BOOKINGSQ-STUDIOS SOUND STaGE 2 - Screen Africa

Shoot Casting – great opportunity

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ustin Browne from Shoot Casting Agency says that it was a great experience to work on District 9. Browne explains how they got involved: “A couple of months before they started shooting, we called the production and spoke to the cast co-ordinator and production manager and asked if we could assist on the film. The answer was a yes.” Browne elaborates that the highlight of working on the film was that it had a good budget. “This really helped and it wasn’t a struggle to get our people on to set. It’s always an honour working on a film that gets international recognition. The highlight, though, was being at the première. Casting agents don’t get recognised for their part on a film but District 9 was different and this made working on the film so much more rewarding.” Browne says some of the challenges was shooting in Soweto. “It was dusty

Picture courtesy Ster-Kinekor

DISTRICT 9

STAR QUALITY – Sharlto Copley gives a memorable performance in District 9

and just a harsh environment to shoot in.” Sharlto Copley’s consummate performance will help pave the way for South African actors who want to do international work, says Browne. “He gave an excellent performance. A typically Afrikaans guy who takes pride in his work. South African actors are actually getting the opportunity to expand their talents. I think it is great that they are doing so well.” Brown concludes: “Shoot Casting Agency has been in operation since 2003, in which we have grown not only as a business but as people. We have learnt that it takes a lot of hard work and commitment to be successful in this business. We would love to be involved in more fantastic films like District 9 and look forward to the growth of the industry.”

Chameleon blown away

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hen Chameleon Casting was briefed by Kalahari Films, they had no idea how successful District 9 would become, says Janice Meyer. The reality of how huge D9 is worldwide was brought home to her at the premiere held in Johannesburg. “I did not know what to expect and I was completely blown away by the real Hollywood style premiere and this most amazing movie. “I cannot believe how much the South African film industry has grown in a short time and what amazing

movies we are starting to turn out. I always said the Australians make great movies and terrible ads and we make terrible movies and great ads. Well the time has come to say we make great movies too!” The best part of this movie was the all South African cast, says Meyer who was particularly impressed by Sharlto Copley. “He grabbed us from the first minute he appeared on the screen. He has proved to all aspiring actors that if you can dream it, you can do it. “We have finally proved to the world that South African actors are as good as any of the Hollywood groot name (big names) and that you don’t have to be a Hollywood name (with a really bad south African accent) to draw the crowds. It is vital that we are finally recognised for our own talent and do not need Hollywood stars to sell our movies.” Chameleon was formed 17 years ago and Meyer is determined that the casting agency will continue to offer the film industry the best service possible.

R FO GS N IN PE OK O O B

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• ‘Bubble’ Fire Proof Access Door with Lock • Lighting Grid 8.2m High • 1000 & 400w lights • ‘Star’ Dressing Room** • Interview Studio** • 60m Green Room* 2

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Photograph by Pixel Foundry

Really Big in Johannesburg! Television, Film & Photographic Studios, Q-Corner, 149 10th Road (cnr 4th Avenue), Kew 2090 Telephone 011 7917303 Fax 011 887 2266 Bookings: John Difford cell: 083 260 3632 e-Mail: [email protected] October 2009 – SCREENAFRICA

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SCRIPTWRITING The South African Script Writers’ Association (SASWA), committed to protecting the rights of local film and TV writers, has changed its name to The Writers Guild of South Africa. Karen van Schalkwyk reports.

Writers Unite! T THE WRITE PROTECTION – Thandi Brewer

Brent Quinn

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he film and television industry in South Africa is a tough game for producers, directors and actors, but more specifically writers. This is especially true now in light of the recent problems at public broadcaster SABC. Other broadcasters are also not really coming to the party and the global economic recession is having an impact too. However, out of all the ingredients that go into making content and entertainment, writers seem to be the worst off. This is the primary reason for the existence of The Writers Guild of South Africa. The guild is an integral part of supporting and looking after writers’ rights. Thandi Brewer, chairman, explains that The Writers Guild of South Africa is the new name for SASWA. “We’re building on the proud tradition of 33 years of blood, sweat and tears from previous councils and organisers. Anyone who wants to join can e-mail [email protected] and we’ll send them the registration form and requirements. Our focus is primarily on screenwriting, however all writers are welcome. The guild has branches in Cape Town, Johannesburg and KwaZulu-Natal.” Senior guild member Brett Quinn reiterates that the guild is there to protect writers. “If the miners, bus drivers and doctors can strike, then writers certainly need an organisation to help them get what they are being cheated out of. Writers come a poor fourth to producers, actors and directors in terms of status. Put simply, which of the four would you rather date? Exactly! Any project is first created on the page. Our writers are

definitely not appreciated as much as in other territories.” Quinn elaborates: “When I work for international clients I get paid five times as much as in South Africa and on time. This is the kind of precedent we need to set here.” Brewer elaborates on how the guild protects writers’ rights. “Our members are people who write for television shows, movies, news programmes, documentaries, multimedia and animation. Our primary duty is to represent our members in negotiations with film and television producers and broadcasters. We aim to protect writers’ financial, creative and intellectual property rights and credits.” Quinn elaborates: “Joining the guild will help you with protecting your work. Owning copyright, however, is not going to make anyone rich: sharing and exploitation of rights is what really counts. In South Africa the sad situation is that our content is underexploited and this is mainly due to the broadcasters wanting to own copyright. It is a bit like buying a taxi, using it once or twice and then keeping it locked up in the SABC vault and insisting nobody touch it.” The main objectives in terms of these rights are as follows: The right to be credited legally, morally, contractually and appropriately as author of their work; the right to fair payment for all uses of their work in all media; the right to freedom of expression; the right to freedom from discrimination; the right to protect their work from distortion or misuse and the right to free association, including to act collectively with other writers.

Regarding the recent mismanagement and abuse of funds by the SABC, Quinn comments: “This mismanagement places all independents in the same boat. The boat is a bit like a ferry, overloaded with refugees, heading for a tsunami of unnecessary debt. Currently the only real prospects for unemployed writers are writing a novel, subsistence farming or prostitution.” Brewer says that the guild has many plans in terms of developing and training new writers. “For instance our Durban branch is working on teaming up with local actors and the Durban Film Society to run a once-monthly ‘Script Flip’. This is basically an event where local screenwriters can submit their scripts for public reading by professional actors and then get feedback from the audience. We’re also hoping to start this in Johannesburg. We have also started the process of getting standard writers’ contracts together and are working in conjunction with producers and lawyers. The aim is to have an industry accepted standard writing contract that is fair to all.” The aim of the guild is to build a powerful network for all writers in South Africa. Brewer elaborates: “The guild will become an extremely powerful force in the industry if writers join and when the industry starts to respect their writers. The simple truth is that one writer alone has less power than two, etc. No writer should have to face alone an employer who has violated his or her rights. That fight belongs to the guild. We are here to accomplish collectively what we cannot accomplish alone.”

Making Magic

BOOK REVIEWS

Step-by-step guide to SA TV writing

F PUPPETMASTER – Rod Campbell as an enthusiastic amateur, pictured at work on one of his remarkable sets, painstakingly shooting on 16mm film, frame by frame. In Cambell’s opinion, film is still the best medium for animation, providing a ‘different look’ when compared with video.

Symphony of Puppets reviewed by Don Briscoe

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ere’s a man living in happy retirement, in Fish Hoek, in the Western Cape, with magic on his mind. Roderick E. Campbell (‘call me Rod’) is an animation artist as well as puppet and model maker supreme. Indeed, South Africa’s very own ‘Walt Disney’. He has just put pen to paper, with the encouragement of his daughter Shani, and produced an unique pocket-sized book on his life and in particular his experiences while producing puppets and models for childrens’ programmes during the formative years of South African television. Those of you facing a mid-life crisis will, in a quiet moment, remember with delight some of those characters that paraded over our television screens in the 1970s: Bennie Boekwurm, Karel Kraai, Maestro Mol, Mango Monkey, Alfie Armadillo, Wolf and Jakkals, Sebastian Kitzwallace – and best of all, Liewe Heksie. There were innumerable others, all produced to perfection on magnificent sets by Rod Campbell and his innovative and creative team of specialists. What’s more, under Campbell’s enthusiastic guidance, remarkable and unique techniques of animation and puppet manipulation were introduced to the world of film and television. On a visit to South Africa in the 1970s Bob Shiffer from the Disney Studios remarked in a special television article that ‘the standard of puppet production under Rod Campbell of SABC Television is of a standard not seen outside Disneyland.’ An accolade of considerable merit and honour. Campbell’s extraordinary talent was recognised by the SABC Television Service in the form of an Artes Award on more than one occasion – the local equivalent to the internationally recognised Oscars® and Emmys. The book, in an easy and readable style, covers Campbell’s humble early

life and his enthusiasm for “animating immovable objects”, his passion for puppets, his remarkable ingenuity in producing magic for children from almost nothing. An astonishing talent which deserves wide recognition. At times, there is intense poignancy in Campbell’s writing. An intense man governed by sincere religious convictions, he feels that his career path, the support of his family and his ultimate contribution to South African television, has at all times been guided by “that celestial power that defies complete understanding”. Certainly, his work and that of his dedicated team of creative specialists, had to overcome extraordinary difficulties before they achieved the perfection they were seeking. A reservoir of talent that was regrettably not fully recognised by the authorities at the time. Their creative work of astonishing quality has disappeared into what Campbell refers to as ‘Neverland’ – resulting in a considerable loss to the arts in South Africa. However, for videographers, filmmakers, budding animators and puppeteers, the book carries considerable detail on animation techniques and the production of puppets for the screen which could stimulate ‘imagineers’ out there to introduce new wonder into South African commercial and feature films This is a humble book, self published by Campbell, liberally illustrated with black and white photographs and produced with the express purpose of placing on record the outstanding achievements in animation and model making at the SABC under his inspiring leadership. Get it – and make magic!

or any aspirant South Africa writers who dream of writing for television, Carol Shore’s new book, Writing for South African Television, not only provides the theory and principles of storytelling, but also practical hands-on information on how to approach the medium of TV. If you’re wondering who Shore is, she’s Head of Scripts of SABC’s popular soap, Muvhango. Her writing and producing experience dates back to 1978 and covers several genres. Displaying a lively writing style that leaps off the page, each of the 10 chapters in the book has a kick-ass title. For instance: “Squeezing into a tightfitting television format – Let’s lose some weight! Size does count, you can never be too thin!” and “Jumping off a cliff – Presenting your work – You’re on your own, Babe!” Starting at the beginning, Shore gives tips on how to make sure your

idea isn’t “fake bling”. Another chapter covers storylining a TV series, something she describes as worse than bungee jumping. Shore refers to a writer’s characters as “strange relations” and devotes a chapter to getting to know them. She also covers programme formats and makes the point that not every story fits every television format. Creating a scene is, says Shore, like dropping into a moving wall of water in big-wave surfing and requires tight structure. Other chapters focus on writing good dialogue, team writing and writing for long-running series or soaps. Writing for South African Television is published by Crink and is now available on their online site (www. crink.co.za). The book will be available later at certain outlets such as Exclusive Books, CNA and PNA.

Information regarding the book can be sourced directly from the author on (021) 785-5256 or 10 Risi Street, Fish Hoek, Cape Town. October 2009 – SCREENAFRICA

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Twenty-one years in the industry The May 2009 issue of Screen Africa celebrated our 21st anniversary. Here we continue the special feature on key players who have been around for a similar number of years and who have each made a unique contribution to the South African film and television industry.

TONY BOYERS The name Tony Boyers has been synonymous with South Africa’s film laboratory for decades and he himself will joke that he’s been “in the same job” for over 40 years. “I’d always been interested in photography and as a kid spent many hours processing and printing photos in a makeshift dark room in my bedroom,” says Boyers. “While at boarding school I set up a little darkroom to print motor racing photos and school sports photos, which we would then sell to the boys at Jeppe. “In 1967 I joined Killarney Film Studios as a printing operator and worked on weekly newsreels like African Mirror, Ons Nuus, British Movietone and Pathé. Two years later the studios merged with, and moved to, Irene Film Studios, which in those days was the middle of nowhere. I spent many years doing optical effects and titles.” Boyers describes those early days as an exciting time as lab staff would be involved in Killarney Studios’ production process. One of the early movies Boyers worked on was Escape Route Cape Town with international star Jacqueline Bisset. He would also often go out with news reel cameramen, thus learning all aspects of filmmaking. In 1981 Boyers was involved in 40


Boyers notes that film processing technology itself hasn’t changed much over the years. “What has changed are the controls, which have become far stricter under the Kodak Imagecare Programme. The parameters that we are allowed to work between have got tighter and tighter. Fortunately temperature controllers and motors for processing and printing machines have improved.” For the last 35 years Boyers has consistently heard that film has only five years to live. “Digital has been fantastic in the post-production arena. It has allowed filmmakers to do things that they had never dreamed of before. Sure, the digital systems are creeping in and taking over, but film still has many strengths. It is still a great medium to originate on, it has extremely good latitude and it is still reasonably bullet proof and then, of course, it can be stored for many years. Not only is film an excellent capture medium, it’s a great storage medium. Digital is only a capture medium – there are still problems around storage for any length of time.”

setting up a laboratory in Johannesburg to focus on the commercial business. “We opened an optical facility but had to move it back to Irene because of the feature boom of the 1980s. At one stage we had 30 features going through the labs, all requiring titles and special effects.” Eleven years later Boyers was made manager of the Optical & Camera Effects Department and was sent to London for training in Soho and at Pinewood Studios. Stress levels in a job where you are working with clients’ orginal film are high. Says Boyers: “You only have one shot at it. No retakes or ‘delete’ and starting again. We spend a huge amount of time and effort preparing and testing machines before putting any client’s material on a machine but sometimes it still goes wrong. That’s the one thing I hate about this job and then, that phone call to the client to try and explain what went wrong.” In 1998 the Film Lab became only the second film laboratory in the world to achieve Kodak Imagecare status. Boyers became Tim Atkinson with Mark Kaplan GM of Film Lab in 2001 and a year later was asked to take over management of Chris Fellows Sound Studios which was then, like the As someone who has worked since Film Lab, part of the Sasani Group. It 1965 in the fields of audio, video, was the only Dolby accredited mixing lighting, projection, production and facility at the time in South Africa. servicing the electronic needs of

TIM ATKINSON

production companies, Tim Atkinson says he got into the audio-visual (AV) industry by accident. “At school I had tinkered with electronics and at the University of Cape Town [while completing a BSc Electrical Engineering (Light Current) Degree] I did stage sound for concerts and recorded artists, so I just went on from one thing to another.” Atkinson’s introduction to South Africa in the 1970s of the Electrosonic multi-projector slide-tape system brought what the French called ‘AudioVisuelle’ to South Africa. He says: “The concept of two slide projectors with automated dissolve and change triggered by silent control pulses on the associated soundtrack meant that slide shows now had the fluidity of 16mm movies, without the associated production costs and delays. This opened up a whole new dimension in business to business (B2B) communication at that time. “Electrosonic multi-screen technology advanced the concept by combining many pairs of slide projectors to form giant images on large screens, and controlling all of them by silent signals on an associated, (often multi-channel) sound track. This was the start of true multi-media presentations. In association with Johann Kruger and Multivisio, we launched almost every new car in the 1970s.” In 1978 Atkinson launched the first commercial colour TV studio in Cape Town. “We got into TV/ video because while slide/tape shows were doing a great job of assisting our clients to communicate B2B, it was time-consuming to make copies, and expensive to mount repeat shows. By converting the slide/ tape show to videotape, we solved both these problems and our clients could show their presentations using video cassette recorders and TV sets.” Together with Alan Joy (now

contributing editor for Screen Africa), Selwyn Pogrund and others, Atkinson started the Cape Town Chapter of the ITVA and an annual videotape competition for non-broadcast producers. This later became the Artes Awards. Atkinson expanded his TV facilities to include video tape duplication, and a mobile multi-camera capture and edit system. “Quanta Graphics and Text was added and when BetacamSP became available, we were the first facility in Cape Town to install a full three-machine component edit suite. Not long after that we installed the first ADO in Cape Town and also the first Ultimatte,” notes Atkinson. A high point in his career was the 1989 production of Atkinson’s NTVA Award-winning company show reel Much ADO about nothing. Another highlight was providing editing facilities to the European Broadcasting Union TV stations at the time of Nelson Mandela’s release in 1990. A few years later Atkinson sold his broadcast TV facility and ended up with a number of U-Matic shuttlesearch recorders and monitors that had been off-line edit suites. “I discovered that the film industry used these machines for video-take-off, whereby a tiny video camera was placed in the film camera’s viewfinder, and what the camera saw was recorded on the Umatic tape for instant playback. It wasn’t long before we had several systems running. The film industry was in an explosive growth phase at that time in Cape Town. We developed better, lighter and faster VTO systems and also diversified into location sound recording equipment.” Formally recognised as an expert in the AV field, Atkinson has been called on to testify in a number of high profile court cases in South Africa where he has had to examine audio and video tape recordings to find inconsistencies, or to verify their authenticity and originality.

RICHARD GREEN

As a teenager Richard Green used to walk up and down the aisles of the Tria

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Cinema in Strand, selling ice creams from a tray attached to his chest. “As soon as the curtain went up I would kneel down at the back of the cinema and watch the film. It was the credits that fascinated me – I always wanted to be the person with the biggest credit.” Years later, intent on being a cameraman, Green went to see director Ashley Lazarus (E’Lollipop) armed with a speech. “But he didn’t ask the right questions so the interview went badly. I then came to Johannesburg and walked all the way from the station to Northcliff to see Jamie Uys (Crazy People) for the same reason. Jamie didn’t give me a job but kindly organised a chauffeur to take me back. When the SABC started up I managed to get a job there.” Disillusioned with apartheid, Green left South Africa in 1976 to attend the London International Film School. He made a few films in London and decided to come back to South Africa in 1980, to see if he could make a difference. It was then that he started working as a production manager for the late legendary filmmaker, Manie Van Rensburg, on productions such as Verspeelde Lente, Dr Con se Overberg and Die Perdesmous. Says Green: “Manie and I worked together for about five years and became close friends. I have fond memories of him and worked on his last film, Taxi to Soweto. Manie was one of those who went to visit the ANC in exile and then got blacklisted by the SABC. Several people who are now prominent in the industry worked with me in my Manie days, such as Birrie Le Roux, Diana Cilliers, Tai Krige and Keith Rose.” Green, who is primarily a producer, always wanted to direct and early in his career directed a film called Praise, based on the Nadine Gordimer book. Praise proved to be very successful and was screened on Channel 4. Green also directed the groundbreaking TV series, New Horizons. “We took white kids into Soweto to see why black kids were burning their schools as part of an anti-apartheid protest,” he explains. The film infrastructure in South Africa started developing in the late 1980s with the introduction of the now infamous tax subsidy scheme. For about four years Green worked backto-back on Avi Lerner films like Women of Desire, American Ninja 2 and Coast of Skeletons. In 1990 Green and Phillip Key formed the service company Moonlighting Films and began promoting South Africa abroad. Says Green: “Three years later I sold Moonlighting and formed my independent production company, Richard Green & Associates. My first

slate of films was with UK company Peakviewing. “Together with Michael Chaise and John Stodel, I created the New Directions initiative for pay-TV channel M-Net, who wanted to do something to empower filmmakers. Over a period of 10 years I produced 32 short films and two feature films for New Directions, many of which picked up international awards. Through New Directions I worked all over Africa, which I absolutely loved. We shot in Nigeria, Kenya, Tanzania, Zanzibar, Namibia, Ghana, Ethiopia and held scriptwriting workshops in Senegal and Uganda.” In 2003, Green produced the independent feature film, The Wooden Camera, which won multiple international awards, including the Crystal Bear at Berlin. Very recently Green worked as AD on the blockbuster District 9. “I also do a lot of line producing and will be doing that on the upcoming Spud. Basically I look for projects that interest me and am about to head off for Malaysia on another job.”

fell in love with the country. At the beginning of my career here I did sound editing for Jamie Uys. Thereafter I joined Killarney Film Studios, editing commercials for a short while and then came the feature films and documentaries.” Feldman describes the most challenging job she has worked on as the local mini-series, Shaka Zulu, directed by the late Bill Faure. “When we finished the rough cut, which was 15 hours long, we had to take it to Germany for a producers’ viewing, as the Americans and the Germans were unwilling to come to South Africa. Shaka Zulu was the biggest production ever undertaken in South Africa at the time. “Towards the end of post-production I was occupying three sound studios in Johannesburg: one for ADR (automatic dialogue replacement), one for foley effects (ie. replacing the live recording of sound effects created by a foley artist working in sync to picture) and the third studio for sound mixing. The logistics were a nightmare, not to mention the post-production crew’s little fights.” Every single production she has ever worked on is special to Feldman. “Each has its own colour and they are all dear to my heart. Feature films are my first love, though.” As to format preference, if Feldman had her way, no-one would ever work on tape. “Film has such a degree of depth and warmth that the new technology is trying to achieve on tape without success. Will it ever? Directors seem to like offline editing as it is very easy to keep on changing the cut, and boy oh boy, we keep on changing! In the days of film, directors were Ettie Feldman with Edward Fox forced to make up their minds not only in editing but in filming as well, because As a 15-year old Ettie Feldman began the producers kept an eye on the working at Geva Film Studios, one of shooting ratio.” only two film studios in Israel at the Asked to comment on how editing time. Her interest in films had been technology has changed since the days sparked by going to matinees at a very when she started out, Feldman young age. responds: “Well, this subject has been “I learnt on the job as there was no done to death, so I’d rather tell you why film school in Israel then,” says I stopped smoking. Nobody in the Feldman. “As a trainee you had to go industry could believe it because I through all the different departments – smoked 80 Gitanes a day. It all sound, negative matching etc. I got happened while editing Bravo Two Zero hooked on editing because you see the for the BBC, when I was using the results of your work immediately. A Avid Film Composer system. The film is never shot in sequence, so you smoke from the cigarettes used to clog look at miles of out-of-sequence the system and I was forever calling material and from that you build a Kim Smith, the engineer, to clean the story. It’s magic.” machine. I had to decide between Throughout her career, Feldman has smoking and editing: well, you know worked in Israel, Germany, Holland, the answer. By the way, this would Ireland, England and the USA, yet never have happened with linear chose to settle in South Africa. “I came editing systems. May be I should be to visit my brother in South Africa and grateful to the digital systems.”

ETTIE FELDMAN

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P R O D U C T I O N

U P D A T E S FOR FURTHER DETAILS VISIT www.screenafrica.com

Those productions in red are newly listed this month Order of Information 1. Title 2. Production Company 3. Director 4. Genre

IN THE PIPELINE

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a lion in the bedroom Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature h2o Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature in a different time Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker/ Jayson de Rosner Feature MIXED BLOOD Uppity Films Dir: Phillip Noyce Feature PROJECT HAMMER Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature TIME FRAME Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature THE HUNTER’S DAUGHTER Two Oceans Production Prod: Giselher Venzke/ Bertha Speiker Feature

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94.7 MOMENTUM CYCLE CHALLENGE International Radio Pictures, Inc Dir: Belinda van Heerdan Commercial ANIMAL COMMUNICATION NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary BUSINESS AND THE BEAST Current Affairs Films/ Upfront Entertainment Dir: Yosif Feyginberg Documentary

CONTROLLING PASSIONS First Take Production Prod: Deon Potgieter Feature KAYA Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature KHAZI Banny Joma Enterprise Prod: Branny Mthelebofu Feature LESOTHO Current Affairs Films Prod: Barbara Barde Documentary LOVE ON THE ROCKS Flame Power Multimedia Exec Prod: Thuso Oitsile Feature MOSEME ROAD CONSTRUCTION Mutodi Films Prod: Mutodi Neshehe Corporate Q & A WITH DG OF DEPT OF LABOUR Panache Video Productions Exec Prod: Francois de Villiers Corporate REPLAY Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature SOUTH AFRICA RP Productions Exec Prod: Robert Paltiel FIFA 2010 World Cup Doccie Series SUPERMAMA GoogelPlex Productions Dir: Karen van Schalkwyk Feature WE DID OVERCOME Current Affairs Films Exec Prod: Jane Thandi Lipman/ Robin Benger Documentary WHITE EYED WOMEN Current Affairs Films & Fabula Film Exec Prod: Jane Lipman/ Francesca Borghetti Documentary ZERO DIET Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature

IN PRE-PRODUCTION A DIFFERENT MODE OF BLACK Nouvele Films Dir: Dumisani Zungu Documentary

A SHOT AT THE BIG TIME Just Do It Productions & Moviworld Prod: Janet van Eeden & Terry Vallet Feature AFROX – SHEQ INDUCTION FC Hamman Films Prod: FC Hamman Corporate BACK AT ONE Brainstorm Entertainment Prod: Edward Chitate Feature CHAMELEON NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series CONFEDERATIONS CUP RP Productions Prod: Pierre Klagyivik Sports CONGO Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature CONVATECH SLOVAKIA International Radio Pictures, Inc Corporate CRIME STORY Paki Productions Prod: Padi Mamabolo TV Drama DANGER: REVOLVISIONARIES Binary Film Works Prod: Cecil Matlou Internet Series DISCONNECTED Golden Orb Productions Prod: Heather Tribe Thriller/ Suspense/ Mystery ESPY AWARDS ESPN Television DOP: Scott Duncan Sports Awards Ceremony FREE PASSAGE TO ANGOLA NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary IEC – RISE UP L.Dukashe Productions Prod: Lumko Dukashe Commercial IMATU MEMBER RECRUITMENT FC Hamman Films Prod Man: Odetter van Jaarsveld Corporate Video IMC SA CHAMPIONS KWM TV Productions

P R O D U C T I O N IN THE SHADOW OF THE STADIUM Current Affairs Films Jane Lipman Feature/ Doccie/ Series KAELO STORIES OF HOPE KWM TV Productions LET’S FIX IT Kaelo Worldwide Media TV Series LIEFLING, DIE MOVIE Hartiwood Films Prod: Linda Korstent Feature LONMIN PLATINUM TRAINING PROUDFOOT CONSULTING International Radio Pictures, Inc Corporate MOST ENDANGERED NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series NIGHT DRIVE The Film Factory Writer/ Dir: Justin Head Feature PEACE PARKS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary QUEEN NZINGA Brainstorm Entertainment Prod: Edward Chitate Feature SOWETO DRIFT Young Minds Productions Dir: Pule M Film/ Drama THE FIELS (HATFIELD) Panache Video Productions Exec Prod: Enrico Sciocatti Corporate TIRZA DO Productions Prod: Mardou Jacobs/ Brigid Ol‘n/ Marlow de Mardt Feature WILDCATS NHU Africa ExecProd: Sophie Vartan Wildlife Documentary YOUTHS Paki Productions Writer: Patrick Paki TV Drama ZEBRAS DO Productions Dir: Bruce Beresford Feature

IN PRODUCTION 90 PLEIN STREET Born Free Media Exec Prod: Carolyn Carew TV SEries 20 SOMETHING Red Pepper Pictures Dir: Deepika Bhoolabhai TV Magazine Programme 3RD DEGREE e.tv Investigative TV series

U P D A T E S

7DE LAAN Danie Odendaal Produksies Dirs: Alwyn Swart Daily TV Drama Series AFROX ACCPAC TRAINING FC Hamman Films DOP/ Dir: Odeete van Jaarsveld Corporate AIDS EDUCATION ZULU VERSION FC Hamman Films Dir: Neels Smit Education Video AFRO SHOWBIZ NEWS SABC News International Exec Prod: Jody-Layne Surtie TV Magazine AFRICA AT WORK Pamuzinda Production Exec Dir: Daniel Makokena Current Affairs AGAPE – CHRISTIAN MAGAZINE SHOW Gabaza Productions/ Pitso Communications Prod: Sarah Ngubeni Magazine Show AURUM LANCET SERIES FC Hamman Films Dir/ DOP: FC Hamman Corporate Video BINNELANDERS Stark Films Dir: Danie Joubert TV Drama BLUEWAVE AFRICA JayEllPea Television Prod: Mark Vorwerg/ Danile Dlamini Live Broadcast/ Corporate BLUEWAVE JayEllPea Television Prod: Jenny Lenahan/ Sally Kennedy Live Broadcast/ Corporate BREAKING THE RULES Five Star Films Prod: Carolyn Projansky Documentary COLOSTOMY Banny Joma Enterprise Prod: Branny Mthelebofu Doccie Feature COPA COCA–COLA FOOTBALL STARS Whatwewant Branded Entertainment Exec Prod: Dave Keet/ Erik de Jager TV Series COUNTDOWN 2010 Fuel Media Prod: Moyika Sisulu TV Magazine CRAZ-E Red Pepper Pictures Dir: Billi-Jean Parker Daily Youth Show DENNIS THE PROFESSOR: BATTLE FIGHTER Batho Media Prod: Branny Mthelebofu EASTERN MOSAIC Red Carpet Productions Magazine Programme

EGOLI (THE FEATURE) Brigadiers Franz Marx Films Exec Prod: Burgert Muller/ Pieter Venter Feature EKASI STARS NHU Africa Exec Prod: Sophie Vartan Documentary FLORIDA ROAD Prod: Brad Glass Bollywood Feature FLESH Franz Marx Films Morne Ebersohn TV Series GARY PLAYER GOLF FC Hamman Films Prod: FC Hamman Business College Video GNLD GR2 FC Hamman Films DOP/ Dir: FC Hamman Corporate Video GENERATIONS Morula Pictures Exec Prod: Mfundi Vundla SOAPIE GNLD all africa int convention FC Hamman Films DOP/ Prod: FC Hamman Corporate Event GNLD CONVENTION SESSIONS FC Hamman Films Prod: FC Hamman Corporate Video HEARTBEAT Eminent Productions Prod: Elmo Pienaar/ Marinus Loots Talkshow HOUSE CALL Izwe Multimedia/ Urbanbrew Series Prod:Annalie Potgieter Live Medical Talk Show HOW TO BECOME A ZULU IN 30 DAYS Afromol Vision Exec Prod: Johnny Alpha Feature Comedy HUM AAP AUR PYAAR Red Pill Productions Exec Prod: Upen Patel Feature INTO THE DRAGON’S LAIR NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary INTRODUCTION OF THE CHILD FRIENDS SCHOOLS FRAMEWORK Panache Video Productions Dir: Liesel Eilselen Corporate ISIDINGO Endemol South Africa Dirs: Raymond Sargent/ Johnny Barbazano Daily TV Drama JAM ALLEY Red Pepper Pictures Prod: Lindi Lucouw Youth Music


43

P R O D U C T I O N JESUS IN HILLBROW Afromol Vision Exec Prod: Johnny Alpha Feature JOURNEY TO THE CORE Hooper Productions Dir: Suniti Kala Factual Series KAMP DIT UIT Bobo Production Prod: Alexa Strachan TV Magazine

KINGSLEY Nkanyiso Communications Dir: Bonginhlanhla Ncube Feature KWELA Pieter Cilliers Productions Dir: Marie Minnaar Magazine Programme LACONIA Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature

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44


LIVING PROOF – LAUNCH PBJS Seattle Prod: John Moffit/ PBJS Launch Video MASUPATSELA Free Range Films Prod: Tina-Louise Smith Documentary Series 2 MEMBAZ ONLY Touchdown Africa Prod: Zimkhitha Jwente Talk Show SABC 3 MOTSWAKO Carol Bouwer Productions Prod: Vesko Mrdjen Talk Show NUTRIDAY CASH MANIA SHOW Bragge Film & TV Dir: Guy Bragge Game Show PASELLA Tswelopele Productions Insert Dirs: Liani Maasdorp/ Werner Hefer TV Magazine Programme PILLOW GUNS Mutodi Films Dir: Mutodi Neshehe Short Film/ Drama PLANET X AFRICA Enhanced Digital Media (TY) LTD Exec Prod: John Rousseau/ Craig Tarling TV Series QUIZ ME TsikoProductions Prd Man: Shakira Chettiar TV Game Show RHYTHM CITY Curious Pictures Series Prod: Anthony Shaw e..tv Soapie RHYTHM CITY INTERACTIVE Curious Pictures/ e.tv Prod: Devon Brough Interactive Platform Media ROBERT SOBUKWE: A GREAT SOUL Born Free Media Prod: Carolyn Carew Documentary SABC SPORTS PROMOS Kwm TV Productions Prod: Guru Kali SCANDAL Ochre Moving Pictures Series Prod: Romano Gorlei Daily TV Soap SELIMATHUNZI Shonyama Productions TV Variety SINEKGHONO Blue Wizard Productions Prod: Selvan Munsamy SABC 2 Education SIYADLALA Izwi Multimedia/ Urban Brew Exec Prod: Annalie Potgieter Minority Sports Mag Programme

U P D A T E S STATE OF EMERGENCY Mahala Media & Sonrise Entertainment Exec Prod: Michael Lee Documentary STATION STRANGLER Crime & Investigations Unit, Etv Prod: Meggan Raubenheimer Documentary STUDIO 53 M-Net Inhouse Productions Insert Dirs: Navan Chetty Mag Programme SUPER SWIMMER & TELKOM SPLASH Media Ventures Dir: Chris Moolman TV Magazine TAKE 5 Combustion Pictures (Pty) Ltd Dir/s: Faqeek Dyer/ Shandu Nesengani/ Navan Chetty/ Deeno Naidoo TV Magazine programme THE AFRICAN SOCCER SHOW African Soccer Television Prod: John Parr TV Series THE FIRST LADY IN STERKWATER Banny Joma Enterprise Exec Prod: Branny Mthelebofu Documentary THE MOMENT OF MOKOLOLO Banny Joma Enterprise Exec Prod: Branny Mthelebofu Documentary THE BIG QUESTION V Pandamonium Productions Dir: Kate Stegeman/ Emily Richards Michael Schneider TV Series THE CRADOCK FOUR Shadow Films Prod: David Forbes Documentary THE GARETH CLIFF SHOW Imani Media Dir: Bobby Heaney Talk Show THE ZOO THAT SAVED THE WORLD NHU Africa Exec Prod: Sophie Vartan Wildlife Docuemtary THE WAS AND FEAR AMOCINE Dir: Joaquina Bebe Feature THIBELA TB CONSENT VIDEO FC Hamman Films Prod Man:Odette van Jaarsveld Corporate TOP BILLING Tswelopele Productions Prod: Patience Stevens TV Magazine

TRANSITIONS Format Productions Paul Emmanuel Short Film TRAVELLING UNPLUGGED Touchdown Africa Dir: Byron Taylor Travel Reality Show TRUE DREAM South African Great Movies Production Prod: John Wani Feature TSELENG KWM TV Productions Prod: Leana Pool UMNOTFO WAMI Blue Wizard Productions Prod: Selvan Munsamy Educational uasa international convention FC Hamman Films Pm: Odette van Jaarsveld Corporate Event VIBE’Z Touchdown Africa Exec Prod: Sebolelo Phakisi Reality TV Show VILLA ROSA Spectro Productions Dir/s: Vickus Strijdom/ Abdries van der Merwe/ Leroux Botha/ Isabel Smit TV Drama VODACOM THUMB WARS Fuel Media Prod: Donald Clarke TV Series WHAT’S BREWING JayEllPea Television Line Prod: Danile Dlamini Live Broadcast/ Corporate WOLF WOLF TUT Film School Tebogo Dube Feature WORLD OF GOLF FC Hamman Films Prod: Fc Hamman Marketing Video YO.TV Urban Brew Studios Insert Dir/s: Herbert Hadebe/ Sebulelo Phakisi/ Terri Cooperman/ Guy Hubbard TV Children’s Programme ZOLA 7 SERIES Ochre Moving Pictures Factual Entertainment

POST-PRODUCTION AFRISAM TRAINING International Radio Pictures,Inc Dir: Kit Reynolds Corporate AFROX PERMIT TO WORK FC Hamman Films Prod Man: Odette van Jaasveld Drama

P R O D U C T I O N DARFUR ZenHQ & Event Film Prod: Chris Roland/ Uwe Boll/ Dan Clarke Feature DOOMSDAY Rogue Pictures Dir: Neil Marshall Feature DRAWING THE LINE Current Affairs Films cc Prod: Jane Lipman/ Nevile Josie TV Series 2 EGOLI – PLACE OF GOLD Franz Marx Films Head Dir: Ken Leach Soap Opera FAMILY BONDS Sosiba Entertainment Deon Potgieter TV Sitcom Series 2 FOLLOWING JESUS FC Hamman Films Prod: Susan Cherian (USbased) Drama Series 2- 6 GNLD HIGHLIGHTS VIDEO FC Hamman Films Prod: FC Hamman Corporate Video GLAMOUR AND GLORIA Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature HOPEVILLE Curious Pictures Dir: John Trengrove Feature KENNEDY’S BRAIN DO Productions Prod: Marlow de Mardt/ Brigid Ol‘n Feature KRUGER CAMP CREATURES NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series

LOYISO GOLA FOR PRESEIDENT Competent Artistes Prod: Paul Tilsley Feature LOFKLEUTERS & JAN DE WET 4 FC Hamman Films DOP/ Dir: FC Hamman Education Video MODERN MIGRATIONS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series OUT OF AFRICA – FROGS IN DEMAND NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary PHOEBUS APOLLO EXCLUSIVE ALLIANCE International Apollo Exclusive Alliance Exec Prod:H. Delport Commercial RACE-IST Race-ist Film Company Film Publicist: Nicolle vanRensburg Feature SECRET OF WHALES Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature SOUTHERN CROSS Mutodi Films & Kwacha Media Dir: Kalumbu Kapisa Feature SPOON Inspired Minority Pictures Feature Film STIFF Videovision Entertainment/ Tom Pictures Dir: Craig Freimond Comedy Feature SUMMER IN CAPE TOWN Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature

SUMMER IN NEW ENGLAND Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature THEMBA DO Productions/ Zeitsprung Entertainment Prod: Michael Souvignier/ Ica Souvignier/ Josef Steinberger/ Brigid Ol‘n/ Marlow de Mardt Feature THE AMBASSADOR Two Oceans Production Prod: Giselher Venzke/ Bertha Spieker Feature THE KALAHARI NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series TROOP NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series VKB TOP 100 HIGHLIGHTS FC Hamman Films Editor: Annie Hamman Corporate WILD WALK NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series WOMEN IN TECHNOLOGY Current Affairs Films Dir: Jane Lipman Documentary YOUR DATE WITH DESTINY Di Rosen Productions Prod: Di Rosen TV Series

U P D A T E S COMPLETE A KALAHARI TAIL NHU Africa Exec Prd: Sophie Vartan Wildlife Documentary ALBERT SCHWEITZER Two Oceans Production` Prod: Giselher Venzke/ Bertha Spieker Feature ANTARCTICA NHU Africa Exec Prod: Sophie Vartan Documentary DESERT WANDERERS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary DRAGON MOUNTAINS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary FIFA 2009 CONFEDERATIONS CUP RP Productions Live Football FOR WHICH I AM PREPARED TO DIE Lindy Wilson Productions Prod: Lindy Wilson Documentary GET BUSHWISE NHU Africa Exec Prod: Sophie Vartan Children’s Wildlife Series GORILLAS: A JOURNEY FOR SURVIVAL NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary ICEMAN NHU Africa Exec Prod: Sophie Vartan Documentary

LEGENDS OF THE LAKE NHU Africa Exec Prod: Sophie Vartan Documentary MENDA CITY A Mandela Film Production Exec Prod: Victor Okafor Feature OF JOURNEY, HOME AND TREASURE Journey, Home & Treasure/ Media Resources Dir: Feizal Mamdoo Feature Documentary PLANET AFRICA NHU Africa Exec Prod: Sophie Vartan Documentary Series RAINBOW NATURE NHU Africa Exec Prod: Sophie Vartan Documentary THE CHEETAH DIARIES NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series THE GREAT PINK S NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary Series THE NATURE OF LIFE NHU Africa Exec Prod: Sophie Vartan Documentary THE SEARCH FOR THE KNYSNA ELEPHANTS NHU Africa Exec Prod: Sophie Vartan Wildlife Documentary THIS TIME TOMORROW Purple Pictures Studis Exec Prod: Sam Boye TV Series WANDERING WILD NHU Africa Exec Prod:Sophie Vartan Wildlife Documentary

Screen Africa relies on accuracy of information received and cannot be held responsible for any errors or omissions which October occur. E-mail production updates to: [email protected]

Vital Sta’ tis’ tiks Cape Town again reports a drop in overall workflow. Two feature films have been processed – one 35mm and the other 16mm. More international commercials have been through the bath this month, and there is a pick-up in this area. In fact the international footage is almost double that of local productions. Looking ahead there are several feature films in the pipeline, and the commercial footage is picking up. Johannesburg has benefited from feature work, and commercials are on the increase. On the print front the laboratory reports a busy period mainly with bulks. The commercials submitted by Media Host are similar to the past month with a slight decrease. We would like to thank the laboratories and Media Host for the information they have supplied to us. We make no attempt to identify the title of the production, or the production house or any other information as this is often confidential information – we supply simply the numbers.

Statistics for August 2009 Through the labs: Johannesburg Features 2

Shorts 0

Commercials 32

Doccies 11

16mm 19

35mm 26

Cape Town Features 2

Shorts 0

Commercials 17

Doccies 0

16mm 7

35mm 12

Commercials submitted to broadcasters via media host July

1 124


45

Audience Ratings July 2009 This monthly feature selects prominent local productions and ranks them in terms of audience ratings (ARs). Selected foreign programmes are shown only for comparison. ARs are weighted over the period of transmission and the number of transmissions during the calendar month. Data is supplied by the South African Advertising Research Foundation and processed by Interactive Market Systems (South Africa) (Pty) Ltd. The cream of the local productions Key: Day/s refers to the day or days of the week the programme is transmitted. Frequency refers to how often it is transmitted – D=Daily, W=Weekly, S (followed by a number) indicates a series of that number of episodes. Television

the top five programmes

News, Quiz: Game Show, Real: Real life, Reli: Religion, Sitc: Sitcom, Soap: Soap, Spor: Sport, Vari: Variety, Y.Ent: Youth

Frequency

Channel

July 2009 AR

June 2009 AR

Entertainment,

Maga 21:30 Tue

W

e

3.79

5.30

18:30 M-F S5

2

9.99

9.53

50/50

Maga 19:30 Mon W

2

4.74

4.59

Binnelanders

Dram 18:00 M-F S5

M

0.89

1.11

Carte Blanche

Maga 19:00 Sun

W M

1.21

1.24

0.75

0.90 6.16

3rd Degree Date Genre 14/07/2009 Dram 12/07/2009 Sitc 20/07/2009 Soap 19/07/2009 Reli 14/07/2009 News

AR 13.37 12.13 11.19 8.96 8.94

7de Laan Soap

Egoli-Place of Gold Soap Fokus

SABC3 Rank Programme 1 Days Of Our Lives 2 Hulk 3 Music 4 Michael Jackson:Moonwalker 5 Filler:Harry Potter & The Half Blood Pr

Date Genre 21/07/2009 Soap 18/07/2009 Movi 09/07/2009 Musi 05/07/2009 Musi 13/07/2009 Docu

AR 7.89 7.72 7.38 7.32 7.07

M-Net Rank Programme 1 Iron Man 2 Hancock 3 Carte Blanche 4 Wanted. 5 The Incredible Hulk

Date Genre 05/07/2009 Movi 26/07/2009 Movi 12/07/2009 Maga 19/07/2009 Movi 12/07/2009 Movi

AR 1.40 1.38 1.31 1.27 1.26

e.tv Rank Programme 1 Scandal 2 Rhythm City 3 International Raw 4 The Hot Chick 5 The Rundown

Date Genre 02/07/2009 Dram 14/07/2009 Dram 12/07/2009 Spor 04/07/2009 Movi 12/07/2009 Movi

AR 12.27 12.12 11.47 10.98 10.05

We feature the top five shows viewed for each of the channels.

Start Time

AR 27.02 20.09 19.14 19.08 18.80

Genre

Date Genre 22/07/2009 Soap 22/07/2009 Musi 23/07/2009 Spor 14/07/2009 Dram 02/07/2009 Dram

Day/s

SABC2 Rank Programme 1 Muvhango 2 Moferefere Lenyalong 3 7De Laan 4 Gospel Time 5 Nuus

to genres: Actu: Actuality, Docu: Documentary, Dram: Drama, Educ: Education, Maga: Magazine, Musi: Music, News:

Name

SABC1 Rank Programme 1 Generations 2 Jika Ma Jika 3 Laduma Soccer Build- Up 4 Montana 5 Mtunzini.Com

Universe estimated at 5.232 million households. One ratings point of all viewers represents about 145 590 viewers.Key

18:30 M-F S5

Actu 18:30 Sun

M

W

2

5.68

Generations Soap

20:00 M-F S5

1

22.95 22.85

Gospel Gold

09:00 Sun

W

2

5.39

4.94

Isidingo:The Need Soap

18:30 M-F S5

3

4.20

3.96

Jam Alley

Vari

18:30 Fri

W

1

8.27

10.09

Morning Live

Maga 06:00 M-F S5

2

1.87

2.22

Muvhango

Dram 21:00 M-T S4

2

8.44

7.93

News at Seven News 19:00 Daily D

e

5.84

5.59

News at Seven on 3 News 19:00 Daily D

3

3.61

3.38

Pasella

W

2

6.07

5.65

18:30 M-F S5

e

9.36

10.38

Scandal

Dram 19:30 M-T S4

e

8.36

8.83

Selimathunzi

Vari

18:00 Sat

W

1

10.40

9.45

Special Assignment

Docu 20:30 Tue

W

3

2.92

3.48

Top Billing

Maga 19:30 Thu W

2

4.11

3.78

Zola 7

Maga 20:30 T

1

12.61 12.43

Musi

Maga 19:30 W

Rhythm City Soap

W

Top foreign shows Days of Our Lives Soap

17:10 M-F S5

1

6.77

7.10

WWE Wrestling Smackdown Spor

20:30 W

W

e

9.19

9.35

The Bold and the Beautiful Soap

18:00 M-F S5

1

12.30 11.35

The above represents a selection of programmes only, and is calculated on the total calendar month’s weighted average of the total audience over all age groups. If you want a particular programme included, please e-mail Enid Venter at [email protected]. The purpose of the schedule is to show the types of programmes South African audiences view, and to what extent.

46


CONTINUED FROM PAGE 1 Piracy hits District 9

Kenya/SA sci-fi film collaboration

“Consequently, all the English subtitles in the film are obscured by Russian subtitles.” The camcording was traced by the international organisation, the Motion Picture Association (MPA), of which SAFACT is a member. Says Lennox: “The MPA has dedicated resources for analysing camcordings. There are always watermarks on any original pirate version. Just by way of comparison, in the case of X-Men Origins: Wolverine, the piracy was due to a studio leak and not a camcording.” In Johannesburg pirates keep popping up in the same places despite the fact that SAFACT always moves them on. The Johannesburg Metropolitan Police Department (JMPD) is, according to Lennox, doing a great job in assisting the fight against piracy. “The real challenge is to stop camcorders in cinemas,” comments Lennox. “Our low tech solution would be to have cinema staff walking up and down the aisle looking for camcorders. That’s what we did with Mr Bones 2 and it was very effective. The film wasn’t pirated until the second day of DVD release.” SAFACT believes that it is vital that anyone involved in the making of a feature film be sensitised to piracy. “Filmmakers and their crews need to be committed to avoiding piracy and must manage the risk. So we would advise no distribution on screeners and having the film on 35mm for all screenings, even classification screenings. No digital copies should be sent to film festivals and the master must be protected at all times. If anyone is making a film they are welcome to give us a call and we can advise them on anti-piracy measures that won’t impact on the budget,” concludes Lennox. The organisation receives between 50 and 60 tip-offs a month on Crime Line (ie. 32211), via faxes and through its website (www.safact.co.za).

of my heart. Her interpretation of Asha and the story was painfully tender and through it new, undiscovered layers of the film came alive.” She explains the origins of the film’s idea: “The film was inspired by a conversation I had with a friend about living in a world where we bought bottled air, only to find out that oxygen bars have been created and exist in some places in the world.” On the film’s message she said, “Pumzi is about a world in the future where there is no water. Some have called it an environmental short film, others sci-fi. I think it is a cautionary tale about where we are headed. When I got back to Kenya after directing Pumzi, I found that the drought in Kenya has made Pumzi a more tangible reality than is comfortable. She added, “Creating a futuristic Africa lends itself to a touch of sci-fi. The main character is also a scientist of sorts; she works as a curator at the Natural Virtual History Museum. She runs tests and experiments that create life where she thought there was none. “Sci-fi is definitely not a first in Africa, although it is not a genre used often. More than the genre, I am confident in the story of the film. The journey of Asha as she discovers life; the rebellion of Asha when she chooses to follow what she has discovered. I am confident that the story has heart, softness and courage. That is what appeals to me more than the way it is made.” Pumzi was shot in Cape Town in what the writer/director described as “some of the most scenic and beautiful locations”. She said that the internal shots were primarily shot at The Good Hope Centre while the exteriors were shot in the Atlantis dunes, the producer’s swimming pool and a parking garage. Kahiu’s passion for film started at 16 when she began to intern in entertainment companies in Kenya and internationally. This included working as a production intern at Pinewood Studios, London; a production assistant in Alexandria Productions, Virginia; and as a director’s intern at Paramount Studios, Hollywood, during the production of Italian Job directed by F Gary Gray. After attending UCLA’s Master programme in film directing, Kahiu’s professional debut was directing a behind-the-scenes documentary, The Spark that Unites (2006) for the film Catch-AFire (Universal Films/ Working Title) directed by Phillip Noyce. Kahiu honed her filmmaking skills with her first Kenyan film Ras Star (2007), a short film based on a teenage artist trying to make it into a talent show despite all odds. The film was produced for M-Net. In 2008, Kahiu completed her first feature film, From a Whisper, based on the real life events surrounding the 7 August, twin bombings of US Embassies in Nairobi and Dar es Salaam in 1998. The film recently won awards at Nigeria’s Africa Movie Academy Awards including Best Director and Best Picture. It also won the Golden Dhow award for Best East African Picture at Zanzibar International Film Festival 2009 and is still doing the festival route internationally. M-Net has again commissioned Wanuri to direct a documentary, this time about the life of Nobel peace Prize laureate Wangari Maathai, entitled For Our Land (2009) as part of the flagship series The Great Africans.

Refinery – business as usual

Charl van der Merwe

are going into our busiest trading period for the year and we have seen a slow upturn, but an upturn nevertheless for the next two months at least. “We as management believe in this business, and we made a decision that if there is one party who really understands

this business, and knows the risks, it is the management. Hence the reason for our negotiations and discussion with the current owners of the Refinery.” Van der Merwe said it was important for the industry to understand that the Refinery

and Waterfront Studios are completely separate entities and the Refinery management was only concerned with extricating the Refinery from MFP Holdings. “It is unfortunate that there has been such a long delay in making an announcement regarding the future of the Refinery, as this may have created a negative perception of exactly what is transpiring,” said Van der Merwe. “Furthermore, it’s important for the industry to understand that as management, we were neither directors nor

shareholders of the Refinery, and in keeping with good corporate governance we could therefore not disclose information of a sensitive nature. “Unfortunately this conundrum did not work in our favour and has no doubt caused harm to the reputation of the Refinery. On the positive side however and in terms of the legal structure and ownership we should be able to make an announcement within the next week or so. But for now it is business as usual.”

Int’l drama films in JHB London based production company, is working locally with Out of Africa Entertainment. Strike Back, which is a 6 x 60-minute drama series, is a story of deception, redemption and revenge, all played out in the interlinked lives of two former soldiers; Major Hugh Collinson and discharged veteran John Porter. Their paths last crossed seven years ago. Now, amidst a new hostage crisis in the Middle East, their lives are about to collide again. Shooting format is 35mm, processing is at The Film Lab, and the dailies transfers are at The Refinery. Stock and equipment is from Media Film Service. DOP is Steve Lawes and the A camera operator is local boy Harmon Cusack, who is enthusiastic about shooting 35mm for a drama series. “Film is still the best capture medium. Its large exposure range is unbeatable,” he says. “On Strike Back we are using two 35mm 3 perf. cameras most of the time. Our format is 16:9 and using the 3 perf. we are able to get 25% more value out of our stock. “Originally this production was going to be shot on HD,” concludes Cusack. “But with the challenges associated with this shoot, 35mm was the preferred choice. Steve Lawes, our DOP, agrees that HD would have been difficult given the logistics of this production.” The series is due for flighting in early 2010.


47

Events

Close up Seen at IBC, Amsterdam

OCTOBER 3–4

MIPCOM JUNIOR

Cannes, France www.mipcomjunior.com 5–9

Kevin Manas (Hi-Tech)

Dave Short (Digivision)

MIPCOM

Cannes, France www.mipcom.com

Adriaan Shipalana (Harambe), Gelfand Kausiyo (SABC RBF) and Raymond Buckle (SilverstoneCIS)

9 – 12

AES US

New York www.aes.org

Harris’ Monica Heck and Sally Wallington

Mohamed Amin Foundation’s Christel de Wit and David Johnson

Alan Worsley (Visual Impact) and Tony Niemeyer (AJ Niemeyer)

Photos by Trevor Ou Tim

Sasani Africa Party

11 – 14

Southern African Broadcasting Association

Annual General Conference Maseru, Lesotho www.saba.co.za

19 – 22

SIEL/SATIS

Paris www.siel-satis.com

16

Promax/BDA Africa 2009

Sandton Convention Centre, Johannesburg www.promaxafrica,tv 22

10th Screen Africa Annual Industry Golf Day

CMR Golf Club, Maraisburg, Roodepoort Competition: Better Ball Stableford for the Screen Africa Floating Trophy Bookings: Ellen Oosthuizen – 083 268 6868 or e-mail: [email protected] Gaby Keyser 082 967 7669 or e-mail: [email protected]

Egoli’s Leon Nortje,Willie Coetzee, Burgert Muller ZSE TV’s Anna Segoe, Tebogo Sasani’s Dudu Nkuna and Charles Chababala and Marge Fieldgate with Screen Africa’s Delight Ngwenya Chauke and Lizzie Naledi

27 – 30

6th Abuja International Film Festival

Musa Yardua Center /Bolingo Hotel Abuja, Abuja, Nigeria Festival Director Fidelis Duker www.nffo.org /www.fadfilms.7p.com

NOVEMBER

Charles Junior Mokoka, Charles Sasani’s Shawn Ludwig and Andre Vorster, Deon Thabo Bohula (Film Lab), Kenneth Nkuna Senior Mokoka (Sasani) and Tony Kritzinger (M-Net) and Zac Almeida (Sasani) (Ingada), Phineas Mkhize (Film Lab), David Boyers (Film Lab) Chauke (Sasani) and Eugene Botha (Sasani)

People to People International Documentary Conference

3

SES

Birmingham www.sbes.com

4 – 11

American Film Market

Santa Monica, Los Angeles, USA www.americanfilmmarket.com 18 – 20

InterBee

Tokyo www.inter-bee.com

Rehad Desai (Tri Continental Lolli Goodson (SABC) and Film Festival) and Peter Harriet Gavshon (Curious Pictures) Anders (Goethe-Institut)

Mandisa Zitha (Encounters) and Makela Pululu (filmmaker)

Motsepe Nkoliswa (filmmaker), Brian Koma (DTI) and Siyabonga Lerumo (filmmaker)

TBC

M-Net VUKA! Awards

www.vuka.multichoice.co.za

LOG ON TO NEWS: www.screenafrica.com

•

Copley for Ridley Scott film?

•

BBC Worldwide may be privatised partially

•

White Wedding enters Oscar race

•

Digital TV battle goes to court

•

Mobile phone applications launched in Uganda

•

TV hunger strikers speak out

•

Botswana TV commissions soapie

•

TV industry job losses to be addressed to DTI

•

Biggest summer box office ever

On the move New CEO for ZSE TV Eileen Sandrock has been appointed CEO of Sasani Africa. Sandrock joined ZSE TV, a division of Sasani Africa, in 2007 as managing director – a position she still holds. Sandrock has 23 years of progressive experience in TV, from vision mixing and video editing, to directing and producing. In her seven year-stint as a commissioning editor at pay-TV broadcaster M-Net, Sandrock worked on productions such as Carte Blanche, Big Brother, Skouspel, Egoli and Survivor. 48


•

1918 SA film goes online

•

A vision for public broadcasting

A dvertisers L ist Atlas Studios..................................43 Avmark ..........................................42 Black Magic Design.........................7 Blade/BFX.........................................1 Case Connection, The.................44 Chameleon Casting......................36 Christie...........................................21 Durban Film Office (DFO)....................................24 – 25 Digitalfilm........................................17

Gauteng Film Commission (GFC)...............................................33 General Post ................................44 Glasshouse ....................................42 Glory Computers.........................39 HDHUB..........................................35 Heritage Insurance .....................44 Howard Music...............................42 IDC................................... OBC Kodak...............................................15

Media Film Service.......................34 NDS.................................................29 Panasonic........................................11 Pro-Sales.........................................14 Puma Video.........................FC Q-Studios........................................37 SABC...............................................23 Screen Africa..................................36 Shoot Casting................................34 Sony...................................................5 Visual Impact..................................19 VUKA! Awards.................. IFC

SCREENAFRICA Zooming in on the film & Television production industry in Africa

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BROADCAST • FILM • COMMERCIALS • TECHNOLOGY • DIGITAL MEDIA

DIRECTORY &

21st Anniversary pg 42

INTERNATIONAL GUIDE

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Post-production pg 26

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www.screenafrica.com VOL 21 – MAY 2009 R27.00

SABC signs contract with Siemens The South African Broadcasting Corporation (SABC) signed a contract with Siemens IT Solutions &

Mauritius digital upgrade Mauritius Broadcast Corporation (MBC) has been upgraded with a R7m Avid Unity ISIS media storage solution by South African-based Spescom Media IT. This upgrade which boosts storage capacity and postproduction efficiencies, signals a further evolution towards a fully digital environment for the broadcaster. MBC's television network currently consists of three analogue channels and six digital channels. Two new digital terrestrial channels were launched in 2008 and a project for a 24hour rolling news station is well under way and will provide an interactive platform for local, regional and international news. – to page 51

Services at the beginning of April to oversee the roll out of digital technology solutions across the corporation. The contract encompasses an agreement that will allow Siemens to oversee, project manage, consult and deploy the necessary technology for the roll out of a number of specific digital projects. Priority areas are projects relating to infrastructure for Digital Terrestrial Television (DTT) including new Final Control Centres (FCC), playout and storage, infrastructure for supporting the SABC’s coverage of the 2010 FIFA World Cup, and,

archiving libraries enabling easy access to content material. Siemens and the SABC, as the managing client, will work in close co-operation to get the best possible equipment for the projects. In some cases, the SABC will purchase the equipment, in others, Siemens will evaluate and buy the equipment on the SABC’s behalf from suppliers. “This will, in effect, allow us to choose the best possible systems available throughout the world,” says Richard Waghorn, Chief Technology Officer at the SABC. Siemens, in its project – to page 51

Township film goes to Cannes The Game of My Life, a soccerthemed feature film shot over seven days in the Duduza township just outside of Johannesburg, will be represented at the Cannes Film Festival in May by its writer/producer Michael J Rix. Directed by Dumisani Vusi Nhlapo in his feature film debut, The Game of My Life is going straight to DVD for distribution in South Africa’s townships via a network of vendors. “I’m also hoping to

get the DVDs into stores like Reliable. We will be doing a lot of word of mouth marketing and taking ads in the Daily Sun. There is also the potential of selling the film to a local broadcaster,” explains Rix. In January Rix, who singlehandedly made South Africa’s first ever claymation feature, Tengers, put out a call to interested parties to each buy a 2% share in The Game of My – to page 51

EIGHTIES TO NOUGHTIES: Southern Screen & Stage, the first trade magazine for the South African film and television industry launched in May 1988. It changed its name to Screen Africa in 1992 and for a while was published in A4 size. Today Screen Africa is a glossy, world class trade monthly magazine which reflects the South African and African industries to local and international readers.

M-Net’s new local content strategy All local series produced for South African pay-TV broadcaster M-Net will now be piloted as a means of testing content before series go into production. In other firsts, the broadcaster is to issue commissioning briefs for its Series and Action channels and focus strongly on development. Newly appointed head of Local Development & Production Helen Smit emphasises the importance of the development element. “We’re really keen to develop our own formats in all genres. As a broadcaster we want to perform on all platforms and to do that you need to own all rights. However, we wouldn’t

necessarily exclude coproductions.” It’s no secret that local content performs well in South Africa and M-Net’s locally produced shows are no exception. “Local content, which accounts for about 18% of the M-Net schedule, really works for us. As long as we tell stories that are relevant and that people can relate to, they will resonate with the audience and generate good ARs. We always set AR targets for each local show and that target is tied to the time slot and to the record for that time slot. Carte Blanche, for example, performs remarkably well for an – to page 51

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