival 2014, Ogilvy & Mather won its second Grand Prix of the week – for Ogilvy &

Mather Johannesburg’s Lucozade work – as well as a further five Gold Lions across Radio, Cyber and Design. Ogilvy & Mather Johannesburg’s tongue in cheek radio campaign for Lucozade, ‘Give Me Strength’, has been awarded Ogilvy & Mather South Africa’s first ever Grand Prix at Cannes, in the Radio Lions. The work also won a Gold Lion in the same category.

The series of radio ads – ‘Teleconference’, ‘Kids Party’, and ‘Enrique Concert’ – highlight how the energising

effect of Lucozade can help people get through those ‘give me strength’ moments. In the style of epic inspirational speeches, each ad focuses on an everyday scenario – from handling a conference call to negotiating the battlefield of a children’s birthday party. Narrated in the second person, the ads place the audience as the subject of each testing moment, with Lucozade saving the day each time.

Worldwide Chief Creative Officer at Ogilvy & Mather, Tham Khai Meng, said: “The power of great radio creates a vividly imagined world, loaded with sensory information. To win our first Cannes Grand Prix for Radio is a huge deal. Stunning job

from Ogilvy & Mather Johannesburg team.”Meanwhile, it was another victorious day

for the UK, with Ogilvy & Mather London winning one of only eight Product Design Lions, and OgilvyOne London taking home Gold and Silver Lions in the Cyber category for British Airways ‘Magic of Flying’. In the Design Lions Ogilvy & Mather India was awarded a Gold for its Operation Smile campaign, and INGO Stockholm – co-owned by Ogilvy & Mather and Grey – won Gold for its ‘Dill – The Restaurant’ campaign.

In one day, Ogilvy & Mather took home one Grand Prix, one Product Design, five Gold, 10 Silver, and 12 Bronze Lions, bringing the network’s total to 97 Lions.

OGILVY & MATHER JOHANNESBURG Wins Ogilvy South Africa's First Grand Prix

04 | NEWS www.fi lmmakerafrica.co.za

South Africa’s longest running fi lm festival, the Durban International Film Fest (DIFF), has an exciting, fun-fi lled programme ahead for all attendees.

Whether you’re a fi lmmaker, a producer, a surfer, a wildlife lover, an arts student or simply an avid movie-goer, there’s something for you at DIFF.

The festival, which is scheduled to take place between 17 and 27 July 2014, will refl ect on South Africa’s twenty years of democracy, with a focus on fi lm that explores the many diverse facets of the nation’s history over that time period. African and British cinema will be in the spotlight, with the Wildtalk Africa Film Festival and the Durban leg of the Wavescape Surf Film Festival taking place as part of DIFF. The festival also encompasses a number of industry and creative programmes including the 5th annual Durban FilmMart, which takes place on 18-21 July.

Among this year’s highlights is a unique programme of cinema centred on architecture, in acknowledgement of Durban hosting the International Union of Architects Congress. In addition to the numerous screenings across the city, DIFF has also recently announced that the festival hub – which houses both screening and industry events – will now be located along the famous Golden Mile beachfront at the lavishly renovated Tsogo Sun Hotel.

“This is the fi rst time that Tsogo Sun has been appointed the offi cial event and accommodation partner for this prestigious event and we are proud that our mega-complex – Southern Sun Elangeni & Maharani – is the chosen venue,” said Mike Jackson, Director of Operations for Tsogo Sun KwaZulu-Natal. “We see this as a fantastic opportunity to showcase Durban to national and international fi lm producers, buyers, sales agents, broadcasters and fi lm fi nanciers, with great networking

opportunities for local talent.”Festival Manager Peter Machen expressed

his enthusiasm for the move, saying it is “both strategic and practical”. “Both the festival and market have grown tremendously over the years and we needed to consider a venue that could accommodate the size of our current set of programmes, as well as allow for growth in line with future plans,” he said.

The 7th Talents Durban will also be taking place at DIFF from 18-22 July. This year’s theme, “Continent of Contrast”, is an ode to the godfather of African cinema, Djibril Diop Mambéty’s fi rst fi lm ‘Contras’city’ (City of Contrast). Celebrating the 45th anniversary of the fi lm, Talents Durban aims to looks to bring fi lmmakers from across the continent together to draw inspiration from Africa’s long tradition of story-telling. The programme offers ample networking opportunities, as well as fi ve days of master classes and workshops.

The Durban FilmMart (DFM) will be presented in three strands this year – the Finance Forum, Master Classes and the Africa in Focus seminars. Experts in the master classes are fi lm industry heavyweights Miguel Machalski, Stefano Tealdi, Denis Vaslen and Julia Overton. Twenty African projects consisting of ten documentaries and ten fi ctional features will be afforded the opportunity of one-to-one meetings with potential fi nanciers, co-producers and distributors in the Finance Forum. The fi lmmakers will also be pitching their projects to a panel of international commissioning editors in the DFM Pitching Forum. A range of public seminars will also be taking place over the course of the festival.

For the second year in its nine years running, WildTalk Africa will showcase a selection of both local and international natural history

fi lms. The festival brings a world-class television market and natural history conference to South Africa every two years and will again present a programme of fi lms for nature enthusiasts, animal lovers, adrenalin junkies and environmentalists alike. Some of the highlights include ‘Unearthed’, a shocking insight into the world of hydraulic fracking, ‘Birdman Chronicles’, launching viewers into the adrenalin-charged world of wingsuit fl ying, and the award-winning Iranian astronaut-inspired ‘Sepideh’.

Wavescape Surf Film Festival’s Durban leg will also be taking place during DIFF. The event screens the world’s top surf and board culture fi lms and includes art board exhibitions, outreach screenings, and a variety of speakers including thought leaders, craftsmen, athletes, activists and scientists intimately connected to the ocean. What better way to end your Durban International Film Festival experience than with an oceanside screening in one of South Africa’s most renowned surf spots?

35th DURBAN INTERNATIONAL FILM FESTIVAL:Packed with Talent

‘Birdmen Chronicles’ Courtesy of DIFF

‘Unearthed’, Courtesy of DIFF

‘Black Mamba’, Kiss of Death, Courtesy of DIFF

‘Hard to Get’, Pallance, Courtesy of DIFF

number 7 in several shots. This forms part of a clever digital campaign launching on Facebook, where tickets to Jack Daniel’s BoomTown are up for grabs.

Local and global relevance are also perfectly balanced in this commercial – something that’s difficult to get right. Putter says that this is a “delicate process” where tapping into a great insight that speaks to a global audience is key. “That’s the only way to marry different audiences so disparate. In terms of production, fortunately we’re lucky in South Africa that a lot of our production houses and directors are of a global standard. Working with Robin Goode, one of the best directors in the country, was a highlight.”

06 | NEWS www.filmmakerafrica.co.za

South African creative marketing agency, Bletchley Park, has made history by producing the first television commercial for Jack Daniel’s ever to be

shot outside of the US. Telling the Jack Daniel’s story through a local lens, the company together with Giant Films has created a 45-second ad for use in emerging markets.

The commercial was shot in Cape Town using the tag line, “What’s your story? Make it worth telling.” It follows the story of Jack himself, who went from humble beginnings in Lynchburg Tennessee to achieving worldwide acclaim with what is now America’s oldest registered distillery.

Protecting the brand’s authenticity was Bletchley Park’s Creative Director, Kelly Putter’s main concern and biggest challenge. “This required a very open and honest relationship with our client as they’re the ultimate sense check for authenticity. The brand has a long and proud history so any current-day treatment needs to be handled sensitively, taking the utmost care to fit in with the brand’s DNA.” According to Putter, Jack Daniel’s own historian checked “every single word of the script”.

Stories and storytelling have been an integral part of Jack Daniel’s heritage since the 50’s, and as such, the creators delved deeper into storytelling in order to produce something that

strikes a chord with overseas viewers. “Strategically, a huge highlight was

uncovering the insight that people love to have their stories told by others. It doesn’t matter what background you’re from, if someone’s telling your authentic story – and if they’re telling it with admiration – you’re doing something right. And that’s what the whole ad is about. It’s not about the story you tell, it’s about those willing to tell it,” says Putter.

Speaking about the context for the commercial, Jack Daniel’s Marketing Manager Dino D’Araujo says, “What makes Jack’s story so compelling is the fact that it’s a true story about a man who succeeded despite overwhelming odds by simply staying true to his personal code. As South Africans, just 20 years into democracy we are still in a sense grappling to define our own independence. We reference Jack’s determination and fierce independence as the recipe behind his legacy, and pose a perhaps provocative question to our viewer: ‘What’s your story? Make it worth telling’.”

One of the brand’s more intriguing stories is the meaning behind the number 7 in Jack Daniel’s Old No. 7. Although no one knows its true meaning, some believe Jack had 7 girlfriends, while others believe it was the #7 train that carried his barrels. One of the ad’s innovations is the creative placement of the

1st JACK DANIELS COMMERCIAL Shot

in Africa

The commercial was shot in Cape Town using the tag line, “What’s your story? Make it worth telling.”

““

THE 35th DURBAN INTERNATIONAL FILM FESTIVAL | 07www.fi lmmakerafrica.co.za

team of Helena Spring and Junaid Ahmed behind the fi lm, I have a strong suspicion that this is going to be the one that cracks open local audience’s desire to watch strong local fi lm products. I have no doubt that audiences will walk out of the theatre electrifi ed, and will be fi lled with excitement about the rest of the festival. All of this makes ‘Hard to Get’ the perfect opening fi lm for DIFF 2014. Co-producer Helena Spring said, “Junaid and I are thrilled to be launching major new talent with ‘Hard to Get’. We are incredibly proud of the work that director Zee Ntuli, his team and cast, have delivered. There is already a great deal of buzz around the fi lm and we have no doubt that a bright future awaits them.”

Junaid Ahmed mentioned that ‘Hard to Get’ is the fi rst of a slate of fi lms that he and Spring are producing which showcase the talent of previously marginalised black fi lmmakers in South Africa. Ahmed went on to praise the assured and distinctive directorial debut of Ntuli, as well as that of co-writer TT Sibisi. ‘Hard to Get’ heralds the arrival of exciting new voices in South African cinema”.

Although ‘Hard to Get’ is Ntuli’s fi rst feature, he has already made his mark on the local fi lm scene. He has written for the award-winning hit show ‘Intersexions’ and has directed a humorous 40 second advert entitled ‘Grandfather’ for Ster-Kinekor’s Vision Mission initiative. He has also directed music videos for the bands Crash Car Burn and Wrestlerish. Ntuli studied at AFDA, the School Of Motion Picture Medium and Live Performance, winning the award for Best Film during all four years of studies. His 24 minute short fi lm, Bomlambo

(Those Of The Water), won the award for best fantasy fi lm at the New York International Film Festival. Ntuli was nominated for best short fi lm at the 2012 SAFTAs and has already had his short fi lms screened at festivals in South Africa and around the world. His 12 minute short ‘In Return’ (Emasisweni) was nominated as the South African candidate for the Student Oscars in 2010.

The Durban International Film Festival takes place from 17 – 27 July 2014. The festival includes more than 200 theatrical screenings and a full seminar and workshop programme, as well as the Wavescape Film Festival, the Wild Talk Africa Film Festival, and various industry initiatives, including the 7th Talent Campus Durban (in cooperation with the Berlin Talent Campus) and the 5th Durban FilmMart co-production market (in partnership with the Durban Film Offi ce). For more information go to www.durbanfi lmfestival.co.za

The 35th Durban International Film Festival is organised by the Centre for Creative Arts at the University of KwaZulu-Natal with support from the National Film and Video Foundation, KwaZulu-Natal Department of Economic Development & Tourism, KwaZulu-Natal Film Commission, City of Durban, German Embassy, Goethe Institut, Industrial Development Corporation, KwaZulu-Natal Department of Arts and Culture and a range of other valued partners.

The Durban International Film Festival is extremely happy to announce that the opening fi lm at DIFF 2014 will be ‘Hard to Get’ from fi rst-time feature

director Zee Ntuli and produced by Junaid Ahmed and Helena Spring.

The fi lm tells the story of TK, a handsome young womanizer from a small community who falls for a sexy, reckless young thief named Skiets. Thrust into Joburg’s criminal underworld TK realises that his best bet is to trust her and hang on for dear life.

‘Hard to Get’ explores the universal theme of love in the very specifi c context of contemporary South Africa. At its heart, it is simply a story of two young South Africans embarking on the universal adventure of falling in love, symbolically set against the dangerous, unpredictable, cruel and ruthless backdrop of Joburg’s criminal underworld. Says Zee Ntuli, “The criminal gauntlet parallels the emotional journey of TK and Skiets, providing a metaphor for how scary falling in love can be. Ultimately it is a hopeful story, one which carries the message that love is worth fi ghting for.”

Talking about the fi lm, Festival Manager, Peter Machen, said, “I am very excited about ‘Hard to Get’. It’s a beautifully made fi lm that works on every level and will satisfy commercial and art-house audiences alike. I also think that it’s going to make instant stars of its two leads Thishiwe Ziqubu and Pallance Dladla, who are both electrifying, as well as director Zee Ntuli, who is virtually guaranteed a bright future on the global fi lmmaking stage on the basis of this fi rst feature.”

Machen continued, “With the production

DURBAN INTERNATIONAL FILM FESTIVAL Announces 'Hard to Get' for its Opening Night Film

The 35th DURBAN INTERNATIONAL

by DIFF correspondent


LOCAL INDUSTRYRESPONDS TOUAV BANS

Growing Concern as

the city about the ban and how to regulate the use of drones. However, according to Lillie, the process of developing guidelines could only be finalised by the end of the year. In the meantime they have asked SACAA to adopt the policy for model aircraft and apply it to drones. This will give UAVs restrictions such as flying under 120m, no flying within 4.2 nautical miles of the airport, no autopilot flying, no night flying and no flying over public property.

The industry is also voicing their growing concerned about the ban’s impact on the economy and job creation, with many local aerial cinematography companies worried as their livelihood hangs in the balance. Hayes Cunningham of PixAir said that they have had to turn away a “GREAT [sic] deal of business as a result of this decision”. “When you spend the amount of time and money we have, this obviously impacts negatively on our business, but also on the jobs created by the services we offer. In addition it limits all businesses and filmmakers in South Africa as they are not able to market their businesses or tell their stories in the way they’d like as using traditional methods to achieve what we achieve is far too expensive. So this is not just impacting our business.”

The local film industry has voiced their growing concern at the economic impact of the South African Civil Aviation Authority’s (SACAA’s)

ban on unmanned aerial vehicles (UAVs), better known as camera drones. They can fly without a pilot and are operated remotely by someone on the ground, making them ideal for filmmakers creating action scenes or nature documentaries.

SACAA announced at the beginning of April 2014 that anyone caught using drones would be subject to a ZAR50,000 fine and a prison sentence of up to 10 years. They also urged people to refrain from using UAVs without approval from the authority. According to a recent article on sUAS News, SACAA “did not approve the use of camera drones as there are no regulations guiding its use.” Anyone using UAVs did so illegally, they said.

Kabelo Ledwaba, from SACAA said it had not given approval to any organisation to use camera drones in civil-aviation airspace. He went on to say that unmanned aircraft systems were relatively new in the civil aviation framework and that SACAA and other regulators across the world were working to understand, define and integrate UAVs into the civil aviation sector.

“There is ongoing global research in this area to overcome this deficiency,” Lebwaba said.

But this “ongoing research” is already beginning to have a negative impact on the film industry, with SACAA’s stance on aircraft drones affecting Academy Award-winning director Gavin Hood’s latest production. ‘Eye in the Sky’, starring Colin Firth and Dame Helen Mirren, is scheduled to begin filming in Cape Town in July, but it looks as though they won’t be able to use real drones during the shoot. Cape Film Commission CEO Denis Lillie told Timeslive that all the necessary documents were signed and sealed months ago, with Firth, the film’s producer, finalising financial details at Cannes.

‘Eye in the Sky’ isn’t the only production halted until proper regulations can be put in place. Two filming permits have already been refused for shoots in Cape Town in recent weeks. “Clearly there are significant implications for the film industry,” Lillie said, “We have already had concerns from a producer who did a nature documentary in Cape Town which airs internationally.” He went on to say that Cape Film Commission was in talks with SACAA, the transport ministry and

regulations and realise that they cannot safely operate without them. “We are already in discussions with the SACAA to assist with forming these regulations,” said Cunningham. “We hope that a set of rules and regulations will be implemented that will result in safer skies, efficient equipment and competent and highly skilled operators. Both the US and Europe were able to get excellent regulations passed in a timely manner. We need to be as thorough as possible yet also realise that this needs to be done in a timely manner as there is a lot to lose.”


Drone Regulations that Locals Support:1. Flying only under 120m2. No flying within 4 nautical miles

of an airport3. Flying only in line of sight of the

operator (500m)4. No autopilot flying, waypoint or

night flying5. No flying over public property

and roads without relevant permission

6. All 3 axis camera rigs must have a dedicated pilot and camera operator

7. All UAV/UAS equipment must have a system to regulate maximum altitude and distance from pilot

8. All UAV/UAS systems must have stipulated fail safe systems (e.g. low battery, loss of signal, etc.)

9. All pilots must go through a UAV/UAS operation competency test and obtain a certificate

Cunnigham went on to say that the ban has already impacted internationals. “Filmmakers coming to South Africa who are used to using this technology are now suddenly told that they cannot do so and neither can they get permission. This will have a far reaching impact on our country as these film makers create many jobs, spend millions of Rands and promote our country as a tourism and film destination to the world.”

Lillie echoed his sentiments saying, “The ban will not only affect feature films but also tourism promotion, as agencies often look

for aerial shots. South Africa runs the risk of losing production activities to other areas that approve the use of drones.”

Acting mayoral committee member for events, tourism and marketing Ian Neilson agreed, saying that the City of Cape Town was not averse to the use of UAVs for filming, but all necessary approvals need to be in place. “The city’s disaster risk management centre is in contact with and awaiting direction from SACAA,” he said.

Despite its current negative effect, most aerial cinematographers welcome drone


LOCAL INDUSTRYRESPONDS TOUAV BANS

Growing Concern as

the city about the ban and how to regulate the use of drones. However, according to Lillie, the process of developing guidelines could only be finalised by the end of the year. In the meantime they have asked SACAA to adopt the policy for model aircraft and apply it to drones. This will give UAVs restrictions such as flying under 120m, no flying within 4.2 nautical miles of the airport, no autopilot flying, no night flying and no flying over public property.

The industry is also voicing their growing concerned about the ban’s impact on the economy and job creation, with many local aerial cinematography companies worried as their livelihood hangs in the balance. Hayes Cunningham of PixAir said that they have had to turn away a “GREAT [sic] deal of business as a result of this decision”. “When you spend the amount of time and money we have, this obviously impacts negatively on our business, but also on the jobs created by the services we offer. In addition it limits all businesses and filmmakers in South Africa as they are not able to market their businesses or tell their stories in the way they’d like as using traditional methods to achieve what we achieve is far too expensive. So this is not just impacting our business.”

The local film industry has voiced their growing concern at the economic impact of the South African Civil Aviation Authority’s (SACAA’s)

ban on unmanned aerial vehicles (UAVs), better known as camera drones. They can fly without a pilot and are operated remotely by someone on the ground, making them ideal for filmmakers creating action scenes or nature documentaries.

SACAA announced at the beginning of April 2014 that anyone caught using drones would be subject to a ZAR50,000 fine and a prison sentence of up to 10 years. They also urged people to refrain from using UAVs without approval from the authority. According to a recent article on sUAS News, SACAA “did not approve the use of camera drones as there are no regulations guiding its use.” Anyone using UAVs did so illegally, they said.

Kabelo Ledwaba, from SACAA said it had not given approval to any organisation to use camera drones in civil-aviation airspace. He went on to say that unmanned aircraft systems were relatively new in the civil aviation framework and that SACAA and other regulators across the world were working to understand, define and integrate UAVs into the civil aviation sector.

“There is ongoing global research in this area to overcome this deficiency,” Lebwaba said.

But this “ongoing research” is already beginning to have a negative impact on the film industry, with SACAA’s stance on aircraft drones affecting Academy Award-winning director Gavin Hood’s latest production. ‘Eye in the Sky’, starring Colin Firth and Dame Helen Mirren, is scheduled to begin filming in Cape Town in July, but it looks as though they won’t be able to use real drones during the shoot. Cape Film Commission CEO Denis Lillie told Timeslive that all the necessary documents were signed and sealed months ago, with Firth, the film’s producer, finalising financial details at Cannes.

‘Eye in the Sky’ isn’t the only production halted until proper regulations can be put in place. Two filming permits have already been refused for shoots in Cape Town in recent weeks. “Clearly there are significant implications for the film industry,” Lillie said, “We have already had concerns from a producer who did a nature documentary in Cape Town which airs internationally.” He went on to say that Cape Film Commission was in talks with SACAA, the transport ministry and

regulations and realise that they cannot safely operate without them. “We are already in discussions with the SACAA to assist with forming these regulations,” said Cunningham. “We hope that a set of rules and regulations will be implemented that will result in safer skies, efficient equipment and competent and highly skilled operators. Both the US and Europe were able to get excellent regulations passed in a timely manner. We need to be as thorough as possible yet also realise that this needs to be done in a timely manner as there is a lot to lose.”


Drone Regulations that Locals Support:1. Flying only under 120m2. No flying within 4 nautical miles

of an airport3. Flying only in line of sight of the

operator (500m)4. No autopilot flying, waypoint or

night flying5. No flying over public property

and roads without relevant permission

6. All 3 axis camera rigs must have a dedicated pilot and camera operator

7. All UAV/UAS equipment must have a system to regulate maximum altitude and distance from pilot

8. All UAV/UAS systems must have stipulated fail safe systems (e.g. low battery, loss of signal, etc.)

9. All pilots must go through a UAV/UAS operation competency test and obtain a certificate

Cunnigham went on to say that the ban has already impacted internationals. “Filmmakers coming to South Africa who are used to using this technology are now suddenly told that they cannot do so and neither can they get permission. This will have a far reaching impact on our country as these film makers create many jobs, spend millions of Rands and promote our country as a tourism and film destination to the world.”

Lillie echoed his sentiments saying, “The ban will not only affect feature films but also tourism promotion, as agencies often look

for aerial shots. South Africa runs the risk of losing production activities to other areas that approve the use of drones.”

Acting mayoral committee member for events, tourism and marketing Ian Neilson agreed, saying that the City of Cape Town was not averse to the use of UAVs for filming, but all necessary approvals need to be in place. “The city’s disaster risk management centre is in contact with and awaiting direction from SACAA,” he said.

Despite its current negative effect, most aerial cinematographers welcome drone

10 | FEATURE www.fi lmmakerafrica.co.za

The word animation often conjures up warm, childhood nostalgia with fi lms like ‘The Lion King’ ‘Snow White’ and ‘The Little Mermaid’. But the dawn

of the digital age has seen animation change in leaps and bounds, from a fi lm’s inception to its fi nal fi nishing touches. Although this is an industry that has for years been dominated by the West, Africans – South Africans and Kenyans in particular – are now fi nally reaching a place where they are not only able to facilitate the West’s demands for computer-generated animation in blockbusters and the like, but are also beginning to create their own Afrocentric masterpieces. One of animation’s offshoots, short-form animation – animated shorts, music videos, gaming and mini-series – has grown in popularity, especially in Africa. One of the major reasons for this is increased mobile phone and internet usage.

“The rapid advancements in technology have made computer animation available to the masses,” says Andre Van Der Merwe, Producer at Flying Circus. “More than anything, the ever-changing digital landscape has impacted the consumption of content – even more than the production thereof. Over the last decade, kids especially have started to consume media on devices other than traditional TV. Kids are watching more ‘TV’ and they’re watching it on devices which didn’t exist a decade ago.”

He says that this demand for animation is not only amongst children anymore. “In the past, animation series were aimed at children aged nine and below. In recent years,

however, TV stations have been producing animation series for teenagers, adults and the whole family.”

A perfect example of this is Triggerfi sh’s two recent successes, ‘Khumba’ and ‘Adventures in Zambezia’, both of which went on to win numerous awards. But there are a number of short animations from the continent that have drawn international attention, too. One of these, a fi shy short called ‘Hooked’ by local animation studios Character Matters,

was picked up by Disney and screened at the world premiere of ‘Cars 2’. Chris Schoultz, the company’s owner, says that short fi lms “showcase techniques”. “With commercial work we have no real creative control, whereas shorts are our babies. We exercise great care in their production and you can really build in the quality levels that can compete [internationally].”

This demand for animation has steadily grown, with the worldwide animation industry

SHORT FORMANIMATION Can Africa Find

Its Own Voice?

‘Khumba’ © Triggerfi sh


‘Khumba’ ©

Triggerfi sh

SAE INSTITUTE | 11www.filmmakerafrica.co.za

Less than ten years ago, a first-time filmmaker would have found it extremely challenging to realise their vision due to the exorbitant cost and

limited access to the appropriate equipment required to do so. The budding filmmaker would have needed a very expensive camera, a way to record sound, and a way to edit and prepare the final product for delivery.

In 2014, the same filmmaker has access to a camera with better resolution and sound-recording capabilities in their pocket, in the form of their smart phone! Stellar filmmaking is not about owning or having access to the best equipment, but producing a compelling story that engages people.

The context outlined above is our passion

at SAE Institute. Our focus starts with the creative concept, and then we decide upon the appropriate equipment for the task thereafter. At SAE Institute, we draw upon our four decades of experience as the global leader in creative media education, and have the good fortune of sharing best practice with our 56 campuses across the world.

There is no shortage of talented and creative minds, but there is a distinct shortage of savvy creative professionals who know how to earn a decent and sustainable living from their art. If one cannot earn a living from one’s art, it is nothing more than a hobby. This reality is the cornerstone of SAE’s tuition and collegial culture that supports its students to not simply marry the art with the

science, but to marry them with the business of filmmaking, and an entrepreneurial spirit.

SAE’s self-imposed mandate is to produce graduates that are not simply talented filmmakers, but credible citizens of the world who make a significant contribution to society and the economy. It is no secret; the film industry hires mature, astute and humble professionals and not idealistic prima donnas.

SAE Institute offers bachelor degree and higher certificate qualifications, and short courses in Citizen Journalism and Guerilla Video Production.

If the ethos of SAE Institute resonates with you, please visit us online: www.capetown.sae.edu or call us on 087 351 0828

Who Are The Next Generation

of Filmmakers?by David Maclean


currently estimated to be worth at least US$45 billion (ZAR 479 billion). Despite this, there is no real stake in the continent. Kwame Nyong’o recently made a compelling case for Africans to invest more in the industry at TEDx Nairobi. “Africa is in danger of being cast in the supporting role of its own feature story,” he said, asking the poignant question of how the continent will “direct the cultural tone and tell a new story to a waiting world”.

Keenan Muller, a second-year animation student at the Centre for Fine Art Animation and Design (CFAD), might have an answer. “Our storytelling is going to have some African infl uence on it which I’m super okay with because of the many cultures we have and because we are grounded people. I think animation would help tell stories in Africa and South Africa a lot better because of things like witchcraft and heritage. I can see that coming to life and expressing emotion in animation more than a live action fi lm.”

Mike Scott is a freelance animator who has worked with Triggerfi sh and a number of South African musicians to create animated music videos. He says that shorts are ideal for originality and exploration. “Short-form allows for quite a bit of experimentation – using a distinct style, combining mediums, really pushing the envelope in creative ways that longer-form animations may be wary to commit to. So I suppose the shorter format allows for pushing boundaries.”

He goes on to say that African fi lmmakers may well feel like they are getting their own voices through short-form animation, hence its popularity. “We may be gaining new confi dence in ourselves and doing what we’re able to within the realm of possibility.”

Anthony Silverston, Co-Writer and Director of ‘Khumba’, agrees. “The great thing with animation is that it encompasses so many different artistic styles and can range from

experimental to purely commercial.” He says that as digital animation becomes easier, the barrier to entry is removed, with more people getting into it at younger ages. He does, however, believe that there is also a “return to the ‘purity’ of the art form with an almost nostalgia for the more naive, traditional or stop-frame looks”.

Demand and technology aren’t the only reasons for this boom in shorts. A major draw card for the medium is its ability to keep to a small-scale budget. “Self-funded shorts are a possibility as a short-form animation may take a couple months as opposed to years,” says Scott. “As indies are able to source funding for their short fi lm, there may be more animation festivals in Africa, so more indies and teams are rising to the challenge of completing a short-form animation.”

Easy sharing on multiple platforms is another plus, with animated web series like ‘Bravest Warriors’ gaining popularity on YouTube. In Africa, however, this has become a wide-spread way of disseminating short animations because there is little to no support from the industry and the government. “There are loads of opportunities with international clients looking for work even though I’d love to make a local animation series with local humour about South African characters,” says Scott.

Muller agrees with the lack of infrastructure and support, saying that animators largely have to take initiative and fi ght to fi nd work on a regular basis. This is where many turn to commercials and broadcasting. “I’ve learnt that our government’s infrastructure isn’t good enough for us to earn a good living and the reason why some of us freelance is because the companies can’t afford to keep us on board – many animation companies as well.

“I don’t see a lack of storytellers or a lack of stories to tell or a lack of talent because if you can draw, you can easily become an animator,

all you need to do is learn the techniques and the software. We just need a guy with a fat pocket – a Warner Brother or something – who comes here and says, let’s start a production company.”

And that may well be where both short and long-format animation is headed. In April, Triggerfi sh, dubbed the ‘Pixar of Africa’ announced that it had signed with Hollywood agency WME and plans to produce fi ve new feature fi lm projects over the next seven years. “We are also talking about a strategy for Triggerfi sh to create short-form content for the African market where animation is still a new market,” says Silverston, “and we’re in talks with some exciting partners to facilitate the creation and distribution of content, particularly for mobile. Despite the company’s success, Silverston still believes that animation is in its infancy in Africa.

“In Europe there is such a massive festival culture and animation artists are constantly exposed to each other’s work, which creates a positive feedback loop of inspiration and creativity. It’s why events like the monthly animationXchange screenings and Kunjanimation happening later this year are so important to sustain – although in order to do that, we really do need continued government and animation industry support,” he concludes.

Mike Scott, freelance animator © Mike Scott

We may be gaining new confi dence in ourselves and doing what we’re able to within the realm of possibility.

““

Filmmaking has changed dramatically since the birth of sound in film in the late 1920’s. Not only do we now have top of the range surround sound in

almost all cinemas across the globe, but the art of filmmaking has moved from traditional 35mm film to that of digital recording – with as many post-production effects as we can conjure up with our “finite” imaginations. But now, filmmaking is arguably moving into its greatest era: High Definition. Ultra HD series and 3D movies are increasingly being made and released across America, with many Western and African nations following suit. Japan, South Korea and Asia as a whole have already moved into 4K and sometimes 8K formats, fully embracing interactive movie theatres where viewers can physically experience fog, water and other effects as the film progresses. But these aren’t the only changes in filmmaking. The internet has brought with it a world of possibilities, making the production and distribution process both easier and faster.

The Dawn of the Web SeriesEssentially, online, serialised content would not be around if it weren’t for the world wide web. The internet has enabled many facets of filmmaking to change – both in positive and negative ways. One of its greatest feats was helping to put the creation and distribution

of films in the hands of everyday Joe, but in doing so it has changed the playing field, allowing the industry to overflow with so much content that it simply cannot keep up. One way that new media has commoditised online film distribution – through YouTube and other video sharing services – is through the web series. Not only do web series have global reach, but, when publicised correctly, can quickly reach viral status.

Mobile phones and digital technology have helped animation in many ways, says Mike Scott, a freelance animator based in the Western Cape. “First and foremost, independent creators now have a common platform to share their work with the world, so in many ways it’s a level playing field. If a studio puts their work on YouTube and an indie does the same, often-times the quality of the work determines what gets watched, irrespective of the project budget.”

Streaming has become increasingly popular, with the IHS Screen Digest announcing in 2012 that for the first time ever, more films would be watched online legally than purchased in the United States. Most filmmakers already know this, hence their large online presence, with many Hollywood and international studios migrating to cloud storage and offering film streaming on demand in recent years. Video

on Demand (VoD) has played a huge role in this migration away from cinemas, with content providers like DStv offering a VoD service of some kind.

“Better and cheaper Internet in South Africa has made it possible to work with clients overseas on animation projects – myself and others regularly do so. In many ways the recent digital platforms have been a brave new frontier and loads of companies and individuals have attempted to conquer it,” Scott says.

Goodbye Film Reel, Hello Cloud Storage Ask anyone and they will tell you that just a few years ago, the idea of a “cloud” of information was a pretty big, scary idea. According to a 2012 study by Wakefield Research, 54% of Americans said they “hardly ever or never use the cloud” even though 95% use cloud services like Facebook, Gmail and YouTube. These days, it has become an integral part of the filmmaking. Not only do production houses use cloud storage to archive footage and films, but it is also used in aiding the filmmaking process from shooting on location to post-production.

Ashleigh Martyn, Owner of Digital Depot, an online company that facilitates the film industry among others, says

TECH FORECASTA Look at the Future of Film

14 | FEATURE www.filmmakerafrica.co.za

by Kim Muller

William

Hill ©

Bang Bang Films

FEATURE | 15www.fi lmmakerafrica.co.za

that there are now a number of new and exciting products that will greatly affect the workflows in the industry. “The new Mac Pro lacks expandability that video industries rely on,” says Martyn, “While the new Mac Pro is more transportable, it doesn’t allow for onboard installation of expansion cards that we often need for workflows. It also needs an enclosure to make it road- or rack-ready. Sonnet has created a product that allows for PCIe expansion and 4U rack-mounting. The xMac Pro Server has hugely increased the new Mac Pro’s potential. Sonnet has included three PCIe slots, a Thunderbolt 2 interface, and power for high performance PCIe cards such as the Red Rocket-x and Avid Pro ToolsIHDX. It provides space for installing additional devices such as hard drives, solid state drives, tapes or optical drives and more.” But this isn’t the only product that will help the production process. Martyn says that Sonnet’s Echo Express Thunderbolt Expansion Chassis is a more cost-affordable

solution for Thunderbolt machines, while Netstor’s Desktop 8-bay Thunderbolt 2 RAID system offers 20GB per second, high-speed I/O technology and includes an onboard RAID controller and SD RAM memory. “This is the perfect solution for video editing professionals making use of 2k, 4K and 3D stereoscopic digital content,” says Martyn. G-Tech and LaCie have also released a hoard of new products for filmmakers, and Adobe has launched the Creative Cloud, where users can purchase a 12-month subscription to the full suite online.

But it’s not just cloud storage that’s changed. Camera technology is constantly being updated –recently AJA Video Systems announced their new CION camera, which enables today’s growing demand for high frame rate support and offers the ability to output raw data at up to 120 frames per second. Tony Eddy, Managing Director at Panavision South Africa says that the switchover from celluloid to HD has been

“breath-takingly swift and dramatic” across the country. “It is still notable that there are some really big international features still being shot on film overseas for various reasons and this trend is likely to continue as long as the supporting infrastructure (Kodak Film, labs for processing, availability of film cameras) remains available in those key locations such as London and LA. In SA, we have switched completely over to supplying HD. Our film cameras have been moved to other locations and the supporting infrastructure in terms of processing labs no longer exists locally.” Eddy says that this poses an interesting challenge to the traditional business model of expecting a return of investment on film cameras over many years. “With HD cameras, the redundancy is sometimes less than two years and the business model has to be adjusted accordingly. Luckily for us, all of the lenses and many of the accessories associated with 35mm film are still required when shooting digital. Indeed the demand

Malefi cent’s visual eff ects were just mind-blowingly beautiful. Honestly, I think we’re going to get to a point where you’re going to be able to see what you see in an IMAX on a cellphone.

“

“Lexus - Scorpio © Panavision SA


for ‘older’ optics has actually increased due to the great optical compatibility with some HD camera sensors, making this glass very popular again.”

Another revolutionary innovation is that of the Master Anamorphic Lens by ARRI/ZEISS. The series represents a significant step forward in the technology and practicality of anamophic cinematography for 35 format digital and film cameras. These lenses combine a compact size, minimal weight, very high speed and exceptional optical design with minimal distortion and beautiful, out-of-focus backgrounds. Media Film Service recently hosted a Master Anamorphic ‘Shoot-Out’ with Stijn Van Der Veken, an ARRI Master Anamorphic Beta Tester and Sean Sims, a Media Film Service Lens Engineer. Together they demonstrated

the versatility and far-reaching abilities of ARRI’s new range of lenses. “I’m very happy that they made something different, that they didn’t try to copy other lenses so they have their own look and that’s very important,” says Stijn.

“The digital revolution has changed so much in the last five years and continues to challenge productions on a daily basis,” says Ana Mira D’Ercole, Executive Producer at Bang Bang Films. “As the digital imaging advances in DSLR cameras, the use of multi formats like the Canon 5D and Go-Pro cameras have become a viable options for certain filmic challenges as well as lower budget production. It now frees a lot of filmmakers to make films that were previously impossible to dream about and execute without big budgets.” D’Ercole

says that this has greatly affected how they deal with productions. “I find that we, as producers, can now think outside the box in as far as ambitious storyboards are concerned.”

Post-production has become almost as important as the shooting nowadays, often with even more time and budget being allocated to the post rather than the shooting. “The coloration of the digital data is certainly more intensive and time consuming than the days of film,” D’Ercole says. “One has to spend up to twice as much time to get the ‘look’ right in post from the raw footage. DOP’s have also had to deal with shorter shooting schedules and what was often achieved in camera is now in many cases left to ‘post’ to sort out. It has also, in my mind, negated a lot of creative process that in the ‘old days’ allowed directors to work through a scene or shot in a more creative and explorative manner.” In the same way that post-production and computer-generated imagery has changed filming, animation has also grown in leaps and bounds. Aside from the usual software updates, Wacom is fast becoming a leader in graphics tablets with the recently released Cintiq 13HD Pen Display among others.

The Murky Waters of DistributionThe digital age has arguably ruined fi lms for everyone. Not only is watching a fi lm now more of an individual experience that a societal one, but illegal downloads have contributed to many billions in lost revenue for independent fi lmmakers and studio moguls alike. The internet is also less of a controlled environment for distributors

Sonnet has created a product that allows for PCIe expansion and 4U rack-mounting. The xMac Pro Server has hugely increased the new Mac Pro’s potential.

“

“

Swatch © Bang Bang Films

director of ‘Olive’, the first feature film to be made on a Nokia smartphone. “Making films is so accessible, cameras are cheap – we live in a culture where people teach themselves to do things,” he says, “Maleficent’s visual effects were just mind-blowingly beautiful. Honestly, I think we’re going to get to a point where you’re going to be able to see what you see in an IMAX on a cellphone. Obviously there’s going to be resistance from movie theatres. The social experience for films is so important. When you go to see a film with comic book geeks, you want the experience. In that sense the theatres will never go away, unless everyone gathers in a park with their cellphones.”

Anna Mira D’Ercole believes that this rapid increase in pace and accessibility will also greatly reduce prices. “This of course is great for prosumers and serious amateurs, but the real professionals of the industry may suffer in a way that will see a degradation of professional gear. The real pro gear will see less incremental advances as gear companies target the amateurs more than the serious pros.”

Ashleigh Martyn agrees, “We’ll see even faster transfer speeds, higher capacity storage devices, and more affordable pricing. Manufacturers are constantly developing new technology to increase their hard drive capacities.”

FEATURE | 17www.filmmakerafrica.co.za

and marketers. Here, everyone can have their say and there’s often nothing that can be done about it. From online trolling to film bloggers and media – everyone can contribute to a bad film crashing and burning magnificently. Take a look at the Cannes screening of ‘Grace of Monaco’ for instance. Not only has this bad publicity ruined any hope the filmmakers may have had for a great release, but it will bias any moviegoer who’s read the headlines. The sheer magnitude of internet dissemination is also a problem, with films sinking from view as more and more content gets uploaded.

Despite these negatives, most modern filmmakers are rising to the occasion, using the internet as a positive platform creating

hype and garnering funding and support – whether that be through social media, crowd-funding campaigns or the good old news platforms.

“I think that what creators and distribution companies have realised is that even though it’s incredibly easy to make content available to the masses through digital platforms, viewers are still discerning as ever,” says Scott.

Seen My 3D Glasses Anywhere?Just as camera technology has switched over to digital, so have cinemas everywhere. We will soon begin to see more interactive cinematic experiences, while today’s 3D cinema with its clunky glasses will become obsolete as new technology emerges.

According to an online article by Michelle Lhooq, “choose-your-own-adventure books are now in movie form”. Although still in its early stages, interactive films use technologies like WebGL, a web-based tool that brings low-level 3D graphics to compatible browsers to bring audiences deeper into the narrative. “Some let you guide characters through physical actions like the ‘Run Lola Run’-influenced movie ‘Turbulence’, which lets you affect the plot at key points,” says Lhooq.

Viewer experiences will continue to change dramatically, says Hooman Khalili,

Mastercard ©

Bang Bang Films

CIO

N ©

AJA Video Systems

As the challenges for producing

programmes grows, filmmakers have to be

more inventive and holistic in their strategies

for funding and distribution. NHU Africa

welcomes compelling stories and innovative

approaches to all natural history themes

including expedition and adventure, science

and discovery, animal and human interaction,

environmental and action.

This year they feature the film “Lady

Baboon” in the Durban Wild Talk Africa

strand as part of DIFF’s programme. The

film tells the incredible story of an unsung

heroine, Rita Miljo – who singlehandedly

fought for South Africa’s baboons in a time

when the government had commanded

people to shoot baboons on sight. Rita’s

story is fascinating, yet also laced with

tragedy and many contributors fondly refer to

her as “the Unknown Jane Goodall”. You can

see the film on Friday 20th June at 8pm at

Musgrave Cinema.

18 | NHU AFRICA www.fi lmmakerafrica.co.za

Raising the Bar for Natural History Programming

As the international broadcast

industry grows in competiveness

and shrinks in accessibility; one

area that seems to be opening

up for local programming opportunities is

wildlife and natural history. Traditionally a

genre dominated by large-scale international

production teams landing on the continent

and producing high-end blue chip

productions; local filmmakers have battled to

compete. However NHU Africa, a production

and co-financing house, has made strides

towards competitive programming as well as

providing opportunities for local filmmakers to

create content for international markets.

“Often international broadcasters

can be too cautious when working with

new filmmakers, especially if the story is

somewhat “risky.” NHU Africa has backed

some unique projects that have now gone on

to be acquired by the international market.”

Says NHU Africa Head Donfrey Meyer.

One such programme, Touching the

Dragon, produced with the Foster Brothers,

has just scooped up two awards at this year’s

SAFTAs. The film also went on to sell to

National Geographic as one of their 125th

year anniversary specials. Meyer adds “This

is very encouraging and we hope to see more

compelling stories travel internationally and

also appear on local broadcast stations.”

NHU Africa is currently in production on

a moving series called “Hope” about a rhino

orphanage with Joburg based production

company Triosphere. The 6 x 52min series is

set to deliver end 2014 with a UK broadcaster

who has already secured co-production

rights. “Securing a broadcast partner is

essential in making sure the programme is

viable” says Meyer.

“We are also looking at new platforms of

distribution” says Meyer. “Our unconventional

film The Animal Communicator has raised

little interest with traditional broadcasters,

however has gone viral online and garnered

a semi cult following. We keep selling out of

DVDs and are in negotiations with an online

distribution platform.”

“Developing talent and longer-form content

is part of our mandate, and short films are a

good way to hone production skills. As part

of the 49th Wildlife Photographer of the Year

Competition (an exhibition that NHU Africa

organizes) we recently produced a series of

short films on the winning and commended

South African photographers. The interstitials

have been featured on National Geographic

Channels and tells the short story of each

photographer and how they captured the

image. In this way one is able meet the

needs of our partners, showcase positive

stories and develop new talent.”.

NHU AFRICA

www.nhuafrica.com Tel: 021 422 [email protected]

FILM FINANCES | 19www.filmmakerafrica.co.za

Film Finances has been in operation since 1950 and has been servicing the South African film industry since 1990. Jane Fry was appointed the MD of Film Finances

SA in 2013 after serving as FD at Endemol. Completion bonds are available for all local and international productions no matter what size your budget is. If you need a bond, we can help at very competitive prices. We have offices around the world and expertise in specialised areas of production as well as teams of lawyers and accountants who are at the forefront of the industry.

The local South African film industry continues to grow and transform and we are growing with you.

We strongly believe in up and coming South African writers, producers and directors. So much so that we are again sponsoring a selected student to go to the annual Telluride Film Festival, student symposium to be held in Toronto in Aug 2014.

Last year Reinhard Delport was the chosen student from AFDA and he has this to say about the festival…

“As a young South African film student, any opportunity to go abroad is a welcome one. However, the experience given to me by Film Finances was far more than I could have ever hoped for.

A ten-day trip in which I was escorted around L.A, I got a VIP tour around the currently renovated Chinese theatre, IMAX headquarters, and a professional Hollywood film set. We then got swooped off to Colorado. Nestled high in the mountains, in a little town called Telluride we got to experience the most amazing film festival you could possibly imagine.

The town is rustic and charming, a hot spot for ski resorts in the winter and the host to a completely unique gathering of filmmakers from all over the world in the summer.

The elite guests to this gathering range

from the likes of Steve McQueen and Michael Fassbender to Robert Redford to Iranian film makers like Mohammed Rasoulof and Tahar Rahim, all there to screen their films and join in for Q&A sessions dotted around the town.

As part of the student symposium you get to meet other students who come from literally all over the world, and you get special intimate workshops with some of the filmmakers who have come to the festival.

It really is an experience like no other for someone in our field of study. The experience completely opened my eyes to the culture of film making all over the world, and the connections I have made will be invaluable in the years to come.”

Film Finances extends an invitation to you to discuss your up and coming projects.

Contact Jane Fry on +27 82 411 4088 or e-mail [email protected]

FILM FINANCES by J Fry

www.filmfinances.com

On the 28th of May, Film and Event Media hosted the 10th birthday celebrations for Moneypenny. The event was

attended by the elite among South Africa’s film industry, who enthusiastically received hot-off-the-press copies of

the 2014 edition of The Filmmaker’s Guide to Africa.

Film and Event Media would like to thank Jane Corden and the rest of the Moneypenny team for all their fantastic

work, and wish them nothing but success in the future.

20 | SPOTLIGHT www.filmmakerafrica.co.za

CELEBRATING IN STYLE

“The Callsheet team certainly know how to put together a fun networking event. These are extremely valuable for the industry. Thank you!”Jane Corden - Moneypenny

“It was a great evening and wonderful to be part of the birthday celebrations for Moneypenny.

Networking and catching up with production news is always a great opportunity that Film and Event Media offers over and over again.

Here’s to the next one!”Joe Alblas – African Photo

SPOTLIGHT | 21www.filmmakerafrica.co.za

“Thank you Film & Event Media for hosting a fabulous Networking Function in CT recently. It was great to see old friends and make new ones. Here’s to more Film & Event Media events coming soon.”Jane Fry – Film Finances

SPOTLIGHT | 21www.filmmakerafrica.co.za

“Thank you Film & Event Media for hosting a fabulous Networking Function in CT recently. It was great to see old friends and make new ones. Here’s to more Film & Event Media events coming soon.”Jane Fry – Film Finances

The 16th Encounters South African International Documentary Festival, which took place from 5-15 June, opened with some of Africa’s leading

documentaries. The festival was held in Cape Town at the V&A Waterfront and the Labia Theatre, and in Johannesburg at The Bioscope, with a special screening of ‘How To Survive a Plague’ at Wits Lecture Theatre.

An exclusive screening of critically-acclaimed, 2014 Oscar nominee ‘The Square’ opened the festival in Cape Town, while ’12 o’clock Boys’ and ‘Orbis’ opened the Joburg screenings on the following day. ‘The Square’, also a winner of audience awards at Sundance and Toronto Film Festivals, immerses viewers in the ongoing rollercoaster of the Egyptian revolution, following a group of young adults

as they navigate the pitfalls of street politics.South African highlights included fi ve world

premieres from top SA fi lmmakers, ‘Miners Shot Down’, Rehad Desai’s award-winning documentary on the Marikana massacre and ‘28UP’, Angus Gibson’s BAFTA-nominated documentary for Al Jazeera and ITV. African highlights included ‘Finding Fela’, Oscar-winner Alex Gibney’s documentary on Afrobeat legend Fela Kuti and African oil deal exposé ‘Big Men’, executive produced by Brad Pitt.

The South African selection also boasted fi ve world premieres: ‘Behind The Lens’, ‘Crumbs – Toppling The Bread Cartel’, ‘Diaries of A Dissident Poet’, ‘Spring Queen’ and ‘The Vula Connection’.

Liz Fish’s ‘Behind The Lens’ focuses on eight South African photographers –

Benny Gool, Gille de Vlieg, Guy Tillim, Paul Weinberg, Peter Magubane, Rashid Lombard, Tony Weaver, and Zubeida Vallie - who saw themselves as activists fi rst and photojournalists second during the Struggle in the 1980s.

Dante Greeff and Richard Finn Gregory’s ‘Crumbs – Toppling The Bread Cartel’ is the story of Imraahn Mukkadam, who blew the whistle on bread price-fi xing in the Western Cape in 2006. Imraahn is still locked in a David vs. Goliath battle that is far from over.

Shelley Barry’s ‘Diaries of A Dissident Poet’ profi les James Matthews, whose ‘Cry Rage’ became the fi rst book of poetry to be banned in South Africa.

‘Spring Queen’, directed by Emmy-winner Paul Yule, focuses on Cape Town’s Spring Queen Pageant, which gives the city’s clothing and textile factory workers the chance to be Cinderella for a night.

Marion Edmunds’ ‘The Vula Connection’ is the untold story of the ANC’s ingenious communications system during the struggle.

Jolyn Minnaar’s ‘Unearthed’ was also screened on 15 June, culminating the ten-day documentary fest. ‘Unearthed’ is the story of how she becomes an anti-fracking activist after an investigation that takes her across the globe


ENCOUNTERS Brings Eclectic Mix

of Doccies to SA

‘Unearthed’ © Unearthed


to the USA in search of answers.Africa’s diversity came across strongly

in the rest of the African selection, with ‘I Love Kuduro’ giving viewers a crash-course in the Angolan cultural phenomenon taking the continent by storm, the award-winning ‘National Diploma’ following a group of troubled students in the Democratic Republic of Congo, ‘Coach Zoran and His African Tigers’

sharing the hilarious, sad and moving story of an eccentric Serb coaching the national soccer team in South Sudan and ‘The Iranian Film’, about a Moroccan cinephile trying to make his graduation film in Iran. The selection also features ‘Jumping Into Life’, the story of an inspirational performing arts school in Kenya that targets the over 80 000 youths living and working on the streets of Nairobi.

‘Unearthed’ ©

Unearthed

‘The Square’ Poster © N

oujaim Film

s

‘Unearthed’ ©

Unearthed

Courtesy of Encounters

A friendly man with a rather charming manner, one can easily see that Hooman Khalili has the fi nesse for radio. But the San Francisco DJ

who critiques fi lms on Radio Alice 97.3 is so much more than that. He’s got a soft side – a people person at heart – something which has brought his name into the limelight since the release of his fi rst feature fi lm in 2012. The concept for ‘Olive’, shot entirely on a Nokia N8 smartphone, was born, says Khalili, from volunteering. “I saw people who don’t need someone to appear in front of them and talk to them,” he says. He found a way to convey “real world problems” like loneliness and immigration and marry them with the idea of reaching out without saying a word.

Once he had that in mind, he simply had to fi nd a way of funding the fi lm. “Because I have to interview celebrities, I’m really aware of the marketing side of fi lms, the branding, the PR. In the states 950 movies are made a year. That’s three a day if you had to watch them all! Even if you traditionally make an

amazing movie, your competition is still very steep. The idea [to use a smartphone] came up in December 2010 when Nokia announced their new phone in complete HD.”

He went on to contact Nokia every week for eight months before he received three phones for the fi lm. But the uphill journey wasn’t over yet. Khalili had to hack the smartphones to turn off the auto-focus and auto-zoom because “the camera thinks it knows what you want to focus on, but it doesn’t know.” Not only did he turn off the defaults, but every other application except the camera in order to maximize its shooting potential. “Pat Gilles created a 35mm lens and attached it to the end of the camera for depth of fi eld. It’s hard to create a movie without a 35mm fi lm. We kept it together with double stick tape et voila!”

After Nokia turned down his request for funding, Khalili approached Chris Kelly, the former chief executive privacy offi cer of Facebook. Along with additional funding from San Francisco businessman Bill O’Keefe,

26 | PRO-SPECTIVE www.fi lmmakerafrica.co.za

A Chat with

Hooman Khalili

Khalili was able to cover the costs of the fi lm — which were substantial, due in part to casting expenses. With the help of casting director Robin Lippin, Khalili was able to snag Gena Rowlands, as well as Mark Zuckerberg’s sister Randi. The story follows a young girl who cannot speak (Ruby Alexander) as she changes the lives of individuals around her.

Although the family-friendly production qualifi ed for the Oscars in 2012, its PG rating is arguably bad for business, Khalili says. “Distribution is a bit diffi cult. There is no one who wants to get this fi lm out more than me. I want the whole world to see it, but traditionally it’s diffi cult for fi lmmakers to make a dent. Everything is against an indie fi lmmaker.” He says that fi lm festivals have given ‘Olive’ a pass because they are more interested in raw, haunting fi lms than those with happy endings. “Tribeca and others can doom your fi lm,” he says, “Festivals are a double edged sword.”

Khalili is currently in the process of working through distribution – although he’s tight-lipped about how exactly. “When you make a movie you have to surround yourself with the best people you can fi nd. Mediocre people equal a mediocre movie. The same with distribution. If we pull this off, we’ll have found a whole new way of distributing fi lms,” he says, excited at the prospect. ‘Olive’ has already had some high points. “I showed the fi lm to Dolly Parton and she recorded fi ve original songs for the fi lm. If you want validation that it’s great, it’s Dolly Parton. The movie has to move you for her to do something like that.”

The Nokia N8 attached to the camera lens on one end and an eye piece on the other © Golnaz Shahmirzadi

Olive (Ruby A

lexander) looking through the cellphone camera ©

Golnaz Shahm

irzadi

To boldly go where no accountant has gone before...

MEREDITH HARINGTON | 27www.filmmakerafrica.co.za

by Glen Bresler, Director at Meredith Harington

When it comes to filming, we

wouldn’t presume to tell you

the best angle from which to

shoot, or make suggestions

regarding lighting or the best camera to

use. Clearly, that is your area of expertise.

But when it comes to getting your

finances straight we certainly know what

we’re talking about. We also know how

important it is for film and production

companies to be up to speed with your

accounts and financial planning.

Here’s what we think you’ve got to get

right and what we are really good at:

Getting Some Bucks BackWe’ve been involved with the Film

Incentive Scheme since its inception over

a decade ago. We enjoy (and share) the

benefits of a long relationship with the DTI.

Our understanding of the rebate process

and our experience in this field enables us

to deliver a cost effective, knowledgeable

service that is unmatched. We can do it

all from initial claims to audit of the cost

report and preparation of annual financial

statements and tax returns.

Management Accounts, Who Needs Them? You do! They’re a bit like vegetables.

You have to have them, no matter what.

You’ve got to know where you are on costs

in relation to budget and that all the tricky

compliance matters are dealt with properly.

Numbers aren’t always the easiest thing to

get your mind around so having someone

on hand to explain the nitty gritty and provide

assistance is helpful. Management accounts

are there to aid decision-making and as a

tool for catching early warning signs. After

all, you are protecting your life savings.

Getting your Taxes Wrong is RiskyTaxes are never fun to talk about, but

along with death, they are one of the

sure things in life. Whether you are a

production company, in the production

service industry, or the commercials

industry, VAT is a massive part of your life

and costly if not done right. Industry VAT

issues are especially complex and taking

advice makes good sense. We are also

here to support the needs of the people

behind the company. We offer you, the

film entrepreneur proactive advice for the

optimal structuring of your own affairs.

Production and Production Service CompaniesWe understand the business models in

the industry and we appreciate the issues

that challenge you. We work closely with

lawyers in the industry and have a strong

grasp of the contractual issues surrounding

the different models. Hence we are able

to offer appropriate and sound business

and accounting advice. We even know a

few tricks that can keep down the costs

of holding Special Purpose Corporate

Vehicles (SPCVs).

Think of us as a one-stop shop for the

film industry’s financial needs. We offer

support to filmmakers, special effects

firms, post production companies, actors

and film entrepreneurs and can even offer

introductions and advice relating to film

financing. We’ve got connections abroad

so we can support you in many countries

across the globe.

In a nutshell:

• Wearethevalueadd.

• We’reaprogressive,professional

firm that offers way more than

bean-counting.

• Weapplycommitment,creativity,

innovation and insight to everything

we do.

• Wehavetheforesighttoanticipate

change and the insight to prepare

for it.

• Wehavethecourageandexpertise

to be your competitive advantage

• We’vehelpedmanysuccessfulSA

companies and the men and women

behind them to maximise their profits,

grow and manage their wealth.

• Wedon’tjustpresentahistorical

set of financial statements to gather

dust; we provide valuable and

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improvement and expansion.

There is nothing average about Meredith

Harington. Please visit our website for

more information about what drives us,

our philosophies, our commitments to

our profession, our people, our clients,

the community and the environment.

Our website also contains expanded

explanations of our services, useful tools

and links and many interesting business

articles and fact sheets.

We appreciate the personal attention we’ve received over the years at Meredith Harington, and have established a great working relationship which fosters a sense of complete security and trust when dealing with our financial matters. Amanda Ritchie, Director, Orange Films

“ “

Call us on 021 713 8700

The 67th Festival de Cannes, which took place from 14 to 25 May, combined all the glitz, the controversy and the celeb

pageantry we have come to know and love. The handful of deserved winners were aptly honoured in a glitzy awards ceremony, renowned actresses in fabulous frocks lit up the red carpet, and movie critics the world over dug deep into the festival screenings, reviewing the highs, the lows and the downright embarrassing.

Competition AwardsTurkish director Nuri Bilge Ceylan went home with the coveted Palme d’Or award for his feature fi lm ‘Winter Sleep’, the tale of a wealthy, retired actor who dreams of playing God. Grey-bearded Aydin (Haluk Bilginer) possesses the appropriate bearing, timbre and confi dence for the role, but his moral compass is faulty and his subjects won’t play ball. Hailed by The Guardian as a “stunning picture…in fi ts and starts”, this Ingmar Bergman-esque production is Ceylan’s fourth Cannes win.

Alice Rohrwacher from Italy won the

Grand Prix for her light, coming-of-age fi lm, ‘Le Meraviglie’ (The Wonders), while Bennett Miller took home the Award for Best Director for ‘Foxcatcher’ featuring Mark Ruffalo, Channing Tatum and Steve Carell.

The Award for Best Screenplay went to Russian scriptwriters Andre Zyvyagintsev and Oleg Negin for their masterpiece ‘Leviathan’. The fi lm received stellar reviews after its initial festival screening and was also sold to nearly 40 territories – despite distribution prospects in its home country remaining uncertain thanks to a new law banning profanity in cinema. ‘Leviathan’ is still to have its Russian premiere in early June at the country’s largest national fi lm festival, Kinotavr.

Best Actress and Best Actor awards went to Julianne Moore and Timothy Spall for their roles in ‘Maps to the Stars’ and ‘Mr. Turner’ respectively, while the sought-after Jury Prize went jointly to ‘Mommy’, directed by Xavier Dolan, and ‘Adieu au Langage’ (Goodbye to Language) by Cannes winner and fi lm auteur extraordinaire, Jean-Luc Godard. Short-fi lm festival winners were ‘Leidi’, which took home the Palme d’Or,

as well as ‘Aissa’ and ‘Ja Vi Elsker’ (Yes We Love), which both received Special Distinction.

Gilles Jacob RetiresPresident of the Cannes Film Festival, Gilles Jacob, offi cially announced his retirement after more than 35 years of running the annual event. He has long been part of Cannes’ vibrance, with a perfect mix of Hollywood glamour ad European respect for cinema. He is widely credited with not allowing commercial pressures to weigh too heavily on the fi lms selected for competition. “My formula is art cinema for a wide audience, or intelligent popular cinema,” he said. “They’re the same thing.” Since handing over the job of overseeing the festival to Thierry Fremaux in 2000, Jacob has helped bring in corporate sponsors, and started a fi lm market where distributors can buy fi lms and invest in them.

Jacob has always been an outspoken man and was at the centre of a political controversy at Cannes this year. Iranian authorities were outraged over a kiss on the cheek between himself and actress

28 | SPOTLIGHT www.fi lmmakerafrica.co.za

67th FESTIVAL DE CANNES Ends on Exhilarating High Notes

Winner of the coveted Palm d’Or award: ‘Winter Sleep’ by Turkish director, Nuri Bilge Ceylan © Festival De Cannes

played the lead character in ‘White God’. The fi lm features over 200 four-legged actors and is the story of an abandoned dog and a 13-year-old’s fi ght to save him.

A number of actresses also wowed the crowd with the fashion sense – from Kenya’s own Lupita Nyong’o, to sultry Desperate Housewife Eva Longoria and one

SPOTLIGHT | 29www.fi lmmakerafrica.co.za

Five awards were presented to fi lmmakers in the Un Certain Regard category. The offi cial Prize went to Hungarian director Kornel Mundruczo for canine fi lm ‘Feher Isten’ (White God).

““

Leila Hatami, co-star of the 2011 Oscar winner ‘A Separation’. Hatami, one of Iran’s best-known screen stars, served on the jury at the festival. “It was me who gave a kiss to Madame Hatami,” Jacob said. “At that moment, she represented to me all of Iranian cinema.” He went on to say that the Iranian authorities’ outrage was “baseless”.

Un Certain Regard, Cinéfondation and Camera d’OrFive awards were presented to fi lmmakers in the Un Certain Regard category. The offi cial Prize went to Hungarian director Kornel Mundruczo for canine fi lm ‘Feher Isten’ (White God), while the Jury Prize went to tumultuous avalanche fi lm ‘Turist’, directed by Ruben Ostlund of Sweden. ‘The Salt of the Earth’ by Wim Wenders and Juliano Ribeiro Salgado won the Special Prize, ‘Party Girl’ won the Ensemble Prize and David Gulpilil went home with the Prize of the best Actor for his role in ‘Charlie’s Country’.

The Cinéfondation jury, led by Iranian fi lm director, screenwriter, photographer and producer Abbas Kiarostami, chose three award winners, with the third jointly given to ‘Leivito Madre’ (Sourdough) directed by Fulvio Risuleo and ‘The Bigger Picture’ by Daisy Jacobs. Annie Silverstein took the 1st Prize home for ‘Skunk’, while director Atsuko Hirayanagi went home with the 2nd Prize for ‘Oh Lucy!’. ‘Party Girl’, which won the Un Certain Regard Ensemble Prize, went on to win the Golden Camera award as well.

The Fun, The Flops and The FabulousAs expected, there were a few fi lm fl ops and fashion faux pas at Cannes this year – not to mention man’s best friend basking in the limelight on the red carpet! A most bizarre but endearing award was the Palm Dog, scooped by brothers Body and Luke who

‘Winter Sleep’ by Nuri Bilge Ceylan © Festival De Cannes

‘Timbuktu’ by Abderrahmane Sissako © Festival De Cannes

‘Fehér Isten’ (White God) by Hungarian director Kornél Mundruczó © Festival De Cannes

played the lead character in ‘White God’. The fi lm features over 200 four-legged actors and is the story of an abandoned dog and a 13-year-old’s fi ght to save him.

A number of actresses also wowed the crowd with the fashion sense – from Kenya’s own Lupita Nyong’o, to sultry Desperate Housewife Eva Longoria and one

SPOTLIGHT | 29www.fi lmmakerafrica.co.za

Five awards were presented to fi lmmakers in the Un Certain Regard category. The offi cial Prize went to Hungarian director Kornel Mundruczo for canine fi lm ‘Feher Isten’ (White God).

““

Leila Hatami, co-star of the 2011 Oscar winner ‘A Separation’. Hatami, one of Iran’s best-known screen stars, served on the jury at the festival. “It was me who gave a kiss to Madame Hatami,” Jacob said. “At that moment, she represented to me all of Iranian cinema.” He went on to say that the Iranian authorities’ outrage was “baseless”.

Un Certain Regard, Cinéfondation and Camera d’OrFive awards were presented to fi lmmakers in the Un Certain Regard category. The offi cial Prize went to Hungarian director Kornel Mundruczo for canine fi lm ‘Feher Isten’ (White God), while the Jury Prize went to tumultuous avalanche fi lm ‘Turist’, directed by Ruben Ostlund of Sweden. ‘The Salt of the Earth’ by Wim Wenders and Juliano Ribeiro Salgado won the Special Prize, ‘Party Girl’ won the Ensemble Prize and David Gulpilil went home with the Prize of the best Actor for his role in ‘Charlie’s Country’.

The Cinéfondation jury, led by Iranian fi lm director, screenwriter, photographer and producer Abbas Kiarostami, chose three award winners, with the third jointly given to ‘Leivito Madre’ (Sourdough) directed by Fulvio Risuleo and ‘The Bigger Picture’ by Daisy Jacobs. Annie Silverstein took the 1st Prize home for ‘Skunk’, while director Atsuko Hirayanagi went home with the 2nd Prize for ‘Oh Lucy!’. ‘Party Girl’, which won the Un Certain Regard Ensemble Prize, went on to win the Golden Camera award as well.

The Fun, The Flops and The FabulousAs expected, there were a few fi lm fl ops and fashion faux pas at Cannes this year – not to mention man’s best friend basking in the limelight on the red carpet! A most bizarre but endearing award was the Palm Dog, scooped by brothers Body and Luke who

‘Winter Sleep’ by Nuri Bilge Ceylan © Festival De Cannes

‘Timbuktu’ by Abderrahmane Sissako © Festival De Cannes

‘Fehér Isten’ (White God) by Hungarian director Kornél Mundruczó © Festival De Cannes

of the queens of old Hollywood, Sophia Loren. The Italian screen siren was the picture of glamour in a nude Giorgio Armani gown, while Canadian actress Sarah Gadon of ‘Maps to the Stars’ had her very own impromptu Marilyn moment, just managing to gain control of her Dolce & Gabbana top and skirt in time.

Abderrahmane Sissako’s passionate and visually beautiful fi lm ‘Timbuktu’ opened the competition, which, according to the Hollywood Reporter, was “poetic and

30 | SPOTLIGHT www.fi lmmakerafrica.co.za

searing in its plaintive straightforwardness”, providing “a fi tting opportunity to honour African cinema”. The Mauritanian-born director’s depiction of Islamic fundamentalists’ impact on a peaceful Mali community was well-received, with rave reviews across the board.

In contrast, some much-anticipated fi lms didn’t quite cut it with the audience. Ryan Gosling’s debut as director got off to a rocky start, with his neo-noire fantasy thriller

than this dreary parade”. Ryan Reynolds apparently skipped the

afterparty for ‘The Captive’ after the fi lm was roundly booed by its premiere screening. The Guardian’s Peter Bradshaw called it a “one-star turkey”, saying that line by line and scene by scene, it is “offensively preposterous and crass”. Other no-go’s included Bertrand Bonello’s ‘Saint Laurent’ (“thunderously vapid”, says the Telegraph) and Michel Hazanavicius’ ‘The Search’, which was described by Indiewire as “misjudged and indulgent” and by Variety as “a gruelling, lumbering, two-and-a-half-hour humanitarian tract that all but collapses under the weight of its own moral indignation”.

Quentin Tarantino closed the 67th Cannes Film Festival with a celebration of the life and work of Sergio Leone. To celebrate the 50th anniversary of the Spaghetti Western in 1964, Leone’s fi lm “A Fistful of Dollars’ was screened after the prizes were awarded.

‘Lost River’ panned by Cannes critics. The Daily Telegraph’s Robbie Collin describes it as “mouth-dryingly lousy” and “so mind-bogglingly pleased with itself that the words ‘fi ve stars – a masterpiece – Ryan Gosling’ might as well appear on the poster”. Olivier Dahan’s ‘Grace of Monaco’, which opened the festival, also bombed, with Stephen Dalton at the Hollywood Reporter saying that the “Shrek movies deconstruct fairy tale conventions with much more depth and wit

Mia Wasikowska and Julianne Moore in ‘Maps to the Stars’, directored by David Cronenberg © Daniel McFadden

Xavier Dolan, director of ‘Mommy’ © Shayne Laverdiere

‘Leviathan’ by Russian scriptwriters Andre Zyvyagintsev and Oleg Negin © Festival De Cannes

32 | FEATURE www.filmmakerafrica.co.za

Now a regular feature on the Lions party calendar, the SA party was held on Friday 20th June at Long Beach in Cannes, France. Cannes

Lions is the biggest advertising festival in the world, attracting the best marketing and advertising from all corners of the globe. The South African party was to make sure that clients, agencies and production companies know about our country, and to keep them coming back to shoot in South Africa.

The party is privately sponsored, with the value for companies sponsoring lying in being able to have tickets to offer clients. Each sponsor gets an allocation of tickets, and those companies get hounded for tickets long before the party. With the South African party now known as the key draw card on the Friday night of the week-long festival, it’s a brilliant tool for getting meetings with potential new clients, and pleasing existing clients.

With the event being attended by a global community, key players from the US, UK, China, Brazil, Poland, France, Germany, including Global CEOs of companies, attend the party and let their hair down.

This year, we had the fantastic Marc Algranti from Pulse Music as our DJ, who brought along a string of really hot guest DJs including Juan Woodbury from Chicago and Georgie MacEchern from London, so the party rocked. The dance-floor heaved

CANNES LIONS 2014South African Party

© Philippa D

resner

© Philippa D

resner

© Philippa D

resner

© Philippa D

resner


from start till finish.Next year we would like to make the

party even bigger and attract more sectors of the industry as sponsors. We have been on an upwards trajectory since the party’s inception in 2006 and we want to make the 2015 version the best ever.

A big thank you to ALL the sponsors for making this year’s such a fantastic party.

© Philippa D

resner

© Philippa D

resner©

Philippa Dresner


from start till finish.Next year we would like to make the

party even bigger and attract more sectors of the industry as sponsors. We have been on an upwards trajectory since the party’s inception in 2006 and we want to make the 2015 version the best ever.

A big thank you to ALL the sponsors for making this year’s such a fantastic party.

© Philippa D

resner

© Philippa D

resner©

Philippa Dresner

• Modelers• Texturing Artists• Shading Artists• Rigging Artists• VFX Artists and TD’s• Animators• Lighting Artists• Compositors• Software Developers• Editors• Production Co-ordinators• IT Support Staff

Production will begin in May 2014 and the project will run through the third quarter of 2015.

Please Note:• Foreign Applicants – We are

34 | OPPORTUNITY www.fi lmmakerafrica.co.za

Triggerfi sh is putting out a country-wide call to the very fi nest talent in South Africa to join our team in creating an exciting new half hour

children’s fi lm, based on a book by one of the world’s most beloved and successful children’s authors.

The fourth in a sequence of award-winning short fi lms, this high profi le project is an opportunity to be part of the studio that is, with ‘Adventures in Zambezia’, ‘Khumba’, and the upcoming ‘Sea Monster’, pioneering the development of animated fi lms in South Africa and continues to be at the forefront of high quality animation on the continent.

The studio is looking for highly-motivated and super-skilled junior, mid-level and senior applicants who have a passion for storytelling and a deep desire for the opportunity to craft beautiful, world-class animated content that will play to millions of children and their families worldwide.

Opportunities exist for the following positions which will become available over the 17 month production period:• Concept Artists• Production Designers• Matte Painters• Storyboard Artists• Previs Artists• Z Brush Artists

unfortunately NOT able to accept job and internship applications from outside of South Africa for this project.

• Previous Applicants – Even if you have previously applied to Triggerfi sh, please re-submit your application for this project so that we know you are still available.

Please submit your application in full at www.triggerfi shstudios.com, including your CV and a link to your showreel on YouTube. We will contact you for an interview if your application is successful.

is Hiring!

TriggerfishAnimation Studios


‘Khumba’ ©

Triggerfi sh

MOVIE REVIEW | 35www.fi lmmakerafrica.co.za

The Square has been making the rounds in theatres since its release in late 2013 – just in time to scoop an Oscar nomination. But don’t

be fooled by its humble name. A shortened version of the now infamous Tahrir Square in central Cairo, this small patch of land is seen as a symbol of Egypt’s revolution. It all began here in 2011 when people stood up against Hosni Mubarak’s regime, and it ended here, after years of civil unrest, a military takeover, thousands arrested and many needlessly killed.

Directed by Jehane Noujaim, it follows a small group of revolutionaries at the centre of an ongoing tug-of-war between a budding democracy and the powers that be. From its glorious beginning scenes of societal change, something innate is swept up in the celebrations. This feeling of solidarity with the everyday people of Egypt is one that no human being can ignore. It speaks to the 99% for the 99%. Quite rightly called an “immersive experience”, ‘The Square’ is an emotionally

charged fi lm that will reach into the very depths of your soul and pull your humanity out – kicking and screaming if it must.

Although told mainly through the eyes of Ahmed Hassan, a born storyteller and street revolutionary, ‘The Square’ weaves his tale between the interpersonal experiences of Khalid Abdalla, a British-Egyptian actor and fi lmmaker and star of ‘The Kite Runner’, Magdy Ashour, a father of fi ve who was abducted and tortured for being part of the Muslim Brotherhood, Ragia Omran, a passionate, human rights lawyer, Ramy Essam, the unoffi cial singer-songwriter of the revolution and Aida El Kashef, a fi lmmaker from Cairo who set up the fi rst tent in Tahrir Square.

As the story progresses over a two and a half year period, this small patch of turf becomes the scene of horrifi c violence, suffering and emotional pain as the military impose emergency law after Mubarak’s fall. In the face of a new terror, the Muslim

Brotherhood, one of Egypt’s Islamic sects, makes a deal with the military and hijacks the revolution. The Brotherhood goes on to win both Parliamentary and Presidential elections, before the nation eventually rallies outside the presidential palace to call for Mohamed Morsi to step down.

What truly strikes one throughout the fi lm is its gritty, undeniable reality. At times there are camera hiccups and audio failures, with the fi lmmaker actually fl eeing for her life at certain points. Often when watching documentaries, the reality is not one’s own, but from the get-go, ‘The Square’ draws you in, giving you a true taste of what it was like – and still is like – being part of a revolution. But it’s not just gritty, it’s also poetic. It depicts the birthing pains of a new nation, of a new society, and it does so with fi nesse, with the use of art and music that would never have existed without the revolution.

‘The Square’s call for unity is undeniable, asking for someone, anyone, to stand up against a corrupt system that exploits the poor and oppressed. Ahmed’s words at the very end resonate with anyone searching for justice. “We’re not looking for a leader as much as we’re looking for a conscience,” he says. “What is a leader anyway? Are they going to offer solutions from the heavens? They won’t do that. The thing is, if we are able to create this conscience within society, we’ll be able to fi nd a good president. We are not looking for a leader to rule us because everyone who went to Tahrir is a leader. We are looking for a conscience.”

The Downfall of an Oppressive Regime

THE SQUARE

by Kim Muller

Ahmed Hassan, Egyptian activist in Jehane Noujaim’s documentary ‘The Square’ - Courtesy of Noujaim Films

Jehane Noujaim, Director © Ahmed Hassan

Khalid Abdalla (left) and Ahmed H

assan in ‘The Square’ - Courtesy of N

oujaim Film

s

Kenya is full of magnificent shoot locations to choose from, and because of easily accessible charter flights, moving from location to location is

not a hassle. Home to the second highest mountain in Africa, bisected by the Great Rift Valley which stretches 6,000 kilometres from Mozambique, Kenya has been called “the country of great lakes”. The Rift Valley in Kenya contains seven lakes and is known for its incredible game viewing opportunities.

The 1985 film, Out of Africa, starring Meryl Streep and Robert Redford, won the Academy Award for Best Picture revealing what the country has to offer when it comes to magnificent landscapes and picturesque locations.

A boom in local filmThe country’s government has recently shown tremendous support and investment

in Kenya’s film industry. Michael Onyango, a board member of the Kenya Film Commission said: “ One of the things that a lot of people many not know is that over the last five years or so, film in Kenya has actually grown in terms of establishments by about 85%”. A working example of the current economics of Kenyan moviemaking is the prolific Riverwood — named after River Road, a creative and business hub in Nairobi — that churns out hundreds of low-budget films. Like Nigeria’s Nollywood, Riverwood is part of the digital revolution in filmmaking over the last decade, and both are using low-cost digital filmmaking and editing to tell local stories — in the process making money and creating thousands of jobs.

The country beams with great film talent with the brightest shining star being Lupita Nyong’o, who became the first African actress

to win an Academy Award for best supporting actress. Lupita is also a film director; ‘In My Genes’ is a Kenyan 2009 documentary film by directed, written, produced and edited by the actress.

Filming in KenyaSpecial passes are required for international film crews. These are issued by the Department of Immigration. While film licenses are issued by the Department of Film Service, the prices and approval periods depend on the type of shoot applied for and whether it’s a documentary, short drama or a full-length feature film.

Getting to Kenya by airThe country has five airline carriers, the biggest being Kenya Airways. Jomo Kenyatta airport is the busiest aviation facility in the East African

36 | COUNTRY SPOTLIGHT www.filmmakerafrica.co.za

by Siyanda Bani

KENYA-LOCAL FILM Gets a Facelift

region. The airport is named after the fi rst Kenyan prime minister and president. There are many domestic air charters available and they offer individual or group charter in a range of aircraft, which is ideal when shooting on a remote location. Private and public airstrips are easily accessible.

Population:43, 18 million (2012, World Bank)

Climate:The country is hot and humid at the coast, cool and humid in the central highlands, and hot and dry in the North and East. To the North and North-East, daytime temperatures exceed 34 degrees Celsius. The Suguta Valley in northern Kenya is reputed to be one of the hottest places on earth. The central highlands receive the most rainfall and tend to be cool,

due to the high altitude. Rainfall is mainly between April and July.

You Need to Know AboutWhen packing your suitcase, make sure to include an adaptor that is 240v 13amp. Flat type sockets are used in Kenya; similar to the ones used in the UK.

What’s Happening Now?The Slum Film Festival is an annual competition where fi lmmakers enter their short fi lms, music videos, public service announcements and community news segments. This year Slum Film Festival will be held in Nairobi, from Kenya 3 – 12 August 2014. The Slum Film Festival is an innovative, community-based festival, featuring stories from, by, and about people living in urban slums everywhere.

COUNTRY SPOTLIGHT | 37www.fi lmmakerafrica.co.za

Did You Know?In 2002, Kenya was declared the winner of ‘Best Film Location’ in the ‘Originality and Creativity’ section of Annual Global Locations Expo in Los Angeles. Out of Africa, Born Free, To Walk with Lions, Mountains of the Moon, and the recent Oscar award-winning fi lm Nowhere in Africa have all been shot on location in Kenya. In addition, Malooned has joined the list.

© Dreamstime

© D

reamstim

e

IN PRODUCTIONJuly 2014

38 | IN PRODUCTION www.fi lmmakerafrica.co.za

‘The Big Shoe’Steven Shainberg, director of ‘Secretary’ and ‘Fur: An Imaginary Portrait of Diane Arbus,’ is expected to shoot his next film, ‘The Big Shoe,’ in Cape Town. IMDB says Kristen Stewart, Jim Sturgess and Elizabeth Banks will star in this story of an overbearing mom who hires a therapist to work with her shoe-designing son. According to IMDB, Anton Ernst will be the South African producer.

‘The Curse of Hendon’Moonlighting is rumoured to be the South African production company on ‘The Curse of Hendon,’ the latest fi lm from ‘Borat’ star Sacha Baron Cohen. There’s no offi cial information anywhere about the fi lm yet.

‘Dias Santana’ZenHQ Films is in production on the action cop drama Dias Santana, which will shoot in Cape Town and Luanda. According to the ZenHQ Facebook page, “The only thing top cop Dias Santana and his brother Matias have in common is avenging the murder of their parents that ripped the Santana family apart thirty years ago. With their own lives on the edge, Dias and Matias learn that blood is thicker than water, and revenge is easier said than done.”

‘Eye In The Sky’Moonlighting is rumoured to be the South African production company on ‘Eye In The Sky,’ a drone warfare thriller written by BAFTA winner Guy Hibbert and directed by South African Gavin Hood (‘Ender’s Game,’ ‘Tsotsi’). IMDB’s updated cast includes Oscar winners Colin Firth and Helen Mirren, as well as ‘Breaking Bad’’s Aaron Paul and ‘Captain Phillips’’ Barkhad Abdi. The shoot’s expected to start in August.

‘Homeland’Moonlighting is also the South African production company on the Golden Globe and Emmy-winning series ‘Homeland,’ which has relocated to Cape Town for its fourth season. Despite some visa hiccups, the shoot started mid-June and will run until November 2014.

For season four, there’s no Damien Lewis, with the plot instead revolving around Carrie Mathison (Claire Danes) returning to the Middle East as chief of station, according to Deadline. ‘House of Cards’’ Corey Stoll and ‘Life of Pi’’s Suraj Sharma are new additions to the cast.

Thanks to ever-present

confidentiality clauses, no one

is ever allowed to officially talk

about what’s in production in

Africa, so this monthly section

is an unofficial overview of the

industry’s worst-kept secrets.

After keeping the service industry

afloat for most of the year with

‘Black Sails’ and ‘Dominion,’

Film Afrika have gone quiet and

seemingly tagged Moonlighting

to take over for a while.

IN PRODUCTION | 39www.fi lmmakerafrica.co.za

‘The Last Face’Moonlighting is also the South African production company on ‘The Last Face,’ to be directed by Sean Penn for Lionsgate.

South African Oscar-winner Charlize Theron, who’s been linked to Sean romantically, is the lead, opposite fellow Oscar-winner Javier Bardem.

The Hollywood Reporter says Charlize will play “the director of an international aid organisation working in Liberia, who embarks on a love affair with a stubborn and impulsive relief-aid doctor, played by Bardem. However, their mutual passion for the value of life is matched by the intensity of their opposing opinions on how best to solve the confl ict that surrounds them, creating a seemingly insurmountable rift.”

‘Blue Is The Warmest Colour’s Adele Exarchapoulos also stars, with the shoot expected to start in August 2014.

‘Momentum’Clint Eastwood’s camera operator Stephen Campanelli is currently in South Africa making his directorial debut on

last stand against a cataclysmic alien invasion, set in a war-ravaged African countryside.” Alex Russell (‘Chronicle’) is in negotiations to star alongside ‘Skyfall’ Bond girl Berenice Marlohe. The fi lm is expected to begin production in September in South Africa.

‘The Riders’‘Of Good Report’ director Jahmil Qubeka’s in production on ‘The Riders,’ which he seems to be shooting in Croatia and UK with South African DOP Jonathan Kovel. ScreenDaily says the cast includes Richard E. Grant, ‘Spartacus’’s Liam McIntyre and child star Pixie Davies and that the fi lm is “the story of an ageing art expert whose world is shattered when he meets a mysterious young woman.”

‘Tremors’I was still in primary school when the fi rst ‘Tremors’ came out, starring Kevin Bacon and giant worms. Moonlighting is rumoured to the South African production company on the fi fth installment of the franchise.

‘Sand Castle’‘Sand Castle’ will star Nicholas Hoult (‘Mad Max: Fury Road’) and Toby Kebbell (‘Wrath of the Titans’) in an Iraq war drama based on the Black List ‘inspired by real events’ script from war veteran Chris Roessner. Mark Gordon (‘Source Code,’ ‘Saving Private Ryan’) is producing for commercials director Seb Edwards, making his feature debut. The fi lm’s expected to shoot in October 2014 in South Africa and Italy.

‘Momentum.’ According to Variety, the thriller stars ‘Quantum of Solace’ Bond girl Olga Kurylenko as “a wanted bank robber on the run from a death squad.” ‘The Following’’s James Purefoy and ‘Boardwalk Empire’’s Shea Whigham co-star, with Anton Ernst as the South African producer.

‘Prisoner of War’According to Deadline, American Joe Miale’s feature fi lm directorial debut is “the story of humankind’s

Claire D

anes, Hom

eland - Courtesy of Showtim

e

IN PRODUCTIONJuly 2014

38 | IN PRODUCTION www.fi lmmakerafrica.co.za

‘The Big Shoe’Steven Shainberg, director of ‘Secretary’ and ‘Fur: An Imaginary Portrait of Diane Arbus,’ is expected to shoot his next film, ‘The Big Shoe,’ in Cape Town. IMDB says Kristen Stewart, Jim Sturgess and Elizabeth Banks will star in this story of an overbearing mom who hires a therapist to work with her shoe-designing son. According to IMDB, Anton Ernst will be the South African producer.

‘The Curse of Hendon’Moonlighting is rumoured to be the South African production company on ‘The Curse of Hendon,’ the latest fi lm from ‘Borat’ star Sacha Baron Cohen. There’s no offi cial information anywhere about the fi lm yet.

‘Dias Santana’ZenHQ Films is in production on the action cop drama Dias Santana, which will shoot in Cape Town and Luanda. According to the ZenHQ Facebook page, “The only thing top cop Dias Santana and his brother Matias have in common is avenging the murder of their parents that ripped the Santana family apart thirty years ago. With their own lives on the edge, Dias and Matias learn that blood is thicker than water, and revenge is easier said than done.”

‘Eye In The Sky’Moonlighting is rumoured to be the South African production company on ‘Eye In The Sky,’ a drone warfare thriller written by BAFTA winner Guy Hibbert and directed by South African Gavin Hood (‘Ender’s Game,’ ‘Tsotsi’). IMDB’s updated cast includes Oscar winners Colin Firth and Helen Mirren, as well as ‘Breaking Bad’’s Aaron Paul and ‘Captain Phillips’’ Barkhad Abdi. The shoot’s expected to start in August.

‘Homeland’Moonlighting is also the South African production company on the Golden Globe and Emmy-winning series ‘Homeland,’ which has relocated to Cape Town for its fourth season. Despite some visa hiccups, the shoot started mid-June and will run until November 2014.

For season four, there’s no Damien Lewis, with the plot instead revolving around Carrie Mathison (Claire Danes) returning to the Middle East as chief of station, according to Deadline. ‘House of Cards’’ Corey Stoll and ‘Life of Pi’’s Suraj Sharma are new additions to the cast.

Thanks to ever-present

confidentiality clauses, no one

is ever allowed to officially talk

about what’s in production in

Africa, so this monthly section

is an unofficial overview of the

industry’s worst-kept secrets.

After keeping the service industry

afloat for most of the year with

‘Black Sails’ and ‘Dominion,’

Film Afrika have gone quiet and

seemingly tagged Moonlighting

to take over for a while.

IN PRODUCTION | 39www.fi lmmakerafrica.co.za

‘The Last Face’Moonlighting is also the South African production company on ‘The Last Face,’ to be directed by Sean Penn for Lionsgate.

South African Oscar-winner Charlize Theron, who’s been linked to Sean romantically, is the lead, opposite fellow Oscar-winner Javier Bardem.

The Hollywood Reporter says Charlize will play “the director of an international aid organisation working in Liberia, who embarks on a love affair with a stubborn and impulsive relief-aid doctor, played by Bardem. However, their mutual passion for the value of life is matched by the intensity of their opposing opinions on how best to solve the confl ict that surrounds them, creating a seemingly insurmountable rift.”

‘Blue Is The Warmest Colour’s Adele Exarchapoulos also stars, with the shoot expected to start in August 2014.

‘Momentum’Clint Eastwood’s camera operator Stephen Campanelli is currently in South Africa making his directorial debut on

last stand against a cataclysmic alien invasion, set in a war-ravaged African countryside.” Alex Russell (‘Chronicle’) is in negotiations to star alongside ‘Skyfall’ Bond girl Berenice Marlohe. The fi lm is expected to begin production in September in South Africa.

‘The Riders’‘Of Good Report’ director Jahmil Qubeka’s in production on ‘The Riders,’ which he seems to be shooting in Croatia and UK with South African DOP Jonathan Kovel. ScreenDaily says the cast includes Richard E. Grant, ‘Spartacus’’s Liam McIntyre and child star Pixie Davies and that the fi lm is “the story of an ageing art expert whose world is shattered when he meets a mysterious young woman.”

‘Tremors’I was still in primary school when the fi rst ‘Tremors’ came out, starring Kevin Bacon and giant worms. Moonlighting is rumoured to the South African production company on the fi fth installment of the franchise.

‘Sand Castle’‘Sand Castle’ will star Nicholas Hoult (‘Mad Max: Fury Road’) and Toby Kebbell (‘Wrath of the Titans’) in an Iraq war drama based on the Black List ‘inspired by real events’ script from war veteran Chris Roessner. Mark Gordon (‘Source Code,’ ‘Saving Private Ryan’) is producing for commercials director Seb Edwards, making his feature debut. The fi lm’s expected to shoot in October 2014 in South Africa and Italy.

‘Momentum.’ According to Variety, the thriller stars ‘Quantum of Solace’ Bond girl Olga Kurylenko as “a wanted bank robber on the run from a death squad.” ‘The Following’’s James Purefoy and ‘Boardwalk Empire’’s Shea Whigham co-star, with Anton Ernst as the South African producer.

‘Prisoner of War’According to Deadline, American Joe Miale’s feature fi lm directorial debut is “the story of humankind’s

Claire D

anes, Hom

eland - Courtesy of Showtim

e

EVENTS | 41www.fi lmmakerafrica.co.za

August67th FESTIVAL DEL FILM LOCARNO 6 – 16 Locarno, Switzerland

THE NORWEGIAN INTERNATIONAL FILM FESTIVAL16 – 22 Haugesund, Norway

71st VENICE FILM FESTIVAL27 – 6 SeptemberVenice, Italy

‘Birdman C

hronicles’ Courtesy of DIFF

40 | EVENTS www.fi lmmakerafrica.co.za

LJulyMARFA FILM FESTIVAL2 – 6 Texas, USA

GRAHAMSTOWN NATIONAL ARTS FESTIVAL3 – 13 Grahamstown, South Africa

49th KARLOVY VARY INTERNATIONAL FILM FESTIVAL4 – 12 Karlovy Vary (Karlsbad), Czech Republic

MEDIA CITY FILM FESTIVAL8 – 12 Ontario, Canada

NEW ZEALAND INTERNATIONAL FILM FESTIVAL17 – 2 AugustAuckland, New Zealand

DURBAN INTERNATIONAL FILM FESTIVAL18 – 28 Durban, South Africa

DURBAN FILMMART22 – 23 Durban, South Africa

WILD TALK AFRICA23 – 26 Durban, South Africa

COMIC-CON INTERNATIONAL INDEPENDENT FILM FESTIVAL 24 – 27San Diego, USA

MELBOURNE INTERNATIONAL FILM FESTIVAL31 – 17 AugustMelbourne, Australia

EVENTS | 41www.fi lmmakerafrica.co.za

August67th FESTIVAL DEL FILM LOCARNO 6 – 16 Locarno, Switzerland

THE NORWEGIAN INTERNATIONAL FILM FESTIVAL16 – 22 Haugesund, Norway

71st VENICE FILM FESTIVAL27 – 6 SeptemberVenice, Italy

‘Birdman C

hronicles’ Courtesy of DIFF

42 | ASSOCIATIONS www.fi lmmakerafrica.co.za

NFVF Appoints New Council Members

The Minister of Arts and Culture recently selected the new council members for the National Film and Video Foundation of South Africa (NFVF). The appointed council members will serve on the NFVF council until 30 April 2017 and oversee the implementation of the NFVF objectives. The new members bring with them great expertise and knowledge drawn from various sectors of the South African economy.

42 | ASSOCIATIONS www.fi lmmakerafrica.co.za

NFVF Appoints New Council Members

The Minister of Arts and Culture recently selected the new council members for the National Film and Video Foundation of South Africa (NFVF). The appointed council members will serve on the NFVF council until 30 April 2017 and oversee the implementation of the NFVF objectives. The new members bring with them great expertise and knowledge drawn from various sectors of the South African economy.

ASSOCIATIONS | 43www.fi lmmakerafrica.co.za‘Khum

ba’ © Triggerfi sh

Here are some the new appointed members of the council:1. Ms. Mmabatho Ramagoshi

(Chairperson) 2. Mr. George Leolo (Deputy Chairperson)3. Advocate Roshan Dehal4. Ms. Pamela Mashiane5. Mr. Thabiso Lawrence Masudubele6. Ms. Desiree Markgraaf7. Mr. Brendyn Meyer8. Mr. Leslie Mkhabela9. Mr. Phillip Molefe10. Mr. Aboobaker Moosa11. Ms. Lorraine Jikijela Ramathesele12. Mr. Sandile Swana13. Mr. Mfundi Vundla

Council members that have been re-appointed from the outgoing council are Mr. George Leolo, who returns as deputy chairperson and Advocate Roshan Dehal.

“We are very thrilled with the announcement of our new administration. The previous three years, under the leadership of Ms. Mmabatho Ramagoshi were very fruitful; their focus amongst

others, being transformation, particularly in the development of youth and female fi lmmakers, people from disadvantaged background and the disabled. I’m proud to say that we have seen positive results out of their strategy and look forward to the next three years of local fi lm growth and development,” says Zama Mkosi, CEO of the NFVF.

44 | DIRECTORY LISTINGS www.fi lmmakerafrica.co.za

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Join usCover Image: ‘Hard to Get’ directed by Zee Ntuli, Durban International Film Festival 2014, © Chris Harvey

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Documents

The Callsheet issue 7 2014