The Callsheet Issue 11

ISSUE 11 | 2016

To enable every African family to afford, have access to, watch and enjoy digital television.

+ MOONYEENN LEE

Celebrating the Legendary Casting Director

+ SA’S MOST PROFITABLE

LOCATIONS | Provincial Hubs are seeing Immense Returns

CONTENTS / 01

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DISCOP JOHANNESBURG

The 2016 edition of this sold-out event is a catalyst for major economic growth in the industry.

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SOUTH AFRICA’S MOST POPULAR LOCATIONS

Kim Crowie delves deep into the world of spectacular locations with this sector snapshot.

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THE STILLS INDUSTRY IN SA

Many stills production companies and photographers have had a jam-packed season. We talk to the major players for an industry outlook.

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MOONYEENN LEE

SA’s most famous Casting Director on her passions, work and successes.

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Noem My Skollie Named SA’s 2017 Oscar Entry Maze Runner Franchise to Shoot in SA DISCOP Johannesburg 2016 Preview Discop Johannesburg Pitching Competition Triggerfish to Animate the Next Julia Donaldson and Axel Scheffler Book South Africa’s Most Popular Locations Stills Industry Overview A Chat with Moonyeenn Lee Khuli Chana’s starstudded new music video Film Finance World 2016 Preview Connect with the Global Film Industry at the American Film Market WESGRO: The Cape Winelands Ethiopia: Land of Diverse Locations Events to Diarise Associations News Directory of Advertisers

02 / NEWS

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NOEM MY SKOLLIE NAMED SA’S 2017 OSCAR ENTRY

After a rigorous judging process the National Film and Video Foundation has nominated Noem My Skollie as South Africa’s official selection for the 89th Annual Academy Awards.

Gimba (Gantane Kusch) and AB (Dann-Jaques Mouton) star in Noem My Skollie . Images courtesy of Lindsey Appolis.

THE FILM TELLS THE STORY OF A YOUNG MAN IN 1960’S CAPE TOWN WHO ENDS UP IN JAIL AND BARTERS HIS SKILLS AS A STORYTELLER IN ORDER TO AVOID BEING FORCED INTO THE NUMBER GANGS. IT IS BASED ON THE LIFE OF THE SCRIPTWRITER JOHN W. FREDERICKS, WHO IS NOW 70 YEARS OLD.

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he special jury convened by the National Film and Video Foundation (NFVF) announced on 27 September that feature film Noem My Skollie, currently on circuit in South African cinemas, has been nominated as South Africa’s official selection to the 89 th Annual Academy Awards (Oscars) in the category for Best Foreign Language Film Award.

“We are proud that after a rigorous judging process, Noem My Skollie is nominated as the official selection for the 89 th Annual Academy Awards,” says NFVF CEO Zama Mkosi. “This is indicative of the role that the National Film and Video

Foundation (NFVF) plays in empowering, and transforming the film industry by taking South African stories from our streets to the world.”

Competition this year for the coveted nomination to represent South Africa was intense, and is a remarkable achievement for Daryne Joshua’s feature film debut. Producers David Max Brown, Moshidi Motshegwa and their partners who supported the financing of the film at the NFVF, kykNET, M-Net and distributor SterKinekor Entertainment, are absolutely thrilled with this news and are proud that the film deserved the accolade.

Noem My Skollie has been seen by over 32 000 people in South Africa. Says Mario Dos Santos, Ster-Kinekor Entertainment CEO: “We are extremely proud to have been part of getting this amazing film on to SA screens and are excited about the continued potential in our market and on the global stage.”

“What makes it even more special, is that this moving film is the work of a first time director and that the story is rooted in the true-life experiences of the screenwriter.

It’s a film the world needs to see,” says Jan du Plessis, Director: M-Net Channels.

The film tells the story of a young man in 1960’s Cape Town who ends up in jail and barters his skills as a storyteller in order to avoid being forced into the number gangs. It is based on the life of the scriptwriter John W. Fredericks, who is now 70 years old. A heart-lifting story of redemption, Noem My Skollie takes the audience on an actionfilled, emotional rollercoaster. It delves with great authenticity into the culture of the coloured people of the Western Cape.

The film has received great reviews and ratings since its release on 2nd September 2016 and continues to run at selected cinemas across South Africa.

NEWS / 05

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The Maze Runner © 20th Century Fox

The Maze Runner © 20th Century Fox

MAZE RUNNER FRANCHISE TO SHOOT IN SA

Production of the latest instalment of the Maze Runner series of films, which began shooting in British Columbia, Canada, will resume early 2017 in South Africa.

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fter an accident on the British Columbia set of The Death Cure which severely injured the star of the franchise, Dylan O’Brien, production was forced to shut down. To date, the Maze Runner film series featuring O’Brien has earned about $600-million at the global box office. The sci-fi film is now set to be completed in South Africa when shooting resumes in February 2017.

The news was first reported

by Deadline without specific reference to the new location, with a senior British Columbia. film industry source saying the shift in locations came about because the film needs a summery atmosphere – something available in South Africa – as well as a robust production sector that can service a production on the scale of The Death Cure. South Africa provides the right weather at a time that suits the production schedule.

“The decision has got nothing to do with British Columbia as a place to shoot,” said the source, noting the decision is not a slight against the quality of British Columbia’s crews and production facilities. A spokesperson for TwentiethCentury Fox said the studio would comment in due course.

The Maze Runner franchise was brought to a halt earlier this year after O’Brien was injured in a stunt that required him to

Production Music for Professionals representing over 60 international labels and African Planit, a South African Music Library.

Service is our first Priority.

move from one moving vehicle to another. The 24-year-old star was rushed to hospital with a “concussion, facial fracture and laceration,” according to O’Brien’s publicist. Though the injuries were confirmed as non-life-threatening, they were worse than originally estimated and required additional time for convalescence.

The Maze Runner series of films is based on novelist James Dashner’s young adult franchise of the same name.

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06 / SPOTLIGHT

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DISCOP JOHANNESBURG 2016

Launched in 2012, DISCOP Johannesburg is rooted in Africa’s fast emerging multi-screen, multi-platform marketplace.

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riven by taste, expectations and engagement patterns of an extremely young demographic in conjunction with innovative business models, high consumer embracement of pay and satellite television; Africa’s television industry continues to show strong year-to-year growth. In 2015, Africa generated $1-billion in TV wholesale business, a 100% revenue increase in two years.

Early adoption and engagement trends that include digital platforms, binge-watching and social media remain strong on the continent creating strong long-term growth expectations.

DISCOP Johannesburg is a business-driven market designed to deliver meetings between content buyers, sellers, and independent producers. Our goal is to provide efficient, profitable meetings organised with a customised matchmaking programme through the preparatory phases and during the market.

250+ global and regional sellers of feature films, television content, adaptation rights and packaged channels attend DISCOP Johannesburg, offering over 10 000 hours of prime programming at affordable prices suited for

Africa’s diverse audience.

500+ qualified television content buyers from public and private broadcasters, Pay-TV operators, digital platforms and closed-circuit networks operating in Sub-Saharan Africa will be in attendance.

To facilitate the preliminary organisation of meetings, exhibiting and non-exhibiting attendees are grouped in the following categories:

Producers - International and domestic film producers as well as television and web content producers with projects in development or post-production.

Sellers - Global and regional film distributors, television and web content, adaptation rights and packaged channels, broadcasting and satellite service providers.

With a growing contingent of U.S. companies attending DISCOP Johannesburg, the time is right to honour the United States of America as DISCOP Johannesburg’s Guest Country in 2016. In celebration of a growing presence of American companies in Africa, the objective is to continue assisting major and independent U.S. companies in the entertainment sector

Buyers - Content distribution platforms: broadcasters, digital, cable, mobile and online operators, airlines and closed-circuit services: global and regional distributors: television format licensors.

Influencers - Advertising and marketing agencies, media buyers, consumer brands, star bloggers, trendsetters, and journalists.

GUEST COUNTRY

alongside tech entrepreneurs, build stronger connections with key players driving the continent’s multiplatform film and television content production and distribution industries.

In addition, DISCOP is actively pushing for better collaboration between the U.S. and Africa, expand the reach of local culture stories and share them with a truly global audience implementing Hollywood’s know-how marketing and financing expertise of global distribution, storytelling, production, directing, and casting with talent available in Africa.

Strategically located on the market floor, set-up in partnership with the US Commercial Service, the American Umbrella will welcome independent U.S. content distributors/ producers and raise the visibility of the U.S.’s presence at DISCOP Johannesburg.

SPOTLIGHT / 07

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DISCOP JOHANNESBURG PITCHING COMPETITION International Judges And Prizes

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n international jury of industry experts will adjudicate the pitches in four categories of popular television genres: • TV Series • Documentaries • Formats • Animation The juries will be made up of top local and international experts including: Turner Broadcasting; StarSat; Quizzical Pictures; SABC; Rapid Blue; AfriDocs; Endemol Shine; StarSat; Viacom

International Media Network; e.TV; Animation SA, Cinebar Studios; Restless Global; Rous House Productions; Uhuru Productions; Media 24 VIA Channel; and Fremantle Media.

A winner and runner up in each of the four categories will be announced on the day and will be awarded with an array of prizes.

• The winner of each category will receive a Huawei P9 Handset from Huawei Technologies South Africa • $2 000 1st Prize / $1 000

2nd Prize and mentorship from Turner Broadcasting (Animation Category) • $2 000 1st Prize / $1 000 2nd Prize and mentorship from Cinebar Studios (TV Series Category) • Mentorship from project development to rough cut and distribution for the winner and runner-up from AfriDocs (Documentary Category) • Use of Rapid Blue’s studio for a full day, with lights, four cameras, basic audio and a control room and mentorship

for winner and also expert mentorship for runner-up from Rapid Blue (Formats Category) Winners and runners-up will also receive a complimentary producer market badge and meeting table for Discop Abidjan and Discop Johannesburg 2017 and a host of other prizes including mentorships and international accreditation.

All producers registered for DISCOP Johannesburg can enter in any or all of the four categories.

08 / REELAFRICAN

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RPROVIDING EELAFRICAN: QUALITY CONTENT TO THE AFRICAN AND CARIBBEAN DIASPORA

The Callsheet chats to Managing Director Thabo Dabengwa ahead of DISCOP Johannesburg 2016.

What is the business model of ReelAfrican?

ReelAfrican currently has relationships with over 30 content partners across Africa on a revenue-sharing basis, where subscribers pay a subscription fee to access content. This revenue is then shared between ReelAfrican and the content owners.

ReelAfrican has also launched an SVOD platform that allows content owners to gain the best

return on their content assets.

Which sector of the market do you service?

ReelAfrican is a content aggregator which is specialising in making quality African content available to audiences across the world.

Our vision is to be the premier online destination for quality pan-African film and TV content across Africa and the world.

ReelAfrican’s current

viewership focus on the African and Caribbean Diaspora population in the US. How do you select and collate the content on your platform?

ReelAfrican has also established relationships with distribution channels across Africa with some OTT platforms where content providers’ work will be protected and showcased whilst generating sustainable revenue for them.

Filmmakers and producers often find themselves struggling with three issues after creating their content: marketing, distribution and sustainable revenue.

As ReelAfrican, we see ourselves as a “One Stop Shop” for filmmakers across Africa as our focus is on showcasing unique, original and entertaining work and being able to market their work efficiently and generate revenue.

Watch more of our stories on reelafrican.com

SPOTLIGHT / 09

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TRIGGERFISH TO ANIMATE THE NEXT JULIA DONALDSON & AXEL SCHEFFLER BOOK

The Highway Rat set to premiere on BBC One Christmas 2017.

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riggerfish Animation Studios is animating an adaptation of The Highway Rat, a 2011 children’s book by the UK’s number one picture book author/illustrator team, Julia Donaldson and Axel Scheffler.

Set to premiere on BBC One for Christmas 2017, the half-hour animated special is the tale of a greedy rat who tyrannises animals along the highway, as he steals their food at every opportunity: clover from a rabbit, nuts from a squirrel, and a leaf from some ants.

He even steals his own horse’s hay.

However, what he really craves are cakes and all things sugary, and it’s his sweet tooth that finally leads him to a sticky outcome.

The Highway Rat is being produced by Michael Rose and Martin Pope of Magic Light Pictures, the Oscar-nominated and BAFTA-winning production and brand building company.

This will be Triggerfish’s third BBC One Christmas collaboration with Magic Light Pictures in three years, building on the success of last year’s Donaldson / Scheffler adaptation, Stick Man, and this year’s eagerly-

TV Festival, China • Rockie Award for Animation at the Banff Word Media Festival, Canada • Audience Choice Award & Best Animated Film at the Singapore International Children’s Film Festival • Best Voice Performance for Martin Freeman, British Animation Awards

anticipated adaptation of Roald Dahl’s Revolting Rhymes.

On BBC One last Christmas, 9.3m viewers watched Stick Man, which had an overall 41% audience share and was the fourth highest rated programme of the day. Stick Man became 2015’s number one bestselling

backlist picture book and fourth bestselling picture book overall, while the animated adaptation won critical praise and a raft of global industry awards, including: • the Cristal for a TV Production at the Annecy Animation Festival, France • the Magnolia Award for Best Animation at the Shanghai

Stick Man director Jeroen Jaspaert will again helm The Highway Rat, which marks the fifth adaptation

by Magic Light Pictures of a Donaldson/Scheffler children’s book, after Oscar-nominees The Gruffalo and Room On The Broom and Annecy winners The Gruffalo’s Child and Stick Man. Michael Rose, co-founder, Magic Light Pictures, says: “We’re delighted to be working with Triggerfish again on our next Donaldson/Scheffler title for BBC One, a swashbuckling tale of bandits and biscuits for all the family to enjoy. Triggerfish produce work of the highest quality and we’ve had a great experience with them on both Stick Man and Revolting Rhymes.”

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10 / FEATURE

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Filming on location in Gauteng takes place mostly within the Johannesburg CBD, as with Marvel’s Avengers: Age of Ultron ; © Marvel 2015, and Blackmagic. Photo by Jay Maidment.

SOUTH AFRICA’S

MOST POPULAR LOCATIONS

Kim Crowie explores the incredible abundance of locations South Africa offers the film, television and commercial sectors, from the most popular locations to the unique and far-fetched; the backdrops to exhilarating new worlds.

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he scene opens on an opulent party in a swanky suburb. High walls, GrecoRoman architecture with vines creeping up towards the towering roof. If I hadn’t visited this venue for myself, I would never have known it was a film location – even if the series happened to be set in the city of Cape Town.

This story is not unique to me, and it speaks to our incredible versatility as a country imitate almost anywhere in the world with extreme accuracy.

It comes as no surprise then, that South Africa is revered for its sheer variety of locations. In

Homeland it doubled as Pakistan, in Black Sails it became the Caribbean, in The Journey Is the Destination it was transformed into East Africa – and the list goes on. “Areas we excel at would definitely be our service as well as the diversity of our locations – you can get practically the whole world in one country in South Africa,” says Julia Finnis-Bedford, Managing Director at Amazing Spaces. “Not many places in the world can boast that!”

SA has three main film hubs where the most sought-after locations in the country can be found: the Western Cape,

Gauteng and KwaZulu-Natal.

The Western Cape’s ‘Mother City’, Cape Town, is still the most popular for the commercials and stills sectors, says Rudi Riek, Chairperson of the South African Association of Stills Producers (SAASP). “It is clear that the Cape Town CBD is the most popular filming destination, followed closely by the various City beaches and beautiful private homes,” he says. Having said that, the city has seen a growing number of major television and film productions pass through its doors recently including Black Mirror, Eye in the Sky, Deon Meyer’s book adaptation Cape

Town, The Dark Tower, Queen of Katwe, and many more – with no sign of abating in the near future.

Filming on location in Gauteng also takes place mostly within the Johannesburg CBD, according to Gauteng Film Commission (GFC) Research Manager, Sebastian Ndayi. According to GFC’s Permit Logs, 40% of permits granted are for central Johannesburg, followed by Soweto at 18%, and Tshwane at 14%. “Surprisingly, over the past reporting year 2015/16, the most productions that the GFC assisted regarding the issuance of permits for shooting in public locations are educational films or videos.

EXPERIENCE FILM

Supported by: KwaZulu-Natal Film Commission From the midlands to sunrises over the ocean and endless coastline, Kw K KwaZulu-Natal aZulu-Natal is recognised as a highly sought after destination for local and international productions.

The KwaZulu-Natal K aZulu-Natal Film Commission exists to encourage new talent, enhance the capabilities of filmmakers within Kw K Kw KwaZulu-Natal aZulu-Natal as well as facilitate funding opportunities for the development, production and marketing of local content.

BURSARY & TRAINING PROGRAMMES The Kw K KwaZulu-Natal aZulu-Natal Film Commission offers training and development programmes that address skills gap to ensure the growth, competitiveness and sustainability of the film industry within the Province.

• • • •

KwaZulu-Natal Film Commission Bursary Programme currently supports students who attend various tertiary institutions to study film KwaZulu-Natal Film Commission Narrative and Documentary script writer program Youth Incubation project project The KwaZulu-Natal Y A mentorship program

FUNDING STRUCTURE • • • •

Development Funding Production Funding Marketing and Distribution Markets and Festivals

We look forward to assisting you navigate the landscape of modern filmmaking.

For more information visit www.kwazulunatalfilm.co.za @KwaZuluNatalFilmCommission @kwazulufilm @kwazulunatalfilm 10th Floor, Musgrave T Towers,115 Musgrave Road, Be Berea, rea, Durban, 4001, South Africa.

KZN Film Commission

12 / FEATURE In the past, we used to facilitate the issuance of permits mainly for commercials, reality shows for television, documentaries, short films and feature films.”

KwaZulu-Natal’s growth as a film location has been significant in recent years, particularly with the assistance of the KZN Film Commission. “As the KwaZuluNatal Film Commission we are further on a mission to discover new talent and film locations so as to strengthen the province’s film database and thus increase the number of productions coming into the province,” says Carol Coetzee, CEO of the KZN Film Commission. Most notably, KZN doubled as Gambia for the Roots miniseries and was also one of the locations in which The Book of Negroes was shot.

Other popular locations in South Africa are places that double as the Middle East, says Deon du Preez, renowned Location Manager.

“The international service industry is very busy at the moment,” says Belinda Johnson, Film Afrika’s Creative Producer.

“This is as a result of both government and independent producers marketing South Africa as an international film destination for the filming of US and UK series and films.”

She adds that locations are a “precious resource” and need to be managed sustainably.

“One needs to make 100% sure that when one is finished filming on a location, the next show will be welcomed with open arms. The location professionals understand this and work together to ensure that locations remain open to film. The implementation of the Film Industry Fund by the Commercial Producers Association assists in creating a positive relationship with communities where film takes place. We need to work further with communities so that they understand the film industries contribution to job creation and employment, so that they don’t see filming as inconvenient.”

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Crags Beach, Natures Valley near Plettenberg Bay in the Western Cape. Photographer: Charile Sperring © Film Afrika

One of the many diverse locations in the Western Cape; Paarl Rock. Photographer: Charile Sperring © Film Afrika

WESTERN CAPE OVERVIEW

The Western Cape is a thriving land of locations for all kinds of productions from commercial and stills to feature films and television series. Long known for its excellent crew capabilities and diverse locations, the industry continues to rake in awards for its ability to produce quality work. According to FDI Benchmarking 2015, Cape Town has the lowest annual operating costs in the film and TV industry when benchmarked against other filming cities like Johannesburg, New York, Madrid, etc.

Part of this success has come as a result of investment in Cape Town Film Studios rated as one of the top 10 studios globally,

BEING ABLE TO SHOOT ON A BEACH IN THE MORNING AND ON A MOUNTAIN OR A SAND DUNE IN THE AFTERNOON IS QUITE IMPRESSIVE. THE RESULTS OF ITS COLONIAL HISTORY GIVES US BOTH ARCHITECTURAL AND POPULATION VARIETY. and which has seen a number of international shows and films through its doors including Black Sails, Saints and Strangers, Mandela: Long Walk To Freedom, Eye in the Sky, and Mad Max: Fury Road.

Added to this is the variety of landscapes and locations within close proximity to the city centre, including ragged, mountainous

regions, breath-taking ocean views, internationally acclaimed beaches, scenic wine farms, and semi-desert areas – all within a two hour driving radius.

“It is fair to say that Cape Town is unrivalled as a production destination,” says Terence Isaacs, Head of Film & Events Permitting at the City of

14 / FEATURE

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TOP 10 LOCATIONS IN THE WESTERN CAPE Cape Town City Centre Camps Bay/Bakoven Clifton Beach Sea Point Schotschekloof Gardens Zonnebloem Foreshore Constania Muizenberg Source: City of Cape Town permit statistics from 1 July 2015 – 30 June 2016.

Cape Town. “This is because we have been blessed with a number of assets that are not obtainable in one place as efficiently and economically as they are here. The big ticket items, however, are the weather and the variety of locations Cape Town has that make production efficient. Being able to shoot on a beach in the morning and on a mountain or a sand dune in the afternoon

is quite impressive. The results of its colonial history gives us both architectural and population variety. Furthermore you can cast a spot in South Africa and have access to six or seven different cultures and/or races.

Another reason that filmmakers like to come to South Africa is the professionalism and positive attitude of the crews. There is a high level of respect for the Cape Town technical crew base

which goes from strength to strength,” he explains.

Locations like the CTICC, Cape Town Train Station and other ultra-modern buildings and facades are popular as airport halls or concourses, while the cut-off highway is the “biggest unintended boon” to the industry. “Artscape, the City Hall, the Waterfront, obviously the beaches and Atlantis sand dunes are regular locations that satisfy the need of foreign filmmakers. Our roads and scenic drives, in particular Chapman’s Peak and the R44 to Rooi Els are wonderful for car spots. And the list goes on,” says Isaacs.

GAUTENG OVERVIEW

As the smallest province of South Africa, Gauteng packs some serious punch. Not only is it home to the legislative and business capitals – Johannesburg and Tshwane – but it is a broadcasting hub

with a number of soughtafter, inner city and township locations. Films like Avengers: Age of Ultron and Safe House have filmed in the Joburg CBD, while Soweto with its township vitality and Tshwane with its historical architecture give the province a versatile, eclectic offering.

“On average, the Gauteng Film Commission facilitates the issuing of 173 permits per annum,” says Sebastian Ndayi, “Over the past five financial years since 2011/12, we have facilitated 863 permits.”

The most popular locations within the Johannesburg CBD are Marshalltown, Nelson Mandela Bridge, Hillbrow, Yeoville, and the hip and happening Maboneng Precinct. According to Belinda Johnson, on a recent scout, an international producer felt this precinct offered up some of New York and Brooklyn in particular.

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FEATURE / 15

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TOP LOCATIONS IN GAUTENG Johannesburg City Centre Soweto Tshwane Braamfontein Randburg Alexander Melrose Arch Sandton Fourways/Diepsloot Tembisa Source: Gauteng Film Commission. Please note these are only permits facilitated by the GFC and not all film permits granted across Gauteng.

Tell Me Sweet Something was filmed in one of the most popular locations in the Maboneng Precinct, Johannesburg. Courtesy of UIP

KwaZulu-Natal © Film Afrika

KWAZULU-NATAL OVERVIEW

Although a thriving creative community and home to Durban International Film Festival – one of the largest film festivals on the continent – KwaZulu-Natal is still growing in its locations repertoire. During the financial year of 2015/16, the province saw close to 300 permits issued and have had a number of productions aired on local television such as Uzalo, The SOS Challenge, and a KZNFCfunding series called Ukhakhayi.

“The existence of the KwaZulu-Natal Film Commission has assisted the province in setting up film productions within the province. The crew members that are originally from KwaZulu-Natal will hopefully come back and work in the region,” says CEO Carol Coetzee.

Most recently, KZN saw the Roots miniseries film in the region, facilitated by Film Afrika.

The KZN Film Commission was involved in monitoring the production and ensuring

productive relationships between the location scout Neville Botha and the Mandeni municipality. “The film was shot in forests and rivers of Mtunzini for nine days, then in Mzamba in the South Coast for two weeks.”

Other productions shot in the Mzamba Valley were Blood Diamond, Strike Back, The Book of Negroes and The Last Face.

KwaZulu-Natal has much potential for growth in locations thanks to its dynamic landscapes. “Time

period pieces can be shot in the uMgungundlovu District which is in Pietermaritzburg and Greytown. The North Coast boasts landscapes of vegetation and Zulu heritage landscapes. The South Coast offers forests and jungle adventures and the Midlands have yearround green landscapes and beautiful cattle farms. Durban provides clean beaches topped with warm weather all year round,” Coetzee explains.

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16 / FEATURE Location Manager Deon du Preez agrees, saying that the South Coast has become popular due to being film friendly as well as its great locations. “It seems due to the international studios bringing bigger productions to SA, the budgets are relati vely larger and more often provision is made for travelling away

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from the traditional base cities (such as Cape Town and Johannesburg) to ‘away’ locations to bring more visual value to production,” he explains.

Port Edward has also become a popular location, with Arbor Glade Estate playing host to Warner Brothers’ Jungle Book, set for release in 2017.

TOP 5 LOCATIONS IN KWAZULU-NATAL Location

Description

Sugar Cane Farms

Situated all along the coastal side of Durban

Beach Front

Warm water and weather calls any producti on to pull off water scenes in the winter season

Durban CBD

An old look and feel allowing fi lm producti ons to create their own litt le India

Harbour

Durban’s Harbour is known for its bustling acti vity, as well as unique ocean set up

Mzamba Valley

Situated near the Wild Coast, this region has forest, rivers and jungles for tropical producti ons

THE SOUTH COAST OFFERS FORESTS AND JUNGLE ADVENTURES AND THE MIDLANDS HAVE YEAR-ROUND GREEN LANDSCAPES AND BEAUTIFUL CATTLE FARMS. DURBAN PROVIDES CLEAN BEACHES TOPPED WITH WARM WEATHER ALL YEAR ROUND. SHOOTING IN PRIVATE HOMES AND VENUES

Skywalker ©Amazing Spaces

Natural Beauty ©Shoot My House

Apollo ©Amazing Spaces

Many of the productions – from commercials to television – often shoot in South Africa’s selection of stunning, private homes, game reserves or venues for hire. A great example of this is the Cape Town International Convention Centre, where scenes from docu-drama Alison were recently filmed.

Amazing Spaces are one of the foremost companies offering a carefully curated collection of private locations. Their most popular venues are 49a, The Midden Cottage, Fresh Air, Newport and Apollo. According to Hayley Bond Agnew, General Manager, and Julia FinnisBedford, Managing Director, commercials remain the largest contributor to the film sector.

“70% of our turnover comes from commercials and features, and the balance from stills shoots, the majority of which are catalogue and advertising.” That said, the company has provided services to series like Homeland, Black Mirror and features like The Crown, The Dark Tower and 24 Hours to Live.

Jeanne Watson of Shoot My House agrees, saying that they’re seeing many TV series with “fantastic production value” shot in SA, as well as “an enormous amount” of TVCs. Some notable feature films we’ve been involved with lately include Resident Evil: The Final Chapter, The Dark Tower, Honey 3, and Bypass among others,”

she says, “There also seems to be an upswing in local and foreign music promos – which is so great – as well as an explosion of world-class South African feature films and short films.”

Another stunning venue in South Africa is Aquila Private Game Reserve. It has already been used as a location for Top Billing, Twice as Nice, Bear Grylls, Mythbusters and America’s Next Top Model. “Aquila is well suited to adventure, reality and educational productions,” says Anna-Marie Janse Van Rensburg, Assistant Marketing Manager at Aquila.

“With a dramatic backdrop of mountains and wide open spaces, it is a photographers dream – the animals are just a bonus!

Being in the wild means we have relative silence, so no light and noise pollution to deal with.

There has never been hunting at Aquila so the animals are very relaxed around vehicles, allowing crews to get really close.”

Overall, the outlook for SA’s future as a film location is optimistic, says Watson. “I think that the next 5-10 years is very positive for South Africa if we can maintain political stability, if we can prevent making working visas a nightmare for foreigners to attain, and if we continue to grow and develop our offerings in terms of world class studios, gear, crew and of course locations. With that in place I think the future is very bright!”

Fly direct in only 90 minutes from OR Tambo - Margate.

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SPECTACULAR HIDDEN GEMS SA has an unending number of locations, many of which are unknown to filmmakers. Here’s a look at some of the hidden gems nestled in our beautiful country beyond our local film hubs.

• The Free State has many hidden jewels, according to du Preez. Bloemfontein’s ‘Sandstone Mile’ has an array of historical sandstone buildings, and there are incredible landscapes near Clarens and Golden Gate.

• There are many stunning beaches and rolling hills along the Wild Coast in the Transkei – although this is a catch-22 situation as development will more than likely spoil its untouched beauty.

• Amazing Spaces’ Skywalker venue on the dunes in Plettenberg Bay is an award-winning architectural masterpiece – as is Solo, also situated in Plett, and Lothian House in Elgin which

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is surrounded by lakes.

• The township of Inanda in Eastern KZN has a beautiful dam located on the Mgeni River with rural and squatter camp settings.

• Mtunzini Forest Lodge on the North Coast of KZN and an hour from Durban has direct access to the Battlefields, Melmoth and Zululand. It also boasts mangrove swamps and a tropical estuary.

• Gauteng has a number of unique urban places worth considering as locations including the Newtown Precinct, Turbine Hall, and the FNB Stadium, also known as Soccer City.

• Also in Gauteng are Maropeng, a World Heritage Site, the incredible Tswaing Crater, and the Buddhist Nan Hua Temple in Bronkhorstspruit.

• The Northern Cape has some stellar locations, many of which are undiscovered. Vioolsdridt is very arid and has little

vegetation and is the start of the rock-desert in the region.

ACCESS AND CHALLENGES

Despite the fact that SA has excelled as a location for filmmakers, there are still a number of issues that need to be worked through. According to Rudi Riek of SAASP, there have been a number of breakthroughs. “A location that has recently become available as a substitute for many corporate environments but specifically a very good fit for an airport interior is the newly built passenger terminal at the V&A Waterfront,” he says. “We have been granted access to trains and train stations again by MetroRail, Transnet and Prasa, although it is still sticky to get access.” This is due to limited stock and vandalism of trains. The industry has also been granted access to the twelve small harbours under the control of the Department of Agriculture, Forestry and Fisheries.

“It has become abundantly

clear that production companies need to allow more time for locations staff to engage with authorities and communities before embarking on shoot days,” Riek explains.

The organisation is currently working with the Department of Health to allow regular and controlled access to their many health facilities – particularly venues like Valkenberg Hospital and the disused wing at Groote Schuur, both in the Western Cape. “We are working along with Wesgro to have these locations opened up again,” Riek says.

Another challenge the local industry faces is cutting through the various levels of red tape at some government departments, says Deon du Preez. “As an industry, we certainly understand that not all government departments are focussed on supporting filming activities, but rather service delivery, however I think the growth in the industry as a

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CAPENATURE LOCATIONS HAVE SOME FANTASTIC SITES AND ARE GREAT TO WORK WITH. whole and the overall financial contribution from the industry to the fiscus justifies more attention and assistance.”

Location Manager Robert Bentley agrees with him, saying that SANParks have made it “almost impossible” to shoot large scale productions in any of their locations through their processes. “I really want to say how refreshing it is to film on CapeNature locations. They have some fantastic sites and are great to work with.”

One of the main worries both Bentley and du Preez have are with the pricing of locations.

Says Deon: “We should guard against becoming too expensive a location whilst jealously guarding our greatest assets – that being

great locations and a supply of good, experienced crew.”

Acclimatising the public to the film industry is also a small challenge, particularly when shooting in residential areas, according to Jeanne Watson. “we need to educate the man on the street as to what we do, how we do it, how much revenue it generates and how many industries it touches. The assumption that we are a lot of grubby, chilled out hippies and lowlifes is changing but not fast enough.” She believes that South Africa needs to create a glamorous, aspirational image for its film sector – similar to that of Hollywood. “We need to rebrand ourselves, to learn to sell the dream.”

FILMING LOCATION

TO MATCH EVERY CREATIVE STYLE

LATEST PRODUCTIONS SHOT ON LOCATION IN SA Here’s a snapshot look at the major film and television productions that have been shot in South Africa around 2015 and 2016: • Black Mirror Season 3 Episodes 1 and 3 – Cape Town • Black Sails Seasons 1-4 – Cape Town • Blood Drive Season 1 – South Africa • Chappie – Johannesburg and Soweto • Dominion Seasons 1-2 – Cape Town • Endless River – Cape Town • Honey 3 – Cape Town • Jamillah and Aladdin Season 1 – Western Cape • Of Kings and Prophets – Stellenbosch and Durbanville • Our Girl Season

2 – Cape Town • Queen of Katwe – Johannesburg • Resident Evil: The Final Chapter – Cape Town & Johannesburg • Roots miniseries – KwaZulu-Natal • Seige of Jadotville – South Africa • The Crown – Cape Town and KZN • The Dark Tower – Limpopo, Tankwa & Cederburg Karoo and Cape Town • The Journey is the Destination – Gauteng • The Jungle Book – Port Edward • The Last Face – Cape Town & KZN South Coast • Tiger House – Cape Town • Tutankhamun miniseries – Western Cape and Northern Cape • Wallander Season 4 – Cape Town

For over twenty years the Lion & Safari Park has remained the industry leader in commercial wildlife-filming. The experienced team is able to assist with all types of predator related filming requirements including lion, spotted hyena, cheetah and many others. The Lion & Safari Park is also home to the world famous white lions - many of which starred in the award winning international acclaimed “The White Lion” feature film. We are also able to ooer a wide variety of tame herbivores including a antelope, zebra as well as our film and television star giraoes.

The team behind the Lion and Safari Park is led by world renowned animal expert Alex Larenty. He and his team have a deep understanding and respect for both the animals they work with and the film industry in general and so with the help of their cast of 80 lions and dozens of other animals they are able to cater for any film job big or small. From short 30 second adverts to full length feature films starring human and animal actors as well as documentaries focussing on the animals themsel themselves, the team has done it all.

www.lionandsafaripark.com | +27 (0) 71 6789 320 | +27 (0) 86 1500 100 | andre@lionpark.com | Broederstroom

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© Malcolm Dare, The Pixel Foundry

AN OVERVIEW OF THE SOUTH AFRICAN

STILLS INDUSTRY

South Africa’s stills industry has seen a good season in 2016, with some members of SAASP reporting they were so busy they had to turn work away. Here’s the low down.

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outh Africa has seen a bumper year in the way of commercials and international film and television service productions.

Following in this vein are the country’s stills producers and photographers, creating the riveting imagery that captures us all. The South African Association of Stills Producers, headed up

by Chairperson Rudi Riek, has grown in the last year to represent 24 stills production service companies. “Our members have reported in general that the past season was very good, and in some cases members indicated that they were actually so busy they had to turn work away,” he says. Companies like Euroconnection, Gavin Schneider

Productions, and Cape Town Productions have done much in driving the facilitation of the stills industry. Although the visa regulations have affected the stills sector as it has film, the weak Rand towards the end of 2015 has helped and early indications show “significant growth” in jobs landed in the country.

“The stills industry in South

Africa is still going strong,” says Pieter Badenhorst, Owner of Photo Hire and its sales arm, Cine Photo Tools. “Cape Town, for instance, will always be attractive to the international community as it is an affordable prime location. What we have seen at a local level, is that while the more established companies have managed to stay relevant,

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Pete Seaward for Chev Captiva © Gavin Schneider Productions

Broncolor FT System and Eizo 4K Monitor, Image courtesy of Cine Photo Tools

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the smaller emerging companies are struggling to stay afloat.”

He says that one of the factors contributing to the issue is that new technology has become pricey in this economy. “It’s the same with photographers, the big guys are still working, but the challenge is in the emerging market – the new professionals.

As cameras are getting smarter and more user friendly, anyone can be a photographer. And this means that taking technically good photographs is simply not enough to survive in this growing sector.”

As one of the biggest film and photographic equipment rental houses in South Africa, the company has seen major production companies and photographers to clients of all kinds pass through their doors.

“The way we stay relevant is by listening to what our clients need,” says Badenhorst. “And with the struggling Rand, the need has arisen for goodquality products at lower cost. We’ve started stocking budget-friendly quality lenses and lighting in order to offer solutions for photographers on every level. We are not just box pushers, but encourage and support our local industry.”

In August, SAASP partnered with the City of Cape Town, Wesgro and the CPA to present a location workshop, giving the industry a chance to engage with a wide range of local, provincial and national government departments. “We have made really good progress with the City Planning and Filming bylaws in conjunction with our partners and the hope is that these new bylaws will create a balance between encouraging our sector and the rights of residents,” says Riek.

CHALLENGES IN THE SECTOR Although budgets continue to be an issue across the board, Rudi explains that one of the main challenges they have is a lack of people who can enter managerial positions. “One factor that has

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come out of the past season is that there is clearly a lack of experienced stills production managers in the height of season,” he explains, “we need to work hard to build junior staff up to work at that level and ensure we have enough staff to service all the productions coming in.”

He adds that clients are still demanding more value for their money – even when the Rand is at its weakest and it seems easy to quote. Badenhorst agrees, saying that they’ve “definitely felt a bit of a strain”. “Budgets have been cut, but gear is getting pricier. Being in rental and sales, the weakening rand has made buying gear more expensive, but we have to keep our prices the same to accommodate local customers. Photographers are spending a lot on gear and tech but get clients are reluctant to pay. The weak Rand however, is a big draw card for international clients who can take advantage of the current exchange rate.”

TECHNOLOGY TRENDS

Not only has camera technology become increasingly better with each new release, but we’re also seeing the integration of media across the board. A growing number of stills producers are being asked to provide video content to clients in addition to images, so hybrid cameras are naturally some of the most popular on the market.

“We are starting to see a new trend of frame grabbing from a cinema camera. With frame

grabbing, you can basically pull any high-res RAW frame from the high framerate for the perfect shot,” Badenhorst explains. “It’s a much more streamlined process, as it requires one shooting process, not two. In the future we will see photographers pulling billboard quality images from 8k video shoots with a simple workflow tool on their tablets.”

Virtual reality and 360 degree cameras are also becoming ever-popular.

“Cameras are getting smaller, resolutions are getting bigger, batteries are lasting longer and the tech is getting smarter. 360 degree action cams, high ISO technology, aerial copters – now photographers can explore their world in new ways. And with so many brilliant cameras on the market – perfecting lowlight shooting, dynamic range, autofocus, sensor quality – creativity is trumping technique.”

Mirrorless cameras are also taking off, and it looks like this trend is here to stay.

“Photographers will choose mirrorless for weight, size and better in-camera technology factors. I don’t think they will ever replace the DSLR, but more photographers are certainly carrying them around as everyday or second cameras.” He adds that third-party lenses continue to make “excellent glass at lower prices” with increasing advances in optical quality and build, making this field an exciting prospect.

Bernard Brand, one of the speakers at Photo & Film Expo 2016 © Photo & Film Expo

PHOTO & FILM EXPO The largest photographic event on the continent, the Photo and Film Expo took place on 27-30 October this year at the Ticketpro Dome in Johannesburg.

Representing photography and filmmaking in Africa, the show has seen the local industry grow at a phenomenal rate and brings over 20 000 industry creatives and over 400 photographic brands together for four days of bliss.

Now in its ninth year, visitors saw free workshops, incredible new releases, over R1-million in giveaways, prizes and special deals, and the widest range of photographic gadgets and activities available.

Although open to the public, it caters to photographers and filmmakers of all skill levels and offers well over 100 unique presentations and demonstrations by some of the top local gurus and

Kyle van der Schyff will speak on Fauxtographer to Protographer at the 2016 event © Photo & Film Expo

international presenters.

Some of the presentations that took place at the 2016 event included ‘Fauxtographer to Protographer’ Astrophotography, ‘Blending Constant, Flash and Ambient Light’, ‘From Bookings to Albums, A Journey in Wedding Photography’, and ‘Unequal Scenes’, a look at inequalities in our social fabric that are often hard to see from ground level.

In addition to a jam-packed lineup, Photo and Film Expo also had a unique studio space in the underwater adventure area designed by Ilse Moore.

As the first of its kind in South Africa, this incredible mobile studio tank was the backdrop for action, fashion and fine art photography throughout the expo. Body painting also had its day with a special competition where visitors witnessed the transformation from human canvas to work of art inspired by the theme ‘Art through the Ages’.

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A still from Homeland Season 4 © Showtime

Moonyeenn at the beginning of her career at age 30.

A CHAT WITH

MOONYEENN LEE Moonyeenn Lee is South Africa’s casting director and talent agent of note, working on major international and local productions such as Roots, Eye in the Sky, and Homeland to name a few. She shares her story with the Callsheet.

S

he’s been called the queen of casting and a superagent, and that comes as no surprise considering Moonyeenn Lee has been working in the local and international film industry for over 40 years. In 1974 she founded Moonyeenn Lee Associates (MLA), which has since become one of the most celebrated talent agencies

in South Africa, representing over 200 actors, many awardwinning. For the last three years she has been invited to judge the International Emmy Awards as one of the final judges for the Best Actor and Actress categories. In July Moonyeenn was announced as the only South African to join the Academy of Motion Pictures and Sciences this year,

and also the only local casting director – giving her a vote in the upcoming Oscar Awards.

How did you enter the film industry, and what led to the founding of your agency MLA in 1974?

I was four years old when I went on the stage for the first time – my mother was an actress – and

I went to school in England and grew up around actors. So it’s been part of my life forever. When I came back to South Africa, we didn’t have television [yet], but because I grew up with it, I knew then what would happen.

I started my agency 42 years ago and I tried to develop actors over this period of time. Then a British producer asked if I would

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cast and I remember saying, “What’s casting?” because I had no idea. I started casting on commercials, then it grew into doing certain features.

I try to be quite specific about the films that I cast. I prefer doing South African films or films that are based here. Having said that, a lot of the international productions shot here benefit actors that can do an American, British, German or French accents. But our actors are good, disciplined and learned, and can hold their heads up against anyone in the world. And indeed they are auditioning against actors in other countries. And that’s good because it raises the bar.

What is the role of a talent agent in bringing the right person into a production?

The first thing is always about where the production is set.

In other words, when we did Homeland, it was series-specific.

You either had to have a really good American accent and look American, or you were to look

Pakistani because that was where it was set. For Eye in the Sky, everybody had to either be English, American or Somali.

The script dictates the look and the sound of the person.

I just finished casting a film for director Craig Freimond.

We’ve also just done a film called Five Fingers for Marseilles, which is a Western set in the Eastern Cape. Then I also helped Akin Omotoso with his new film which showed at the Toronto International Film Festival, and I did iNumber Number which was very successful.

The problem here, though, is that we don’t really have a cinema-going audience. People tend to wait for it to come of television. If they are going to spend money on going to a cinema, then they like to see a big, fancy Superman-type film.

So how do you create a culture around local films, then?

I’ve always maintained that cinemas should be built where people have access to them. It’s

I’VE ALWAYS MAINTAINED THAT CINEMAS SHOULD BE BUILT WHERE PEOPLE HAVE ACCESS TO THEM. IT’S VERY EXPENSIVE TO TRAVEL – AND ALSO THERE’S NO PUBLIC TRANSPORT AT NIGHT. HOW WOULD THEY GET THERE? SO IF WE HAVE CINEMAS BUILT INTO RURAL AREAS AND TOWNSHIPS, IT WOULD BE WITHIN WALKING DISTANCE.

very expensive to travel – and also there’s no public transport at night. How would they get there? So if we have cinemas built into rural areas and townships, it would be within walking distance.

I think schools should have cinemas where they could see not only dramas but also documentaries, and it can be used as an educational tool. I find that when I give DVDs to young actors to watch, it piques their interest.

They’ll go and read up about it and learn what they would never normally have come across. I think nobody is taking it sufficiently seriously to understand how much good can come out of it.

It’s a pity that there’s nobody in government that understands the kind of industry we could create in this country if film was taken seriously. It’s not just about giving people a production company and telling them to go make something. We can’t compete in the world like that.

And unfortunately this is one of the countries that do not compete internationally in television – or very rarely. And we’ve got extraordinary talent here that could compete internationally.

Who are some of your most celebrated artists in your agency, particularly in 2015 and 2016?

There are quite a few. Fana Mokoena played opposite Brad Pitt in World War Z. There are three South Africans in A United Kingdom that was just shot in Botswana.

Tel: +27 (0)21 426 2727 • E-mail: pziets@folio-online.co.za / projects@foliotranslations.com Web: www.folio-online.co.za • Facebook: facebook.com/folioonline • Twitter: @Folio_Online

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Homeland : Season Four ©Showtime

Terry Phetho is obviously doing really well, as well as Vusi Kunene. Francis Chouler had a really nice part in Eye in the Sky. South African actors are not always recognised because they blend into being British or American and unless the audience knows who they are, they wouldn’t know that they were local.

You’ve been called ‘Queen of the Casting Scene’ and ‘Super-Agent’. What is a typical day in your life?

Lots of swearing! [laughs] The thing that’s great about my life is there are never two days that are ever the same. You never know – suddenly you get a phone call and they ask, “Are you interested in this?” and send you a script. You read the script and it’s awful and you say no, or it’s really amazing and you work for however long it takes to cast.

Sometimes I spend a whole day just reading because my actors will be offered parts and I’ll have to read through them to advise whether it’s good or not. If I’m not familiar with the director, I go get the films they’ve done and watch them.

My whole life is built around this industry. My children have grown up and my dogs and my cats get a certain amount of my time, but other than that, I just love it. I love what I do.

Lizwi Vilakazi as Sizwe in Five Fingers for Marseilles. Photo by Graham Bartholomew, Unit Stills Photographer

What have some of your best experiences as a casting director been to date, what memories have stuck with you over the years?

When we were doing Hotel Rwanda, I put Desmond Dube up for the part and the director fell in love with him and rewrote the whole thing to facilitate him being in that role. Also again with Desmond when we were doing The No. 1 Ladies’ Detective Agency, they were casting the hairdresser who had to be ‘camp’. They’d really almost chosen an American and I said to the director, “Before you make your decision, please have a look at this man because I think the world will love him” and they did. We wrote it for him as well. These kinds of things are wonderful when you can suggest something that’s not exactly the same as everybody’s expecting.

It doesn’t happen often but when it does, it’s very exciting.

Now onto the Oscars.

Congratulations on becoming a member of the Academy.

How did that come about?

I don’t know how it came about! One afternoon I got an email from David Rubin, who represents the casting directors’ branch on the Academy’s Board of Governors, saying I’d been chosen. I went to LA recently because I was nominated for an Emmy in Roots, so it was a good opportunity to meet David

and all the heads of casting at the various studios. It was an amazing opportunity to sell South African actors and also to get a handle on how the industry has changed. Now I get to vote on the Oscars. I was also made a member of the Television Academy so I get to vote on that as well.

Quite a bit of dialogue is taking place around diversity at the Oscars. What’s your take on the issue, and how do we heal the racial divides of our own country’s past?

It’s interesting you ask, because many people asked me that when I was in LA. It’s strange because if I’m called to cast something and the actor has to be Xhosa or Tswana or English, I just put up the person I think is right for the part.

Ultimately, it goes back to the storylines. America has become more conscious of this

and I think that’s a really, really good thing and there are many black actors in SA who will in the long run benefit from this because we are now getting scripts sent to us where they request that actors be put on tape – where before they would never have considered it.

What advice would you give young people wanting to enter the industry from a casting and acting perspective?

They need to read. They need to have respect for the industry; study the history of the industry. It’s difficult, and you’ve got to learn a lot. I learn every day. There’s hardly a day that I don’t learn. One has to open one’s mind, and the more general knowledge you have, the better it is. I think you need to have respect for what people have done and how much joy they bring through film.

YOUNG PEOPLE NEED TO READ. THEY NEED TO HAVE RESPECT FOR THE INDUSTRY; STUDY THE HISTORY OF THE INDUSTRY. IT’S DIFFICULT, AND YOU’VE GOT TO LEARN A LOT. I LEARN EVERY DAY. THERE’S HARDLY A DAY THAT I DON’T LEARN. ONE HAS TO OPEN ONE’S MIND.

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KHULI CHANA’S NEW MUSIC VIDEO SETS

AFRICA ABLAZE

South African motswako star Khuli Chana has released the music video for One Source.

T

© OneSource

he music video is a truly pan-African affair, featuring Ghana’s Sarkodie and VVIP alongside Kenya’s Victoria Kimani. One Source was shot in Ghana, produced from South Africa by Egg Films with Native VML, and directed by Sunu, who was also a producer on the track.

Khuli believes this kind of pan-African collaboration is long overdue. “We’re doing what we should have done a long time ago, owning who we are as Africans and coming together and breaking these boundaries

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for good, for the better. It’s been an amazing journey. I’ve grown by connecting with other trailblazers. Each has their own unique style but a shared passion to put a spotlight on Africa.“ For Sunu, this resonated strongly. “Everyone obviously thinks Africa is this heart of darkness but I think it’s a heart of lightness,” says Sunu. “I wanted this music video to be a celebration of our Africanness, to show the creative flame burning across the continent.”

Sunu embraced the spirit

of collaboration driving the project, bringing in the vibrant colours of Ghanaian street artist Moh Awudu and the Afrofuturism of Kenyan digital artist and photographer Osborne Macharia as examples of how Africa is redefining its image.

In the build-up to the MAMAs, MTV is flighting four short documentaries about the intense creative process behind the making of One Source. These documentaries also feature Kgaugelo “KG” Choabi and Nigeria’s The Venus Bushfires.

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FILM FINANCE WORLD AFRICA 2016

Film Finance World Africa 2016 is aimed at providing filmmakers with content and insights that will assist them in getting a grasp of the business elements of the film industry.

F

ilm Finance World (FFW) will address the business elements of producing a film or television production.

Delegates will be able to gain knowledge and insights from leading experts on how to increase the financial viability and return on investment on their projects. Key issues to attract financiers, commissioning editors, distributors and most importantly audiences will be addressed.

KEY OBJECTIVES:

• Unpacking the film and TV financial value chain • Understanding the new era and relationship between film and TV • Understanding the relationship between a story and its budgetary framework and income potential • Teach filmmakers the fundamentals of developing a business plan, finance plan and marketing plan for their film and TV projects • Create a platform for producers and international, financiers and all other stakeholders in the value chain of film production and distribution to engage and network

KEY OUTCOMES:

• Assist SA producers in attracting international investors and signingup a sales agent • Allow filmmakers to acquire a greater understanding of South African and international finance and distribution models • Learn how to package

THE FILM FINANCE WORLD CONFERENCE WAS INCREDIBLY INFORMATIVE, BUT BEYOND THAT, IT WAS A GREAT OPPORTUNITY TO NETWORK WITH OTHER FILMMAKERS AND MEET SOME OF THE KEY PLAYERS IN THE INDUSTRY. IT IS NOT OFTEN THAT WE GET TO HEAR FROM AND MEET ALL OF THE KEY PLAYERS OF THE FILM INDUSTRY ALL IN ONE ROOM. FILM FINANCE WORLD IS DEFINITELY SOMETHING I WOULD RECOMMEND TO ANY FILMMAKER OUT THERE. - Litha Booi - Actor, Producer

a winning package by att aching the best cast and director for their projects • Provide a platform for local producers to engage with financiers and distributors

WHY IS THERE A NEED FOR FFW?

The South African and African film industries have grown tremendously over the past five years but most of this has been driven by international productions filming in South Africa, while most South African films struggle to raise sufficient funds to attract both domestic and international investors.

Why South African filmmakers struggle to raise funds can be summarised as follows: • Filmmakers do not understand the business elements of the film industry • Filmmakers do not understand the value chain of sales and distribution • Lack of experience and knowledge on how to compile a film package with the right

director or cast to attract financiers and distributors • The FFW will assist filmmakers in understanding these shortcomings • Will link filmmakers with key people and insights on how to structure their film projects and who to pitch it to and to what audiences • With better packaged film projects, South Africa will attract greater foreign investment and grow the film industry creating more sustainable livelihoods

FILM FINANCE WORLD WILL HOST DELEGATES WITH THE FOLLOWING BACKGROUNDS: • • • • • • • • • • • •

Film & TV producers Executive producers Finance executives Venture capitalists High-net-worth individuals Private equity executives Filmmakers Entertainment attorneys Distribution executives Broadcasters Distributors Emerging filmmakers

PROGRAMME

• Packaging a project – do’s and don’ts • Navigating the new era of digital, new media and distribution channels • How to draft a competitive budget • When is your project ready for funding?

• Role of a distributor, sales agent and financier • An analysis of current South African projects – what works, what doesn’t • Understanding the film and television value chain • QSAPE – Ensuring your audit report leaves you with no surprises • Utilising tax and BBBEE codes to unlock investor funding

CONTACT DETAILS Destiny Media Andre Pietersen Tel: +27 11 050 1312 Cell: +27 72 861 6130 Email: andre@destinyventures.com

Film Finance World Forum 2016 10 November, Atlas Studios Johannesburg

A forum to help filmmakers profit from their creativity

Attracting investor funds Marketing & PR Tax and BBBEE Compliance Pre-sales and commissioning Budgeting and Financial Management Distribution & New Media Legal agreements Hosted by

Media partner

Filmmakers | Writers | Marketers | Producers | Financiers | Distributors | Broadcasters

www.filmfinanceworld.com

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CONNECT WITH THE GLOBAL FILM INDUSTRY AT THE

AMERICAN FILM MARKET Taking place from 2nd to the 9th of November in Santa Monica, California, the American Film Market offers incredible access to the world’s major film-industry players. The AFM Conferences deliver tremendous knowledge, insight, access, value and a rare opportunity to hear from the industry’s global thought leaders, decision makers and experts.

HOW TO WORK THE AFM STEP 1: HOMEWORK: CREATE A LIST OF TARGET COMPANIES

Over 400 production/ distribution companies have offices at the AFM but not all are right for your film. Focus your time and effort on the companies best suited for your project.

Starting about one month before the AFM, go to The Film Catalogue. Most AFM companies

list their projects, profile and staff contact information. Do further research on the web.

Find the companies that are the best candidates for your film.

Once you have created a target list, count the companies on it. If there are less than 10, you’re being too picky. [“No distributor is right for MY film!”] If there are 100 or more, your homework grade is “incomplete.” Keep working.

A good target list for most projects is 30 – 50 companies.

A panel discussion at the American Film Market (AFM) conferences held at the Fairmont Hotel © Photo by Richard Shotwell, Invision for IFTA | AP Images

STEP 2: MORE HOMEWORK: CREATE A LIST OF TARGET EXECUTIVES For each of your target companies, identify the key executives. Most important are the people in charge of acquisitions, development and production. Look for their names in the trades and on company websites. If you can’t find the right names, call the company’s main office and ask.

Finding out who’s who is critical. You will never get

anywhere by walking into an office unprepared and saying: “Hi, who is your head of acquisitions? I’d like to meet with him… or her.”

STEP 3: START SCHEDULING MEETINGS

Most companies start setting their meeting schedule three or four weeks before the market.

The best way to contact them is to send a short, personalised email. After a few days, follow-up by phone.

A general view of atmosphere at the Thai Night American Film Market (AFM) Party held at Le Merigot Hotel © Photo by Dan Steinberg, Invision for IFTA | AP Images

SPOTLIGHT / 31

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STEP 4: PRIORITISE YOUR TARGET LIST

Separate your list into two groups: companies with an office in the city where you live and those from everywhere else.

Focus first on the companies that aren’t based where you live. If you are unable to meet with a company from your home city during the AFM, you can always follow-up with them after the Market. Use other factors (i.e. the budgets and genres of the company’s AFM lineup) to create A and B lists with 20 to 30 companies on each list. This will help prioritise your time near the end of the market.

STEP 5: WORK ON YOUR PITCH

A good pitch can get a bad film made and a bad pitch can leave a terrific project languishing on the shelf. Pitching is part art (it’s a creative process), part science (pitches need to be organised and follow a tight script) and part salesmanship.

There are many resources on pitching, so our only advice is: If you are madly, deeply in love with your project, if it’s your only child and the AFM is its first day of school, get someone else to do the pitch. Pitching it yourself will definitely convince people that YOU love the project but it probably won’t do much more.

In the pitch meeting,

remember that YOU are being evaluated along with your project. When a company commits to your project, they are also committing to work with you.

Your mission during each pitch meeting isn’t to sell your project. You won’t get a deal in one brief meeting.

Your mission is simply: Get the second meeting!

STEP 6: MAKE MORE APPOINTMENTS

During the first days of the AFM (Wednesday, Thursday and Friday) call each target company’s AFM office that didn’t respond to your email or first call. Request a 10 minute meeting with the key executive you identified in Step 2. AFM office phone numbers are listed in the AFM Show Directory (available at the Information desk in the Loews lobby). Ask for a meeting on Saturday, Sunday, Monday or Tuesday as most companies will be too busy during the first few days. For companies that won’t set a meeting (prepare yourself – there will be many), see Step 9 below.

STEP 7: PREPARE MATERIALS

Here are some thoughts on what to leave behind after every meeting: Your business card.

Mel Brooks, left, and Mel B attend the GFM Blazing Samurai Presentation during the American Film Market © Photo by John Salangsang-Invision for IFTA | AP Images

Bring a large supply.

Your biography and those of all producers attached to the project.

A synopsis.

A summary of the film’s unique creative and financial attributes.

This could include a list of all people attached or committed to the project, a budget abstract (that’s less than half a page), any rights that aren’t available, investors that are committed, production incentives that you know the film can utilise, etc.

STEP 8: WORK THE SHOW BEFORE YOU GO

always ask for an appointment with a specific person.

Visit companies on your B list and those you couldn’t easily profile in Step 1. Get a feel for the product they handle and the culture of the company to see if they are the right fit for your film. Consider being a “stealth participant” by picking up brochures and business cards without introducing yourself. Don’t ask for a meeting while you are there.

- Courtesy of the AFM

Done with your homework?

Made your appointments?

Confident with your pitch?

Materials ready? Great!

There’s still plenty you can do at the AFM before you get your badge on Saturday: Attend the AFM Conference Series.

If this is your first AFM, attend the AFM Orientation.

Read the show daily trades to stay on top of trends and deals.

AFM BY THE NUMBERS:

STEP 9: IT’S SHOWTIME!

• 400+ Distributors

Here, in order, are your priorities: Arrive at every scheduled meeting on time. Be prepared to be “bumped” or delayed.

Don’t take it personally – selling comes before buying.

Visit the companies that wouldn’t schedule a meeting with you on the phone. Remember:

• 8 000+ Industry Professionals

• 2 000 New Films and Projects

• 1 000 Production Companies

• 700+ Screenings • 100+ Speakers • $1-BILLION Deals Closed

• ALL ON ONE

Beachfront Campus

A general view of atmosphere during the American Film Market (AFM) © Photo by Richard Shotwell - Invision for IFTA | AP Images

THE CAPE WINELANDS Local and international filmmakers are being lured by more than just the longest wine route in the world; the region is an unmatched film and commercial location.

Vineyard, Franschhoek, Western Cape, South Africa Š SA Tourism

T

he Cape Winelands, which includes the wine and heritage-tourism hotspots of Stellenbosch and Franschhoek, have become a must-shoot destination for filmmakers. Although the region saw a decrease in film shoots in 2015/16 due to high tariffs, the council made it possible that a 50% discount can be passed on to the film industry

on request. The Winelands are now experiencing an upsurge in applications for film shoots.

LOCATIONS

The Cape Winelands are characterised by majestic mountain ranges, picturesque wine farms, valleys of fertile vineyards and a mixture of architectural styles, such as Cape Dutch, Georgian and Victorian.

The town of Stellenbosch is the second-oldest town in the country, and less than an hour’s drive from the bustle of Cape Town. Locations include a fabulous blend of geographical features such as dams, peaks, mountain ranges, fresh-water springs, vineyards and cliff faces, and manmade features such as national monuments, manor houses, wineries and statuesque

universities and schools.

CAPE TOWN FILM STUDIOS

The world-renowned Cape Town Film Studios is minutes from the winelands, and boasts state-ofthe-art facilities, support services and studios. Notable feature films and TV series that have filmed at Cape Town Film Studios include The Dark Tower, Dredd, Black Sails, Eye in the Sky, Momentum,

Mad Max: Fury Road and Mandela: Long Walk to Freedom.

When Kate Beyda, Senior Vice President of Production at Warner Bros. visited the set of Black Sails, she said, “In terms of technology, South Africa is actually ahead of the curve in many respects.

Those sound stages at Cape Town Film Studios are incredibly advanced, and beyond anything I have seen before.”

SOME OF THE APPLICATION PROCESSES • Complete events application form • Submit application electronically or in person • Indicate whether road closure is required/ traffic assistance

CLIMATE

The region has a Mediterranean climate, and offers ideal shooting conditions during the Northern Hemisphere’s cold months. Summers are hot and dry and winters cool and damp, with occasional snow on the mountain peaks during August and September. The Cape Winelands often receives the most pleasant weather, remaining sunny and warm while the coast receives the wind and chill.

Email: yvonne.mndabani@ stellenbosch.gov.za or contact@stellenbosch.gov.za © SA Tourism

SOME ADDITIONAL REQUIREMENTS FOR CBD AREAS STELLENBOSCH AND FRANSCHHOEK

THE CAPE TOWN & WINELANDS INTERNATIONAL FILM FESTIVAL

The 8th Annual Cape Town & Winelands International Film Festival is to be held 10 - 16 December 2016. The festival showcases a wide spectrum of South African films including feature films, documentaries, animations, short and emerging screen cultures as well as international films from other countries.

Mad Max: Fury Road © Namibia Film Commission

• Temporary road / intermittent closures: Written confirmation of consultation with affected businesses • Advert in local media prior to shoot if any road closures • Application fee payment (R750.00) as per invoice • Payment for permit/ traffic assistance prior to shoot at Traffic Department, as per invoice • Payments can also be done via EFT

TRANSPORT

The Cape Winelands are easily accessed by two of the Cape’s major highways. A network of smaller municipal roads service the area, and these are well-maintained and regularly upgraded. Taxis and Ubers can be hailed from all areas, and cars and vans can be rented from Cape Town International Airport.

BROUGHT TO YOU

BY WESGRO: FILM AND MEDIA PROMOTION Monica Rorvik, Head Film and Media Promotion Email: monica@wesgro.co.za Phone: +27 21 487 8600

Jessica Parker Kennedy in Black Sails © 2016 Starz Entertainment, LLC, Photographer: Frank W. Ockenfels

34 / LOCATION SPOTLIGHT

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ETHIOPIA A land of diverse locations and cultures that attract documentary makers from across the world, Ethiopia offers some fascinating film options.

Paradise Lodge at Arba Minch, Ethiopia, stands on a ridge overlooking Nechisar National Park © David Stanley

Catholic Church, Harar, Ethiopia © Rod Waddington

A

mesmerizing country offering a wealth of cultures and undiscovered, otherworldly locations, Ethiopia has a variety of natural beauty for filmmakers – rivers, deserts, forests, as well as the lowest point on earth. Locations of particular interest are the Danakil Depression, Lalibela monolithic rock-cut churches, the Simien Mountains, which are home to Gelada baboons, the Blue Nile Falls, Fasilides Castle, Lower Omo Valley, Konso Villages, and Harar Walled City to name a few.

Although little film infrastructure exists in Ethiopia, there has been a growing local industry with high-calibre

Lamb by Yared Zeleke is an acclaimed Ethiopian film © Slum Kid Films

independent productions over the last few years. The Ethiopian Film Initiative has supported local and international film producers who seek to raise the professionalism of the film and television industries in the country.

FILMS SHOT IN THE COUNTRY A number of critically acclaimed films have come out of Ethiopia recently including Difret in 2014, with Angelina Jolie attached as executive producer. Price of Love, a drama directed by Hermon Hailay, won numerous international festival awards in 2015, while Lamb was the first Ethiopian film to be included in the Official Selection at the

2015 Cannes Film Festival.

Another acclaimed film to come out of Ethiopia is Crumbs, by director Miguel Llanso.

Haile Gerima is an acclaimed Ethiopian writer, producer and director best known for Sankofa, and the award-winning Teza.

Liya Kebede is an Ethiopianborn model and actress who performed in Desert Flower and Lord of War among other productions. Films shot in Ethiopia as a location include IMAX documentary Mystery of the Nile, and BBC’s Enchanted Africa.

FILMING ON LOCATION

Although filming in Ethiopia is inexpensive, facilities and crew

capabilities are basic, and gear will need to be sourced from nearby centres such as South Africa and Kenya, or brought along with the crew. Before visiting the region, ensure all permits are in place and do not attempt to do things other than your intended permits and locations allow. Customs can take a while, according to local fixer Zabalon Beyene. “Have your locations manager wait with a customs clearance paper in hand for the crew’s arrival. If not, the crew will lose at least a day sorting customs clearance,” he says. Malaria precautions are also important, as is the need to stay hydrated in hot regions.

LOCATION SPOTLIGHT / 35

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ACCESS

CONTACTS:

Addis Ababa Bole International airport connects internationals to Ethiopia, with a number of smaller airports for domestic flights.

Aba Tenna Dejazmach Yilma International Airport also services the region. International carriers flying into the country include:

Ethiopian Embassy Pretoria Head Office: 47 Justice Mohammed (Old Charles Street), Bailey’s Muckleneuk, Brooklyn, 0181 Tel: +27 12 346 4067 | Email: ethiopiapta@iburst.co.za Website: www.ethiopianembassypretoria.org

• • • • •

Ethiopian Airlines Qatar Airways Lufthansa Air India El Al Israel Airlines

• • • •

South African Airways Austrian Airlines Kenya Airways British Airways

FIXERS IN ETHIOPIA

POPULATION

Firew Ayele | Across Abyssinia Tel: +251 913 497 607 / +251 118 503 923 Email: firew.ayele@yahoo.com / info@adventureabyssinia.com Website: www.adventureabyssinia.com

99 465 819 (CIA World Factbook, July 2015 est.)

CURRENCY EXCHANGE Ethiopian Birr

South African Rand

US Dollar

Euro

50

31.83

2.27

2.03

Ethiopia has a varied climate usually divided into three main zones: cool and temperate, warm and wet, and hot and dry at high altitudes. In general, the further west one travels the wetter it gets, with tropical northeast and southeast lowlands, as well as cool highlands. November is the driest month, while the most precipitation takes place in August.

300mm 200mm

Jan

Feb

Mar Apr May Jun

Solomon Abrha | Independent Fixer Tel: +251 912 623 170 | Email: solomonabrha20@gmail.com Yared Tefsa | Hahu Film Production Tel: +251 930 491 280 / +251 937 926 000 Email: yaredtesfa@yahoo.com Yohannes Feleke | Independent Filmmaker and Fixer Tel: (+1) 202 403 9226 (USA) / +251 911 378 976 (Ethiopia) Email: josamrawi@yahoo.com

Annual Rainfall (mm)

Jul

Aug Sep

Oct Nov Dec

Rainfall (mm)

Average Temperature (oC)

Zablon Beyene | Zab Tours Ethiopia Tel: +251 118 608 564 Email: info@zabtoursethiopia.com / zablon@zabtoursethiopia.com Website: www.zabtoursethiopia.com ZeroShama Media Tel: +251 929 003 295 | Email: info@zeroshamamedia.com Website: www.seroshamamedia.com

20°C 15°C 10°C 0°C

Hridas Saudamad | Prepare2Go Tel: +251 115 540 79 | Email: info@prepare2go.com Website: www.prepare2go.com Israel Seoane | Independent Filmmaker Email: israseoane@gmail.com | Website: www.israelseoane.com

CLIMATE

100mm 0mm

Ethiopian Tourism Organisation Website: www.ethiopia.travel

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

Average Temperature (°C)

Annual Average Sunlight Hours 10:00 8:00 6:00 4:00 2:00 0:00

Jan

Feb

Mar Apr May Jun

Jul

Aug Sep

Oct Nov Dec

ETHIOPIA HAS A VARIETY OF NATURAL BEAUTY FOR FILMMAKERS – RIVERS, DESERTS, FORESTS, AS WELL AS THE LOWEST POINT ON EARTH.

36 / EVENTS TO DIARISE

NOVEMBER DISCOP AFRICA, JOHANNESBURG 2–4 Johannesburg, South Africa CITIZEN JANE FILM FESTIVAL 3–6 Missouri, USA MALLORCA INTERNATIONAL FILM FESTIVAL 3 – 12 Palma de Mallorca, Spain HAWAII INTERNATIONAL FILM FESTIVAL 3 – 13 Honolulu, USA

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LEEDS INTERNATIONAL FILM FESTIVAL 3 – 17 Leeds, United Kingdom

NAPA VALLEY FILM FESTIVAL 9 – 13 Napa, USA

KOLKATA INTERNATIONAL FILM FESTIVAL 11 – 18 Kolkata, India

THESSALONIKI INTERNATIONAL FILM FESTIVAL 4 – 13 Thessaloniki, Greece

STOCKHOLM INTERNATIONAL FILM FESTIVAL 9 – 20 Stockholm, Sweden

TALLINN BLACK NIGHTS FILM FESTIVAL 11 – 27 Tallinn, Estonia

CINEMANIA FRENCH FILM FESTIVAL 5 – 15 Montreal, Canada

LONESTAR FILM FESTIVAL 10 – 13 Fort Worth, USA

HOLLYWOOD FILM AWARDS 6 Hollywood, California

AFRICAN INTERNATIONAL FILM FESTIVAL 13 – 20 Tinapa, Nigeria INTERFILM BERLIN 14 – 20 Berlin, Germany

EVENTS TO DIARISE / 37

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CAIRO INTERNATIONAL FILM FESTIVAL 15 – 24 Cairo, Egypt INTERNATIONAL DOCUMENTARY FILM FESTIVAL AMSTERDAM 16 – 27 Amsterdam, The Netherlands

DECEMBER

JANUARY

INTERNATIONAL FESTIVAL OF INDIA, GOA 20 – 28 Goa, India

FESTIVAL INTERNATIONAL DU FILM DE MARRAKECH 2 – 10 Marrakech, Morocco

PALM SPRINGS INTERNATIONAL FILM FESTIVAL 2 – 16 Palm Springs, USA

SINGAPORE INTERNATIONAL FILM FESTIVAL 23 – 4 December Singapore

INTERNATIONAL FILM FESTIVAL OF ZAMBIA 2 – 10 Livingstone, Zambia

TORINO FILM FESTIVAL 18 – 26 Torino, Italy

MONACO INTERNATIONAL FILM FESTIVAL 28 – 1 December Monte-Carlo, Monaco WHISTLER FILM FESTIVAL 30 – 4 December British Columbia, Canada

DELHI INTERNATIONAL FILM FESTIVAL 3–9 New Delhi, India BAHAMAS INTERNATIONAL FILM FESTIVAL 5 – 11 Harbour Island and Nassau, Bahamas DUBAI INTERNATIONAL FILM FESTIVAL 7 – 14 Dubai, UAE CAPE TOWN AND WINELANDS INTERNATIONAL FILM FESTIVAL 10 – 16 Western Cape, South Africa WORLD INTERNATIONAL FILM FESTIVAL (TORONTO) 17 – 18 Toronto, Canada

LONDON SHORT FILM FESTIVAL 6 – 15 London, United Kingdom DHAKA INTERNATIONAL FILM FESTIVAL 12 – 20 Dhaka, Bangladesh TROMSØ INTERNATIONAL FILM FESTIVAL 16 – 22 Tromsø, Norway SUNDANCE FILM FESTIVAL 19 – 29 Park City, USA SLAMDANCE FILM FESTIVAL 20 – 26 Park City, USA GERARDMER FESTIVAL INTERNATIONAL DU FILM FANTASTIQUE 25 – 29 Paris, France INTERNATIONAL FILM FESTIVAL OF ROTTERDAM 25 – 5 Feb Rotterdam, The Netherlands GÖTEBORG FILM FESTIVAL 27 – 6 Feb Gothenburg, Sweden

BFI London Film Festival Archive Gala announces World Premiere of the new restoration of Anthony Asquith’s Shooting Stars (1928)

FESTIVAL DE CINEMA INDEPENDENT DE BARCELONA 14 – 20 Barcelona, Spain

38 / ASSOCIATIONS NEWS

SAGA REPRESENTS MEMBERS AT FIA CONGRESS The South African Guild of Actors attended the International Federation of Actors’ annual congress in Sao Paolo from 22-25 September 2016. This is the 21st FIA Congress, where delegates from across the globe gathered to focus on diversity in the acting industry.

SAGA represented local members at the congress, and participated in the event as well. Carlynn de Waal-Smit sat on a panel with ACTRA National Executive Director Stephen Waddell, where they discussed actors in international productions, and double standards in the industry. Canadian actress and ACTRA President Ferne Downey was re-elected as FIA President at the event.

“We are beautifully positioned to act upon the plans and priorities we have made together at this 21st World Congress. We will act for diversity and work to advance the causes of non-discrimination, equal opportunity and diversity for members regardless of gender, race, ethnicity, disability, age, or sexual orientation,” Downey said.

In other news, SAGA has also secured a 25% discount for association members who sign up with IMDbPro. To find out how you can take advantage of this offer, contact Corine Broomberg on admin@ saguildofactors.co.za.

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WGSA ATTENDS LSF 2016 The Writers’ Guild of South Africa led a delegation of twenty talented writers to the London Screenwriters’ Festival from 1-4 September 2016. This was the first time the WGSA has attended this prestigious event, and also the first time a South African delegation was present.

Funded by the dti’s Group Export Sector Specific Assistance Scheme (SSAS) for Emerging Exporters, the WGSA also held a Market Readiness Workshop prior to the event to help delegates prepare their projects for LSF. The workshops, held in Cape Town and Johannesburg, covered topics such as market logistics, optimising the market experience, networking and pitch preparation.

“For the WGSA, it is gratifying that writers will be given the opportunity to pitch their produced and unproduced work to international players, gain invaluable knowledge at the workshops and network with a view to either sell their work, option their work or gain development or production funding,” the association said in a recent statement.

The WGSA also used the platform to promote the hosting of the first ever World Conference of Screenwriters on African soil in Johannesburg in 2018.

ASSOCIATIONS NEWS / 39

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The National Film and Video Foundation led a South African delegation of filmmakers to Toronto International Film Festival from 8-18 September 2016. The delegation was involved in a number of activities including SA film and TV panel discussions, networking sessions, producer to producer meetings, executive to producer meetings, dialogues centred around animation, and of course the NFVF–funded screenings at the festival.

“The NFVF is excited to showcase and celebrate South African filmmakers and their films, as we take South African stories from our streets the world,” said Zama Mkosi, NFVF CEO. Happiness is a FourLetter Word, Mrs Right Guy, Kalushi – The Story of Solomon Mahlangu, and Pop Lock and Roll were screened at TIFF.

OVER 22 COUNTRIES ATTEND AFCI CINEPOSIUM The Association of Film Commissioners International concluded its 40th annual Cineposium conference in Atlanta, Georgia in late September. Over 22 countries were in attendance including representatives from Argentina, Japan, New Zealand, Norway, Russia and Uganda. The three-day event focused on production infrastructure and economic development.

Film Commission Chile was announced the winner of the Best Overall Campaign at the Creativity Awards on the final evening of the conference.

Senator Christopher J. Dodd, Chairman and CEO of the Motion Picture Association of America, Inc. provided the keynote address on the second day of the conferences saying, “For our international visitors here, I am delighted to report that international locations— staples in blockbuster feature films are increasingly a backdrop for certain American-made television series, too. There has never been a better time for us to make movies and TV shows together.”

“For four decades, Cineposium has served as the marquee event for film commissioners to provide education and training along with face-to-face access to industry leaders,” said Clark, AFCI Executive Director. Cineposium 2017 will be hosted in Los Angeles.

© David Marcu (Unplash)

NFVF PARTICIPATES IN TIFF 2016

40 / DIRECTORY

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DIRECTORY OF ADVERTISERS COMPANY

TELEPHONE

EMAIL

WEBSITE

PAGE

Aquila Private Game Reserve & Spa

+27 21 430 7260

res@aquilasafari.com

www.aquilasafari.com

14

AVIS

+27 21 927 3456

avisfilm@avis.co.za

www.avis.co.za

27

CapeNature

+27 21 200 1388

locations@permitz.co.za

www.permitz.co.za

15

Cape Town International Convention Centre

+27 21 410 5000

sales@cticc.co.za

www.cticc.co.za

07

Club Travel

+27 74 780 6109

seanh@clubtravel.co.za

www.clubtravelcorporate.co.za

03

DISCOP

+27 11 482 6110

discop@basiclead.com

www.discopafrica.com

Inside Back Cover

Durban Film Office

+27 31 311 4243

www.durbanfilmoffice.co.za

13

Film Finance World Africa

+27 11 050 1312

andre@destinyventures.com

www.filmfinanceworld.com

29

Folio

+27 21 426 2727

projects@foliotranslations.com

www.folio-online.co.za

25

Graham Bartholomew

+27 83 229 1535

grahambart@me.com

www.grahambartholomew.co.za

23

KwaZulu-Natal Film Commission

+27 31 325 0200

marketing@kwazulunatalfilm.co.za

www.kwazulunatalfilm.co.za

11

Lion and Safari Park

+27 87 1500 100

info@lionpark.com

www.lionandsafaripark.com

19

Photo & Film Expo

+27 11 326 2257

matt@photofilmexpo.com

www.photofilmexpo.com

Outside Back Cover

Photo Hire

+27 21 462 6933

lauren@photohire.co.za

www.photohire.co.za

21

Quiver Tree

+27 21 882 8986

stay@qtstellenbosch.com

www.quivertreeapartments.com

09

ReelAfrican

+27 11 034 9171

bibi@reelafrican.com

www.reelafrican.com

08

South Coast Tourism

+27 39 682 7944

eventing@tourismsouthcoast.co.za

www.tourismsouthcoast.co.za

17

StarSat

+27 11 582 9802

wanghq@startimes.com.cn

www.starsat.co.za

Outside Front Cover, 04

Studio 26

+27 83 368 6216

jessica@studio26.co.za

www.studio26.co.za

18

Synchro Music Management

+27 83 538 3894

louise@synchromusic.biz

www.synchromusic.co.za

05

Wesgro

+27 21 487 4868

monica@wesgro.co.za

www.wesgro.co.za/film

Inside Front Cover, 32, 33

Wizardz

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

39

CONTACT US Cover Image: Courtesy of StarSat www.starsat.co.za

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