The Callsheet Issue 12

ISSUE 12 | 2016

+ EXPERT FORECAST FOR 2017

Industry Leaders Predict the Future in Animation, Film and Television

+ YOUR 2017 FILM FESTIVAL GUIDE

Must-attend Film Festivals, Markets and Trade Shows

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CONTENTS / 01

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02. France – South

06 08 20 24

TRIBUTE TO JUNAID AHMED

His colleagues and friends honour the South African film legend who recently passed away.

Africa Co-Production Workshop

04. Thank You to our

Incredible Clients

06. Renowned Filmmaker Junaid Ahmed Passes

07. A Tribute to Paul Ian Johnson

08. 2017 Industry Forecast

2017 FORECAST

Industry leaders, mavericks and mavens tell the Callsheet what they think the future holds for our industry in 2017.

19. DISCOP Johannesburg Announces Pitching Competition Winners

20. Your 2017 Film Festival and Market Guide

24. A Chat with Stuart

MAJOR FILM AND TV EVENTS IN 2017

Kim Crowie looks at the best film festivals, content markets and events, so you can plan your year effectively.

Forrest and Anthony Silverston

26. Film Review: Tess 27. Film Review: Shepherds and Butchers

28. Movers and Shakers 29. Opportunities 30. Uganda: Film Gold

STUART FORREST AND ANTHONY SILVERSTON On Revolting Rhymes, Story Lab and more.

32. Events to Diarise 34. Associations News 36. Directory of Advertisers

02 / NEWS

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FRANCE – SOUTH AFRICA

CO-PRODUCTION WORKSHOP T

he National Film and Video Foundation (NFVF) and the National Centre for Cinema (CNC) of France, in conjunction with the French Embassy in South Africa, are organising a twoday co-production workshop between the two countries, which will be held in Paris in the week of 27 March 2017.

This workshop is part of the on-going collaboration between these institutions to strengthen the cooperation in the film industry between France and South Africa, and to encourage co-productions within the framework of the co-production treaty existing between the two countries.

This is the second such workshop hosted by these institutions. The first one was held in Durban, South Africa, in 2012.

The workshop that will be held in Paris specifically aims to create a platform for South African filmmakers/producers with developed feature film projects to meet with their fellow French producers, and find potential partners with a view to co-produce their projects.

In order to be considered for the co-production workshop organised in Paris, a project must meet all of the eligibility criteria outlined below: 1. Application is for featurelength film projects only (80 minutes minimum).

2. Project must have a director and producer attached to it.

3. Film producers and directors are either citizens or permanent residents of South Africa.

4. Previous industry experience is required. The director and producer must have experience in their respective role (no less than one featurefilm for the producer, at least two shorts for the director).

5. The project must be fully developed and relevant for the French/European market

HOW TO APPLY?

Send your complete application in English by email to: co-productions@nfvf.co.za

To be considered, applications must include the following: 1. Covering letter 2. Synopsis 3. Director’s treatment 4. Full script 5. Director and producer’s profiles.

6. Tentative budget 7. Finance plan The closing date for applications is 15 December 2016.

Selections will be made per the above criteria and successful applicants will be notified by the 31st January 2017.

Transport and accommodation costs of selected participants will be covered by NFVF (One participant per project).

ERIC BANA TO PLAY PIET BLOMFIELD Producers of the feature film The Forgiven have confirmed that Eric Bana will play the role of apartheid-era murderer Piet Blomfield.

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roducers confirmed in early November that Hulk star Eric bana will play the role of apartheidera murderer Piet Blomfield in an upcoming film about Archbishop Emeritus Desmond Tutu’s role in the Truth and Reconciliation Commission (TRC).

Bana seems to have replaced Vince Vaughn in the role, and is the latest star confirmed for the film. He joins Academy award-winner Forest Whitaker, who plays the Archbishop.

Whitaker’s casting has once again raised questions in the local

Eric Bana

industry, with many questioning why a South African actor could not have been cast for a South African role. Despite this, he has been successful in his portrayal of African characters in the past – including his performance as Idi Amin in the box office hit The Last King of Scotland.

The film, called The Forgiven, is due for release in 2017, and will be directed by Roland Joffé (The Killing Fields, The Mission). The film is the first to turn writer Michael Ashton’s play The Archbishop and The Antichrist into a screenplay and is co-written by Joffé and

Ashton. The script follows a series of meetings between Tutu and Blomfield, a former member of an apartheid hit squad who makes a series of chilling confessions from his prison cell during the TRC hearings.

Joffé produced The Forgiven alongside Link Entertainment’s Craig Baumgarten and Zaheer Goodman-Bhyat of Light and Dark Films, with financing provided by The Fyzz Facility.

Saban Films has acquired North American distribution rights to the drama. The film is currently in production.

04 / SPOTLIGHT

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A MASSIVE THANK YOU FROM THE CALLSHEET TEAM

Lance Gibbons | Publisher

Natasha O’Connor | Production and Traffic Manager

Coleen Tapson | Business Manager

Theo Jacobs | Account Executive

Katie Reynolds-Da Silva | Executive Editor

Jennifer Dianez | Account Executive

Lauren Smith | Special Projects Designer and Illustrator

Sheree Steenkamp | Head of Design

Kim Crowie | Writer

Guy Wallace | Accounts Processing

SPOTLIGHT / 05

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LANCE GIBBONS: PUBLISHER 2016 has been a fast and furious year, with so much excitement and great business being done in both the film service and international commercials sectors.

Not to mention the ever-evolving world of long-form film, television and documentary that continues to grow our industry and our reputation worldwide — making great use of and continually innovating the incredible infrastructure and supply chain that South African film boasts.

While the exchange rate has certainly helped keep the region affordable, we have worked hard this year to forge partnerships, get to the festivals and represent you and your brand on all the right desks throughout Africa and worldwide. We work consistently at thrilling our clients by offering you, and your client, business opportunities and connections;

studies around best practice to further grow our professionalism as an industry, articles that bring world and African trends to you and a regular update of what is happening in the industry. We concentrate on keeping the industry connected and on attracting future business to our shores with partnerships and distribution routes that ensure that eyes are kept on Africa. With worldclass production companies, several new studio facilities, post-production opportunities and animation creativity, as a global player Southern Africa cannot be overlooked.

I would like to take this opportunity to thank all our advertisers for your continued support, we look forward to partnering our industry to reach even greater heights in 2017.

WE CONCENTRATE ON KEEPING THE INDUSTRY CONNECTED AND ON ATTRACTING FUTURE BUSINESS TO OUR SHORES WITH PARTNERSHIPS AND DISTRIBUTION ROUTES THAT ENSURE THAT EYES ARE KEPT ON AFRICA. WITH WORLD-CLASS PRODUCTION COMPANIES, SEVERAL NEW STUDIO FACILITIES, POST-PRODUCTION OPPORTUNITIES AND ANIMATION CREATIVITY, AS A GLOBAL PLAYER SOUTHERN AFRICA CANNOT BE OVERLOOKED.

THANK YOU TO EVERY ONE OF OUR INCREDIBLE CLIENTS; TOGETHER WE’VE CREATED A PUBLICATION THAT HAS BECOME THE GO-TO RESOURCE FOR INDUSTRY NEWS, TRENDS AND INSIGHTS. HERE’S TO ANOTHER PHENOMENAL YEAR; WE CAN’T WAIT TO EXPERIENCE IT WITH YOU. KATIE REYNOLDS-DA SILVA: EDITOR Thank you to every one of our incredible clients; together we’ve created a publication that has become the go-to resource for industry news, trends and insights. Thank you for contributing monthly to our editorial through your smart, industry leading acumen.

We are so appreciative of the time you take out of your busy days to engage with us.

My team at Film & Event Media surprises me every day with their fresh ideas and undeniable talent. Kim Crowie, the Callsheet’s head writer, excelled this year with dozens of stories that became the gold standard in industry analysis, and she has become the person that filmmakers turn to when they need information. The Callsheet’s Head of Design, Sheree Steenkamp, consistently produces a Callsheet that is more slick and beautifully designed than the one that came before it.

Our Special Projects Designer, Lauren Smith, astounded the advertising industry when she designed the Loeries daily newspapers that were deserving of a Loeries award themselves, due to their stunning design and edgy look. The Callsheet’s business development team, Jen, Theo and Coleen, and our Production Manager Natasha O’Connor are deserving of the highest praise as they navigate the sometimes choppy waters of film.

2016 was an incredible year for the film, commercials, TV and stills industries, from an increase in homegrown content, and the servicing of even more massive international productions, to our worldwide acclaim for our uber-talented animators, postproduction gurus and crew.

Here’s to another phenomenal year; we can’t wait to experience it with you.

06 / NEWS

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FILMMAKER JUNAID AHMED PASSES AWAY

RENOWNED

Junaid Ahmed, the award-winning SA filmmaker and the producer behind Happiness is a Four-Letter Word, Hard to Get and Lucky, has passed away.

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ward-winning South African filmmaker and producer Junaid Ahmed passed away on 1 November. Best known for his hugely successful 2016 film Happiness is a Four-Letter Word, Junaid is renowned both locally and internationally for his work which includes Gandhi My Father, Lucky, Hard to Get, The Vow, and More Than Just A Game. He was working on his latest project Keeping up with the Kandasamys at the time of his death.

Professor Kriben Pillay – a spokesperson for the family – says Ahmed’s passing has come as a shock. He suffered a stroke two weeks before his death, but family believed he was on the mend. He is survived by his wife, Liza, and his children, Tariq, Taegan and Jarred.

Tributes and condolences have poured in from far and wide, with the Durban Film Office saying they are “deeply saddened” to hear the news. “Junaid has been a shining light in our film community in so many ways. He was always there to help when needed and gave freely. He worked hard for his successes and always

Happiness is a Four-Letter Word producers Helena Spring, Junaid Ahmed and Bongiwe Selane.

Junaid Ahmed

acknowledged those that helped him along his way. Junaid, you were always a humble, kind and honest man, offering a smile and a laugh with ease. You will be sorely missed. Our deepest sympathies go out to Liza and family during this difficult time. God bless.

Rest in peace, Junaid Ahmed.”

Helena Spring, his friend, business and producing partner, and co-producer on a number of films including Hard to Get, Happiness is a Four-Letter Word and Keeping up with the Kandasamys said, “Junaid was one of the kindest, gentlest people in the

great shock and wishes to send condolences to the family and friends of Junaid. This is a great loss. He had a promising career as a filmmaker. We were hoping that a lot of young people from KZN would learn and benefit from his experience and skills.”

Jason Fiddler, Festival Director of the Durban Gay and Lesbian Film Festival, said he was a “stalwart of cultural development and plain, simple humility”.

The Callsheet offers its deepest condolences to the family, friends and colleagues of Junaid as they navigate this trying time.

world. We first met some twenty years ago when I worked with him as a director, and in 2011 we joined forces as producing partners. He had magical people skills, adored his wife and children, and approached work with a sense of fun and optimism. He was a precious friend and a valued partner, and his death is blow to all who knew him. I will miss him very much.”

Lethukuthula Mtshali, Manager for Communications at the KZN Department of Arts and Culture said, “The MEC, Ntombikayise Sibhidla-Saphetha, has expressed

JUNAID HAS BEEN A SHINING LIGHT IN OUR FILM COMMUNITY IN SO MANY WAYS. HE WAS ALWAYS THERE TO HELP WHEN NEEDED AND GAVE FREELY. HE WORKED HARD FOR HIS SUCCESSES AND ALWAYS ACKNOWLEDGED THOSE THAT HELPED HIM ALONG HIS WAY. JUNAID, YOU WERE ALWAYS A HUMBLE, KIND AND HONEST MAN, OFFERING A SMILE AND A LAUGH WITH EASE.

NEWS / 07

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TRIBUTE TO SA’S MAVERICK SCREENWRITER

PAUL IAN JOHNSON

Julia Smuts Louw of the Writers’ Guild of South Africa pays tribute to accomplished screenwriter Paul Ian Johnson, who was lost on 20 October 2016 to a tragic heart attack at the age of 48.

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oth in life and after his sudden and tragic death, I’ve heard Paul Ian Johnson described as the best screenwriter in South Africa. His credentials show this is not an idle boast.

Someone once said that every story is either a warning or an example.

You don’t need to know much about Paul to figure out which category his life story falls into.

In the courageous leap of faith he took by quitting his successful marketing career to pursue screenwriting, and his unremitting commitment to the smaller leap of faith a writer must make each and every day, Paul’s life was an example to all of us.

• •

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• They say that fortune favours the bold, and indeed it did for Paul. Of course, fortune also favours the incredibly talented.

But Paul would be the first to say that the important ingredient is neither boldness nor talent, but tenacity. His success made it seem possible for the rest of us to dare to dream. His credits over the last decade include • First non-US semi-finalist in the TV Drama category at the 2006 Austin Film & TV Festival • First African screenwriter to make the Top 10 at Francis Ford Coppola’s American Zoetrope Screenplay Contest – twice • Highest-ever placed South African at that time for the Academy of Motion Picture

Arts & Sciences’ prestigious Nicholl Fellowship Top placement in the Script Pipeline screenplay contest.

Production has also just wrapped on The Number, Khalo Matabaneon’s film based on Jonny Steinberg’s award-winning book on prison gangs, which Paul adapted for the screen.

Paul’s 13-episode boxing drama series, Jab, cocreated with producer Lucilla Blankenberg, was broadcast from February 2016 on SABC 1, to sensational public reaction. His pilot episode script for this series also won him a WGSA Muse Award in 2015 for the pilot script.

In 2016, Paul’s 14-yearold son, Jamie Dylan Johnson, also became one of the youngest writers to have a script optioned (_SINNER), which Paul subsequently adapted as an R-rated production.

He left us with over 17 completed screenplays, which we hope to see unfolding on the screen in years to come.

There is a fourth ingredient that goes into the kind of success that Paul enjoyed as a screenwriter: pure passion. Paul loved words, and he cared about using them perfectly. I used to have a giggle every time I noticed that he’d edited a Facebook status or comment, sometimes more than once, until he was satisfied with it. He suffered from the true writer’s curse: an incurable devotion to language.

He also loved people. The words his fellow writers valued and will remember about him were not the words he wrote on paper, but the ones he shared with us in person. Paul had a kind, inspirational and interested word of encouragement for everyone he crossed paths with. His insights were always phrased with an almost uncanny eloquence, as if he’d thought them all out long ago and stored them away, polishing them occasionally, before revealing them when the right moment arose.

They are words we will treasure long after his last script has been produced.

BRIEFLY, HERE ARE SOME TRIBUTES FROM HIS COLLEAGUES:

Margaret Goldsmid, his Editor of the forthcoming feature The Number, said: “I’ve been reading scripts from Paul Ian Johnson

South African writers over the past 28 years and I’ve seldom come across a writer with such outstanding talent.

He had deep insight into the human condition and knew how to translate his insights in word, deed and image.”

Wayne Thornley, Director of Adventures in Zambezia and Paul’s cowriter on several projects, said: “Paul leaves behind an example and legacy that will be felt for years in the South African industry. I know that every time I give a piece of useful writing advice, odds are that’s his legacy at work.

Every time our screenplays reach a new level, I’ll be thinking of the bar he set.”

Julie Hall, Script Editor at the NFVF, cites these lines from Savannah, the animation feature Paul and Wayne were working on. In one of the movie’s pivotal scenes, the main character’s mother says to her young son: “There are many kinds of greatness. You will find your own.” These are words that Paul surely would have wanted his fellow writers to take to heart.

Julia Smuts Louw originally offered this tribute on behalf of the Writer’s Guild of South Africa at Paul Ian Johnson’s funeral in Cape Town.

The Callsheet offers its deepest condolences to his family, friends and colleagues as they grieve.

08 / FEATURE

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INDUSTRY FORECAST 2017 South African and African film, commercials and TV has grown in leaps and bounds over the last twelve months. Kim Crowie speaks to industry leaders to find out what we can look forward in the next twelve.

Ree Treweek, Creative Director for Tulips and Chimneys builds intricate worlds like Funeral of a Lemon Mole © Tulips and Chimneys

Sunu Gonera of Egg Films directed Castle’s 120 year celebration campaign ©Egg Films

One Source © Egg Films and Native VML

FEATURE / 09

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S

outh Africa has seen many milestones to date, and 2016 is no different. From international service work in film, television and commercial

sectors, to a huge bump in local content production – thanks to the SABC’s 80% local TV content policy implemented in July – much has taken

place. But who better to tell you what’s in store than the industry leaders, independent filmmakers, film commissions, equipment rental houses,

and animators themselves?

Here’s a look at what’s on the cards for 2017, as well as the challenges, focus points and growth areas we can expect.

MOVEMENTS IN FILM, TELEVISION AND COMMERCIALS: FILM COMMISSIONS SHARE THEIR ACUMEN CAROL COETZEE, CHIEF EXECUTIVE OFFICER: KWAZULU-NATAL FILM COMMISSION “In the first two years of the KZN Film Commission’s operations, several achievements have been recognised by the industry, which have informed our approach going forward to ensure that we see sustainable growth in KZN and a return of government’s investment in the sector. The KZN Film Commission will be shifting its focus to predominantly developing local filmmakers through The KZN Film Industry Transformation Initiative, currently being developed. The objective thereof is to invest in our film graduates over a two to three year period in both scriptwriting and technical production, resulting in an increase of highly skilled African filmmakers throughout the value chain. To ensure that the requisite level of skills is achieved, industry experts, mentors, and funding will be provided to this programme for the development and production of KZN stories for various platforms of exhibition. We are confident that this investment will see a shift in the production capability of the province and our ability to att ract and ‘service’ production from both national and international companies. KZN has always taken the lead in terms of producing incredible talents; it is now time to see those talents in key positions in the film industry.”

MONICA RORVIK, HEAD: FILM AND MEDIA PROMOTION, WESGRO “Wesgro’s Film and Media Promotion unit has published a Creative Locations e-book which showcases a few of the province and cities’ properties which are available as film locations. The guide includes regulatory information and contact details for each location.

The locations guide will be marketed globally in order to help att ract foreign productions to the Cape. The e-book is available to the industry to download or share from the Wesgro website www.wesgro.co.za. We would like to expand this project in 2017 by adding more locations in order to boast our beautiful province’s offering. There are also a number of film festivals in the 2017 pipeline that Wesgro is supporting and helping to promote.”

10 / FEATURE

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FILMMAKERS AND AGENCIES: AN OPTIMISTIC VIEW DAVID WICHT, CEO AND EXECUTIVE PRODUCER: FILM AFRIKA “Film Afrika have been very successful in its strategy of focusing on high-end international series. We would be thrilled if this continued in 2017. But, in this business, anything is possible and we have to be prepared for all outcomes. Given how quickly the industry changes, we reinvent the company every January, with new and revised job descriptions and staff complements. We are blessed with an incredible management team who have been with the company for an average of 15 years who continue to strive for excellence in every way.

“The film industry does not cope well with uncertainty so managing the Rand exchange rate and political instability continues to be a challenge. Equally, uncertainty about the incentives is very disruptive and plays into the hands or our competitors, such as Eastern Europe, Canada and Australasia, who continue to fight hard to attract our films and series to their territories. A major challenge with the current growth in local and international films is growing the crew base and making sure they are sufficiently skilled to manage the rigours and high expectations of the international film business.

“There are 460 English language series being shot across the world in 2016. South Africa attracts about eight of these a year. Our natural share should be around 5% which is about 20 series so, if we get it right, we should be able to double the amount of series for South Africa.

This will have an extraordinary, positive impact on capital inflow, balance of trade and jobs, jobs, jobs. The other trend is an awareness how our skilled our crews are, so the workload elsewhere in the world is increasingly making use of SA crew abroad. Whilst the experience and validation is terrific, it does diminish our pool of top talent.”

TASHINGA MUTAKWA, CEO: GREENBACK MEDIA GROUP “As a company, we took 2016 as more of a planning year. We have been looking at different ways that we can make the films we want to make without having to continuously be on the begging side of funding. Our new strategy involves aligning films more with brands and investors.

“I personally think the area that should be given the most focus [in the film industry] is training people how to be innovative in terms of releasing and monetizing their films. The right stories are slowly being told, but never seem to make sense financially.

“A trend would most obviously be the use of celebrity faces who aren’t purely actors or actresses. This has received very mixed reactions, with one extreme arguing that it isn’t fair to the very talented actors who don’t get roles because they don’t have a large profile. The other extreme argues that the inclusion of presenters and socialites in acting roles can only help to increase the monetary value. Wherever you stand on this issue, it’s inevitable that it will continue into 2017.”

SUNU GONERA, DIRECTOR: EGG FILMS “It’s no secret that South Africa has an incredibly professional and highly rated technical crew who are in high demand. We’ve built an amazing reputation for being hard workers, efficient and out-the-box thinkers. However, I strongly believe the area that needs massive focus is our content creation side. We need more writers and filmmakers who are passionate about telling our stories, with our African flavour but in such a way that the films cross cultural, language and ethnic barriers. We need more stories with universal themes that are not so parochial in tone and scope that people outside our borders don’t get them. With the increased pressure for diversity in the west, the time has never been riper for us to put out content that isn’t just another white superhero. We can create our own African heroes, with our own mythology.

We have comedies and dramas that deal with universal human emotion that the world wants to and needs to see.

“There’s a huge push for more diverse stories and racially diverse characters in film and TV. #OscarSoWhite and #BlackLivesMatter are forcing the entertainment powerbrokers to start paying attention to other cultures and races. Africa is where we all came from. I believe our opportunity to step up and share African stories is now. I also believe that we cannot just emulate, copy, or be ‘also rans’ in entertainment.

Our brand of humour, mythology, and cultural diversity gives us the chance to do something unique and different that can give the world a glimpse into who we are as Africans.”

NKANYEZI MASANGO, CREATIVE DIRECTOR: Y&R CAPE TOWN “We have become more multi-disciplinary than ever. The work we produced this year, such as #op45, demonstrated our capabilities as an integrated company. We’re looking to continue delivering connected ideas. And we’re looking to do it with a multi-skilled, diverse team of talent.

[In 2017] “I think we’ll see a better distinction between branded content versus an ad that ran on YouTube. Diversity in creative departments will help move the industry forward.”

FEATURE / 11

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MOVEMENTS IN POST AND ANIMATION NICK CLOETE, NATIONAL CHAIR: ANIMATION SOUTH AFRICA “Following the general Film Stakeholder Engagement in November 2015, Animation SA has submitted a formal, written proposal to the Department of Trade and Industry’s Incentive Development Administrative Division recommending revisions to the Film and Television Production Incentive to make it more applicable, accessible and effectual for animation projects. We intend to guide these changes before the new animation film incentive comes into effect in 2017.

“We need to conduct in-depth research into our sub-sector: how many companies currently exist and at what capacity, their market focus and business models, the extent of their expertise and what techniques they are able to employ.

[Trends in the sector] “Some of us were swept up in the gamification, augmented and virtual reality tide. For others, it’s business-as-usual, providing communication solutions to commercial brands and servicing international projects. Content creators have been steadily developing their respective pieces of IP for many years, but 2017 may be the year in which one or more are actually, finally made.”

NICK WILSON, COORDINATOR: THE ANIMATION LOUNGE, CHAIR OF THE EXPORT MISSIONS COMMITTEE: ANIMATION SOUTH AFRICA “As singular companies we’ve struggled to have meaningful dialogue with not only international broadcasters but also our local broadcasters.

Cumulatively, through the partnership with DISCOP, the creation of the Animation Lounge and under the banner of Animation South Africa, we have successfully brought the right mix of both local and international broadcasters to the table. We want them to hear about our businesses and most importantly the stories we want to tell. Turner has been a phenomenal partner and sponsor of the African animation industry.”

INTRODUCING What prompted you to offer your services to the fi lm industry?

Dale, my husband and business partner, has been in the film industry for about 10 years.

It was a natural progression to own a business that services an industry familiar to him.

OUTLANDISH

What gap in the market did you identify?

There is a need to get crew and equipment into harder-toreach locations. There are no vans of this category with 4x4 capabilities in South Africa except for the Mercedes-Benz Sprinter.

Our Sprinter can be dressed

up or down to deliver exactly to our clients’ requirements How broad is the range of client requests you receive?

It’s a relatively new company, but we have been asked to quote on a work desk inside the vehicle. The vehicle is

clad roof, sides and floor with 4mm marine ply which makes it possible to add on shelves, workbenches, a sleeping area etc. The van can accommodate 6 people including the driver – 3 upfront and 3 in the back. The back seat is removable if clients requires a larger loading space.

4x4 Sprinter hire with various add-ons for shooting in remote locations

outlandishza

outlandishza

outlandishdale

Tel: +27 82 850 6717 email: dale@outlandish.co.za www.outlandish.co.za

12 / FEATURE

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MAJOR GROWTH IN POST AND ANIMATION STUART FORREST, OWNER: TRIGGERFISH ANIMATION STUDIOS “Next year we’re planning to produce our third BBC Christmas special in three years with Magic Light Pictures, start production on our next feature film, Seal Team, and launch our TV department with one of the Story Lab properties. So our big challenge next year is going to be capacity. This will apply across the animation sector, which is limited globally by the shortage of skills. So good animators are going to be in demand.”

TRACEY WILLIAMS, MANAGING DIRECTOR: REFINERY “Besides our local feature work, we completed full post of The Journey is the Destination and we are currently working on the Madiba TV series. Completing post on these international projects is opening doors for us to do more. The film VFX side of our business continues to go from strength to strength with us securing more VFX shots from international studios. Our showreel is beginning to showcase some great work. On the TV side, Gogglebox illustrated our strength with regards to infrastructure and how to put together an efficient work-flow and pipeline. We were handling large volumes of data on very tight turnarounds.

“Our local stories continue to improve. Our audience seems to be growing. On the servicing side, more television is being shot in SA, which is great for long-term employment of local talent. Sound needs to be given focus in 2017 – always my song – right from set acquisition through post. Sound budgets are so small, and the discipline and attention to detail on sound can do with improvement.

“We need more unity [to create a stronger film sector]. We must all focus on selling the SA brand, whether on local content or international service work. We must be viewed as film-friendly on every level. We require local and as much international work as possible for our industry to grow on every level.”

Squeers © Pop the Culture & Zero Point Studios

Hatch is a finalist in the DISCOP animation/Turner Pitch competition © Zeropoint Studios

WENDY SPINKS, CEO AND CREATIVE PRODUCER: ZEROPOINT STUDIOS, CO-FOUNDER: POP THE CULTURE, ASA BOARD OF DIRECTORS AND SECRETARY “We had a super positive MIPJUNIOR and MIPCOM this year with Hatch, our plucky little preschool show that we are closing finance on, but we also cemented new partnerships on other properties. Zeropoint Studios now has a slate of five IPs across different genres, demographics and platforms; the projects all having attracted international co-production partnerships and gaining great momentum.

“This will be my first DISCOP. After 30-odd markets around the globe, I have not attended DISCOP before and am looking forward to representing Animation SA, plus we have finalists in two categories which is fun for a first!

“I am thrilled and honoured to be pitching Squeers at DLA next week, we currently have begun plans for a crowdsourcing campaign both in SA and the US. We just received the news that DreamWorks alum, and Emmy-nominated animation writer and director, Mike De Seve (Beavis and Butt-Head) who founded Baboon Animation in NYC, is jumping on board the team to help steer the next phases of development as we look to gain traction in our crowdsourcing campaign. Mike just fell in love with Squeers from day one, so we are stoked to have him on board. We also have serious voice talent on board such as the awesome Christopher Smith who voiced the Joker in the recent Lego Batman movie. Exciting times ahead!”

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FEATURE / 13

NINA PFEIFFER, EXECUTIVE PRODUCER: TULIPS AND CHIMNEYS “We’ve always been fortunate in that we’ve worked consistently with a variety of partners both locally and globally. Certainly our attractive exchange rate combined with the quality of SA work means that we remain a top destination for brand work. Where we have seen a shift is in the style of storytelling. Brands and agencies definitely want more creative storytelling to bring their brands to life. We’re receiving briefs that include content creation for experiential installations, short films, immersive VR technologies and other types of branded content as opposed to straight TVCs. In a cluttered market, brands need more innovative ways to get their message across and we’re working with partners to develop experiences for people that combine technology, creativity and narrative to cut through that noise.

“The competition is certainly fiercer than before, but this is indicative of a growing and stronger industry, which is good news for everybody. It’s great to see smaller studios popping up and the pool of talent is growing nicely.”

REE TREWEEK, CREATIVE DIRECTOR: TULIPS AND CHIMNEYS “Two to three years ago there were only a handful of concept and storyboard artists (and animators for that matter) that worked specifically in animation. And now, there’s a much broader selection from junior to senior resources, which is great for creative storytelling. A few years ago there weren’t a lot of people developing original IP work, but I believe that service work has built our confidence and skills as storytellers to start confidently venturing out into the world of original IP creation.

“We’re definitely working a lot more intensively with other sectors in technology and I think it’s really important to make these connections and stay in touch with what’s possible. Our studio specialises in creating worlds for people to experience so it’s really exciting to be playing with immersive technology and the more experiential non-narrative style of storytelling. We’ve identified that it’s going to be imperative to think through-the-line on all our jobs. That means every piece of branded content needs to be conceptualised as a TVC and in the digital or virtual space. Quite frankly, animation has never been more exciting!”

The animation detail in Clover’s recent campaign tells a fantastical Milky Way story © Tulips and Chimneys

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MOVEMENTS IN GEAR RENTALS, SALES AND STUNTS: INSIGHTS FROM INDUSTRY LEADERS

ARRI Alexa

ANTONIO MENDONCA, CAMERA DEPARTMENT MANAGER: MEDIA FILM SERVICE CAPE TOWN “With the new processes and guides laid down by the Department of Trade and Industry, I see 2017 having a lot of new players pitching for features work. With South Africa being the go-to filming hub and with a number of features already in the pipeline, the industry will be booming.

[What needs to be given focus in 2017] “Training, Training, Training! With the amount of work anticipated and the fact that we will eventually run out of crew, skills development and training will need to be addressed. With South African crew being renowned for their professionalism, the same professionalism that grew the industry, it’s imperative to upskill the next generation of crew.

“A trend I’ve noticed is large scale formats! A number of productions have already explored the Alexa 65 and the trend of the larger format cameras doesn’t seem to be slowing down.”

NEILL HORSFALL, MANAGING DIRECTOR: MEDIA FILM SERVICE JOHANNESBURG [We see] “More of the same, with our core division focusing on increasing our complement of equipment, and a focus on introducing new technologies to the various sectors of the market. Our Outside Broadcast division and our sister company, Digital Film Service, continue to make significant headway in their respective markets, and we intend to extend this growth with further capital expenditure and additional staff. The local market in Johannesburg, both commercially and in long form, is facing challenges with regards budgets, which tend to have shrunk. The Durban market is showing signs of resurgence, and solutions for equipment supply in said region is a priority to us. There’s a growing complement of young production and crew that are willing to ‘experiment’ with newer technologies that offer cost effective solutions. Reality shows are growing in both quantity and size in SA, which is bolstering Media Film Service’s equipment holding and scope.

“Budgets and finance appear to be major challenges for the local drama sector, with new or small production companies facing significant strain with juggling the cash-flow requirements found in the long-form sector. This is in turn places significant pressure on suppliers due to potential non-payment or late payment. Realistic budgeting, good preparation, and reliable backing and support are needed to effect change. With the growth experienced in 2016, crew and skill shortages are becoming a challenge in both Johannesburg and Cape Town – training programs and internships are therefore another critical priority for us.”

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NEIL DU TOIT, CEO: MEDIA FILM SERVICE “In 2016 we saw growth in both the commercial and long-form sectors, mostly due to the weakened Rand. With the indication of many more of the bigger features now destined to be shooting in the country, the aim really is to build on this structure. 2017 is definitely about furthering the growth of the digital era in film, integrating and streamlining the processes between the acquisition of data and the storage thereof as it gets larger and larger. The next year is certainly about staying ahead of the curve, as even lighting now also enters the digital arena with the new generation of computerised lamps.

“The industry is certainly progressing with the increase of long-form work, commercials and TV. As an industry, we have built a solid base of production, crew and equipment services; studios in my opinion is an area that should be focused upon. There are efforts, such as the Cape Town Film Studios, that has shown we are willing to invest in our industry but cannot accommodate the demand.

With numerous bigger budgeted projects that are accustomed to shooting in proper studio facilities coming into the country, we should be capitalising on the opportunity.

“Smaller, lighter, more efficient and mobility is the general trend. Wide-screen cinematography saw a huge increase in popularity, with the ARRI 65 as well as the RED 8K camera shooting beautiful, high-resolution images. This trend will continue into the new year as the technology develops now with a range of new lenses coming into the market to enhance this. With these larger sensor cameras, not only are we seeing the manufacturing of spherical lenses to accommodate this, but now anamorphic lenses.

Wide-screen sensors with wide-screen lensing!

“Transformation is still very much of an challenge and although we have come a long way, all the relevant parties including government sectors need to keep establishing the most efficient manner in maintaining the growth through the att raction of foreign work and the development of the local industry, crew and talent.”

WIDE-SCREEN CINEMATOGRAPHY SAW A HUGE INCREASE IN POPULARITY, WITH THE ARRI 65 AS WELL AS THE RED 8K CAMERA SHOOTING BEAUTIFUL, HIGH RESOLUTION IMAGES. Ut_Advert REV.pdf 1 2016/10/31 3:31:54 PM

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TONY EDDY, MANAGING DIRECTOR: PANAVISION/PANALUX SOUTH AFRICA “We have enjoyed an exceptional few years of growth in supply to long-form film projects and we envisage this continuing through 2017, as long as the driving factors that continue to make South Africa an attractive shooting destination, remain in place.

Political and social stability are important to ensure an attractive environment in maintained as well as continued re-investment into the longer-termed sustainability of our industry in all areas including training and equal opportunities across all sectors.

“As we continue to attract more work to our shores we see a tendency towards less concern and respect for our equipment on set, damages to lenses, cameras and accessories was previously only occurring on an exceptional job, but now appears to be more commonplace. This has a knock-on effect where insurance is concerned and insurance companies are often asking for more detail on the causes of various equipment damages on sets. I believe that the historic high levels of crew discipline often associated with shooting on ‘film’ is being eroded somewhat in the belief that a more modern approach to filmmaking in the digital era somehow requires less attention to the maintenance of high levels of discipline on sets at all levels – and this is not healthy. It is important for us as a South African industry to maintain and even enhance our good-standing in the eyes of international filmmakers in our ability to offer worldclass crews and equipment. South African productions expect a supply of the latest equipment but have shrinking budgets – this is ultimately not a sustainable situation in an equipment environment where there are updated products being launched all the time.

[On creating a stronger film sector] “Training – more collaboration and synchronism between the many training initiatives and institutions to allow students to enter the industry armed with relevant and real-life industry skills that have benefit to the industry at large.”

WIRED - Dermot Brogan

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DERMOT BROGAN, DIRECTOR: WIRED CAMERA AND STUNT FLYING SYSTEMS “WIRED has had a very varied and interesting 2015/16. Most notable is the upcoming TV series The Grand Tour with Clarkson, Hammond and May. It was WIRED’s biggest project to date and was fraught with major technical and logistical details – not to mention the odd spanner in the works – but as usual, the team delivered. Resident Evil was another fun project doing a camera drop rig down the centre of Ponte Tower. Keith Rose (Velocity) always has very challenging commercials and the one we did was for Carling Black Label, a dual axis cable-cam at night with horrendous weather conditions with very litt le setup and testing time. Carbon Films provided another stimulating and formidable commercial for VW. It involved having a captive track setup at a precise angle both in the horizontal and vertical axis then changing location and setting up at reciprocal angles there. Other notable projects included Power Couple (stunt rigs), BMW Curves (Gatehouse: camera drop rig into the ocean), Black Sails (Film Afrika: stunt and cable-cam setups), The Getaway Car (BBC: cable-cam) and a Louis Vuitton spot with MIA (Camera drop rig down a waterfall). WIRED has also added some new equipment this year, most notably its wirelessly controlled cable-cam. This is a lightweight rig with a quick setup time and minimal crew. With this WIRED also has invested in its own remote-heads (RONIN & the MoVi M15) as well as a high speed 4x4 RC camera buggy system.

“WIRED has been moving with the times and has ventured into the drone tech space. Cable-cam has its place, but drones offer up a lot more dynamic shots. Unfortunately the technology is way ahead of the regulators and the CAA has had to play catch up – and this has had a negative effect on the drone industry as a whole. Nevertheless I have acquired my RPL and WIRED is in the process of obtaining its own ROC. “Being a specialist service provider is an expensive business and a lot of projects will sooner cut out that which it can’t afford in order to deliver, which can be frustrating at times. One is also only as good as your last job so one needs to continuously innovate and keep up with the advancements in technology to both stay ahead as well as to find cost effective and ingenious solutions.

WIRED HAS BEEN MOVING WITH THE TIMES AND HAS VENTURED INTO THE DRONE TECH SPACE. CABLECAM HAS ITS PLACE, BUT DRONES OFFER UP A LOT MORE DYNAMIC SHOTS.

PICTURE TREE LAUNCHES

JOHANNESBURG-BASED SERVICE DIVISION October 2016 saw Picture Tree celebrate 21 years as one of the most highly-regarded boutique commercials production companies in South Africa. During that time, Picture Tree has helmed thousands of commercials, working with most of South Africa’s advertising agencies, and won many awards, both locally and internationally.

P

icture Tree is owned by Gary King along with several other Picture Tree employees together creating a team of people who have been working together for many years.

As King and his team conceive the next phase of Picture Tree’s evolution, the standard of production excellence that the company is renowned for, will continue to play an integral role

in the company’s mix of services.

Among these is a Johannesburgbased service company.

“We are not wanting to step on the toes of the industry in Cape Town,” explains King. “Our focus is on Johannesburg and its surrounds, as well as into Southern Africa. Johannesburg has so much potential as a service destination.

Clients who previously were not comfortable stopping over in the

city are not so scared to do so any longer, and have cause to recognise what an inspiring place it is. We believe there is a gap in the market that we intend filling!” says King.

King’s belief in the importance and role of locally-rooted services is driving Picture Tree’s Service Company. “In the USA, service companies in NYC do not service the jobs in Miami or LA so why in SA are

Cape Town-based companies being used to service work in Johannesburg? We are here and we are ready to do this work.”

Website: www.picturetree.co.za Facebook: www.facebook. com/PictureTreeProductions Twitter: @PictureTree

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AFRICAN CONTENT RULES AT DISCOP JOBURG 2016

African content took centre stage at DISCOP Johannesburg 2016, with a marked increase in African representation and interest in African productions being the standout features of the event.

T

he 12th edition of Africa’s premier film and TV content market wrapped up on Friday, 4 November following three intensive days of deal-making between hundreds of production companies, distributors and media platforms from Africa and the rest of the world.

The expanded floor plan at the Sandton Convention Centre was 100% sold out in advance, with 742 companies in total attending compared to 637 last year, and the delegate count coming in at around 2 000.

AFRICAN REPRESENTATION UP BY 38%

There was an abundance of African content on offer: of the 347 production houses in attendance, 267 originated from Africa – up from 193 last year.

And not just the quantity but the quality of productions was higher, with Africa’s multicultural audiences fast embracing digital entertainment, binge watching and social media, and African content producers putting increasing pressure on their international competitors when it comes to meeting this demand.

Feedback from many of the organisations attending this year’s event all pointed to an increased interest in African content, both from international

CEO of the NFVF, Zama Mkosi, at DISCOP 2015 © DISCOP Africa

distribution platforms as well as from broadcasters, telcos and content aggregators from Africa. In all, 218 African distribution platforms attended DISCOP Joburg 2016, predominantly on the hunt for locally generated content.

FEELING THE HEAT FROM AFRICAN PRODUCERS

According to DISCOP director and Basic Lead CEO Patrick

Zuchowicki, this is in line with global trends over the past few decades. “20 to 30 years ago, across Europe, there was a marked increase towards locally or regionally produced content.

“While international content was not fully replaced, increased production values in locally produced content spurred an increase in interest in this content that still exists today.”

“Africa is now at the start of that trend that will see more and better produced African content taking its place on screens across Africa and beyond. The international content producers at this year’s event were certainly feeling the heat from this increase in both the quantity and quality of African content on offer.”

- Source: Gauteng Film Commission

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DISCOP JOHANNESBURG PITCHING COMPETITION WINNERS

DISCOP Johannesburg, the continent’s largest content market, continues to provide important platforms for the development of Africa’s future content producers.

The DISCOP pitching competitions are a vital element of the DISCOP markets.

T

he DISCOP Johannesburg pitching took place from November 2-3rd and the winners were announced on Friday November 4th in the following four categories of popular television genres: • TV Series • Documentaries • Formats • Animation A winner and runner up in each of the four categories were announced and were rewarded

with various prizes ranging from cash, funding support, mentorship packages, marketing and distribution assistance, potential broadcasting and more.

During the competition, a qualified jury of experts and key players driving television content production and distribution across Africa will judges the projects on their creative vision, originality, and the viability of the idea that could actually be produced.

Judges were looking not

only for a strong idea that met the criteria, but also for a clear, well-prepared and engaging pitch that expressed the concept, the storyline and the characters that inhabit the story.

WINNERS OF DISCOP PITCHING COMPETITION 2016 1. Documentary Winner: Hippolyte Kamdem Fotso - Les Mysteres de la Foret Runner-up: Mary-Ann Mandishona - African Queen and Warriors

2. Animation Winner: Talia Sanhewe - Cloud Life Runner-up: Wendy Spinks - Hatch 3. TV Series Winner: Chinaka Iwunze - Banishers Runner-up: Tsitsi Dangarembga Ms Rhythmix 4. Formats Winner: Isabel Munyua Njoroge Mums vs Dads Can Cook Runner-up: Christy Enem Who Are You Crazy About

WINNER 2016

2014 / 2015 / 2016

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Meet The Stars at Discop Africa 2015 introduced ZA News’ Puppet Nation to attendees © DISCOP Africa

International Film Festival Marrakech recognises African and Arab cinema © International Film Festival Marrakech

YOUR 2017 FILM EVENT GUIDE

We take a look at the local and international film festivals, markets and trade shows that are not to be missed in 2017.

F

ilm festivals and markets the world over are not just a means of introducing the public to new and exciting productions on the circuit, but are development tools for the local and wider international film and television industry. They often introduce

fresh talent, support local filmmakers, allow for incredible networking and film-promotion opportunities, and are instrumental in the furthering of production relationships, procuring financiers, distribution and sales deals.

“Film festivals are important

Palais Des Congres, venue for the prestigious International Film Festival Marrakech © International Film Festival Marrakech

as they provide a platform to showcase new talent and are a place to learn and network.

Festivals also promote tourism and support other industries such as hospitality, retail and local theatres,” says Monica Rorvik, Head of Wesgro Film and Media Promotion in the

Western Cape. She recommends events like Cannes, Toronto, Berlinale, Sundance, Annecy and similarly prominent events for those looking to raise their international profile.

“Kunjanimation rebranded to Cape Town International Animation Festival, which is the

Virtual Encounters 2016 at the Central Library in Cape Town © Encounters Documentary Film Festival

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Martha & Niki screened at Durban International Film Festival in 2016. Image courtesy of DIFF

first animation festival of its kind in South Africa,” Rorvik explains. “It ran an extremely successful programme in February [2016] and we look forward to the next one in March 2017. Encounters Documentary Film Festival had a very exciting programme and attracted an audience of 11 997 across all festival activities, an incredible 73% increase in attendance.”

Other unique local festivals Wesgro recommends are the Wavescape Film Festival which takes place in Cape Town and Durban, as well as the Indie Karoo Film Festival and the Plett Food Film Festival.

MAJOR AFRICAN EVENTS: African has a number of well-established film festivals and trade shows exploring the ever-growing world of African cinema. These include FESPACO, the Carthage and Cairo Film Festivals and of course Durban International Film Festival – all of which have been operational for decades. In recent years, a number of new festivals and awards have cropped up including RapidLion, DISCOP Africa and the Jozi Film Festival, which have seen yearon-year success and audience growth. Here’s a look at the major events on the calendar.

DISCOP AFRICA (JOHANNESBURG AND ABIDJAN)

DISCOP Africa originally took place only in Johannesburg, but following the success of the last few years, the event now also takes place in Abidjan, Ivory Coast. It offers one of the biggest content marketplace through its Joburg event, giving attendees over 10 000 hours of prime programming at affordable prices suited to local audiences.

Johannesburg Date: 1 – 3 November 2017 Abidjan Date: 30 May – 1 June 2017 Website: www.discopafrica.com

DURBAN FILMMART AND DURBAN INTERNATIONAL FILM FESTIVAL

Taking place annually in KwaZulu-Natal’s largest city, Durban International Film Festival and its corresponding industry programme Durban FilmMart bring the cream of the crop together for a few days of workshops, panel discussions, pitching, networking opportunities, and screenings of local and internationally acclaimed films.

DIFF Date: 13 – 23 July 2017 DFM Date: 14 – 17 July 2017 Website: www. durbanfilmfest.co.za / www.durbanfilmmart.co.za

DJ Ready D during the Sunday Loerie Awards Ceremony at the ICC on August 21, 2016 in Durban, South Africa.

Photo by Alistair Nicoll © 2016 Loerie Awards

SAVE THE DATE: AFRICAN FESTIVALS

• Cape Town International Animation Festival | CTIAF brings the best of animation to SA with films, workshops, b2b sessions, a pop-up store and more | 2 – 5 March 2017 | www.ctiaf.com • Cairo International Film Festival | The oldest cultural event in Africa and the Middle East continues celebrating the art of cinema with its 39 th edition | 14 – 23 November 2017 | www.ciff.org.eg • FESPACO | The 25th Pan-African Film Festival of Ouagadougou and its corresponding market, MICA, focus on growing and supporting African cinema | 25 February – 4 March 2017 | www.fespaco.bf • RapidLion | The South African International Film Festival enters its third year with a great selection of SA, BRICS and African films, and prestigious awards | 4 – 11 March 2017 | www.rapidlion.co.za • SAFTAs | The South African Film and Television Awards honour, celebrate and promote the creativity, quality and excellence of local productions| March

2017 | www.nfvf.co.za • Carthage Film Festival | Carthage Film Festival has enjoyed 50 years of success, and honours Arab and African filmmakers shaping the industry | 27 October - 4 November 2017 | www.jcctunisie.org • Film Finance World | Film Finance World Africa’s third edition will explore financing strategies from leading experts across film, TV, and broadcasting | 9 November 2017 | www. filmfinanceworld.com • Jozi Film Festival | The sixth Jozi Film Festival taps into the emerging filmmaking talent present across Africa | 14 – 17 September 2017 | www. jozifilmfestival.co.za • MediaTech Africa | The premier media and entertainment technology trade show in Africa, MediaTech focuses on broadcast, sound, light, AV, film, digital and studio sectors | 19 – 21 July 2017 | www.mediatech.co.za • Photo & Film Expo | The largest photographic event in Africa, Photo & Film Expo hosts over 400 brands under one roof and over 100 free workshops | 26 – 29 October 2017 | www.photofilmexpo.com

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ENCOUNTERS DOCUMENTARY FILM FESTIVAL

Taking place in both Johannesburg and Cape Town, Encounters is a must-attend event for anyone interested in the doccie world. The event sees a number of incredible local films screened each year, coupled with great international ones. This year, Encounters placed a focus on Virtual Reality and

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in 2017 it is accepting VR submissions for the second Virtual Encounters exhibition.

Date: 1 – 11 June 2017 Website: www.encounters.co.za

ZANZIBAR INTERNATIONAL FILM FESTIVAL Better known as ZIFF, the Zanzibar International Film Festival places a spotlight on films in East Africa – as well as further afield. The festival recently appointed a new

The stunning ocean view at the Zanzibar International Film Festival © ZIFF

festival director Fabrizio Colombo and in 2016 featured films that told the stories of brave women dealing with issues ranging from forced marriage to poaching.

Date: 8 – 16 July 2017 Website: www.ziff.or.tz

THE LOERIES

The Loeries is the largest gathering of the creative, advertising and brand communication industries in Africa and the Middle East. It recognises rewards, inspires and fosters creative excellence and innovation in the region, with many of its award winners going on to win at Cannes Lions. The event’s Creative Week is non-stop excitement and inspiration, culminating in the prestigious awards ceremonies and some raucous, fun-filled parties.

Date: 14 – 20 August 2017 Website: www.loeries.com

INTERNATIONAL FILM FESTIVAL MARRAKECH

Festival International du Film de Marrakech was launched in 2001 to promote arts and the film industry in Morocco. A number of high-profile actors and celebrities are in attendance, with world-renowned jurors and delegations representing a diversity of countries and films from across the globe.

Date: 2 – 10 December 2016 Website: www.annecy.org The late great Alan Rickman particilates in the International Film Festival Marrakech © International Film Festival Marrakech

MAJOR INTERNATIONAL EVENTS Where would we be without the glitz and glam of international film? The superstars attract us, the celebrities charm us, but we’re also introduced to some of the most the exhilarating, innovative and emotional productions filmmakers can conjure. The international scene is sought-after, but can also be a minefield if one does not understand their target

One of the winners at the Zanzibar International Film Festival © ZIFF

market – or is not prepared for the level of professionalism at these festivals and trade shows. We recommend a good deal of research before buying your plane ticket. Local filmmakers often band together at these kinds of events, forming an official delegation that is often supported either in part or in full by the South African government.

Market readiness workshops are offered by a number of industry associations in the run up to the festival.

TORONTO INTERNATIONAL FILM FESTIVAL

Toronto International Film Festival presents some of the best international and Canadian film to the world and has been running for over 40 years.

A number of South Africans were part of TIFF in 2016, and as the world turns its eye to African cinema, we will likely see more local films participate.

Date: 7 – 17 September 2017 Website: www.tiff.net

ANNECY INTERNATIONAL ANIMATED FILM FESTIVAL Annecy International Animated Film Festival is ideal for anyone working in the world of animation. The festival’s corresponding film market (MIFA) offers plenty of scope for co-productions, purchasing, selling, financing and distribution of animated content across platforms.

Date: 12 – 17 June 2017 Website: www.annecy.org

CANNES FILM FESTIVAL

Festival de Cannes is the highlight of the international film calendar. From glitz and glamour to deals being made – this event is a celebration of cinematographic art and often sets the trends and standards of the future.

Originally known as the International Film Festival, it’s been around since 1939.

Date: 17 – 28 May 2017 Website: www.festival-cannes.fr

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CANNES LIONS

Cannes Lions International Festival of Creativity is the most sought-after event for creatives working in the advertising, marketing and brand communication fields.

The event’s three main sections – health, entertainment and innovation – focus on creativity as a driving force for business, for change and for good.

Date: 17 – 24 June 2017 Website: www.canneslions.com

MIPCOM

Website: www.mipcom.com

As the most established entertainment content market in the world, MIPCOM brings world’s most influential industry players together in October for four days of meetings, screenings and conferences. The organisation has a number of satellite conferences throughout the year: MIPTV, MIPJUNIOR, MIPDOC and MIPFORMATS. Date: 16 – 19 October 2017 Sarah Blecher’s Ayanda screened at TIFF recently. Image courtesy of Toronto International Film Festival

SAVE THE DATE: INTERNATIONAL FESTIVALS

Elle Fanning on the red carpet at Cannes Film Festival 2016 © A. Thuillier - AFP

View of the Augmented Reality Sandbox, where you can mold a real time geographical environment © Toronto International Film Festival

Stick Man screened and won a TV Cristal at Annecy 2016.

• American Film Market & Conferences | American Film Market and Conferences brings over 8 000 industry leaders together in Santa Monica | 1-8 November 2017 | www. americanfilmmarket.com • IBC | IBC offers an unparalleled platform to meet, address and learn from 55 000+ power brokers, press and prospects in electronic media and entertainment | 14 – 18 September 2017 | www.ibc.org • Berlin International Film Festival | Berlinale brings the world to Germany for screenings, a film and a co-production market, and the Berlinale Talents | 9 – 19 February 2017 | www.berlinale.de • Hot Docs | Hot Docs’ industry conference and market offer professional development, networking and business opportunities for documentary makers | 27 April – 7 May 2017 | www.hotdocs.ca • International Emmy Awards | The International Emmys celebrate excellence and innovation in all sectors of television including internet, mobile

•

•

•

•

•

and technology | November 2017 | www.iemmys.tv Locarno Film Festival | Festival del Film Locarno celebrates its 70th milestone as the world capital of auteur cinema with an impressive line-up of directors | 2 – 12 August 2017 | www.pardolive.ch Rio Content Market | Rio brings over 1 000 independent production companies and 17 000 attendees from 36 countries together for business | 8 – 10 March 2017 | www. riocontentmarket.com International Film Festival Rotterdam | IFFR offers a careful curation of fiction, documentary, shorts and media art, with a focus on new film talent | 25 January – 5 February 2017 | www.iffr.com South by Southwest | Arguably the trendiest festival ever, SXSW explores innovation in the interactive, film, music and comedy realms | 10 – 19 March 2017 | www.sxsw.com Sundance | Sundance Film Festival shines a spotlight on unique, authentic stories that have the power to delight, entertain and push boundaries | 19 – 29 January 2017 | www.sundance.org

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STUART FORREST AND ANTHONY SILVERSTON

OF TRIGGERFISH ANIMATION STUDIOS ON REVOLTING RHYMES, STORY LAB AND FUTURE MAGIC LIGHT COLLABORATIONS.

Revolting Rhymes, courtesy of Triggerfish and Magic Light Pictures

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How is the Revolting Rhymes project progressing?

Stuart: It’s an ambitious project and the team are doing incredible work at pushing the quality beyond everything we’ve done before, on an insane timeline.

With a few weeks left to deliver, the team are pouring heart and soul into meeting the deadline.

Some of the stories are very gruesome; how are you approaching the content so that it’s entertaining (but shocking) to children, without traumatising them for life?

Stuart: It was an interesting problem. The directors Jan

Lachauer and Jakob Schuh decided to treat it humorously.

But it’s Roald Dahl—being scarred for life is a small price to pay.

The Quentin Blake illustrations are worldfamous; are you illustrating the characters per his style?

Stuart: We had to make some adaptations to suit the medium, but yes, the directors wanted to keep as close to the style as possible.

How far are the Story Lab winners with their projects?

What’s next for them?

Anthony: We recently completed

WE HAVE ALSO EXPANDED THE SCOPE OF OUR INCUBATOR AS WE NOTICED THAT THERE WERE A NUMBER OF WRITERS OR ARTISTS WHO WERE WORKING ON PROJECTS THAT MIGHT NOT BE AIMED SQUARELY AT THE FAMILY, INTERNATIONAL MARKET BUT WHICH WE STILL WANTED TO HELP REALISE. Phase 1 development on all four of the TV projects - a complete pitch bible and pilot script. Triggerfish development producer, Vanessa Sinden, took the materials to MIPCOM to meet with Disney and potential European co-producers and we got a great response with all four of the projects. The timing for the projects is good as there seems to be a current focus on increasing diversity in animated content.

We are extremely proud of what the team has put together over the last year. All four projects have come together as distinct properties with their own unique look and feel. We have all learned a huge amount working with the Disney EMEA team on the pitch documents. There will now be a lot of follow up discussions and we hope to green light Phase 2 (a pilot animatic) on at least one of the projects.

As expected, the feature films are on a slower trajectory. We continue to work on the story outlines, meeting regularly with the writers. The development of a feature-film script often takes up to three years, so it is actually quite a nice change for us to be working in TV as well.

We have also expanded the scope of our incubator as we noticed that there were a number of writers or artists who were working on projects that might not be aimed squarely

at the family, international market, but which we still wanted to help realise.

It was recently announced that Triggerfish would be animating The Highway Rat, another beloved Julia Donaldson creation. Do you think this will spark even more Magic Light collaborations?

Stuart: Our relationship with Magic Light is very strong; we share the same love for highquality entertainment with an emphasis on heart-warming stories and beautiful design.

We’d be delighted to continue collaborating with them.

What is the ratio of international work such as The Highway Rat, in relation to Triggerfish’s in-house projects? Are you still developing the Sea Monster story?

Anthony: We continue to develop all our in-house stories — right now we’re actively developing seven feature films and four TV series. Our slate is full. The international collaborations are a fantastic opportunity to build relationships, develop our staff, and to learn creatively from the very best in the business. Our Sea Monster film is still in development and we’re pleased to see a beautiful story emerging.

IT’S ROALD DAHL—BEING SCARRED FOR LIFE IS A SMALL PRICE TO PAY.

26 / FILM REVIEW

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Tess , courtesy of DIFF

TESS

M

uizenberg’s unparalleled beauty doesn’t hide its pockets of depravity.

Look past the bronzed beachgoers and happy families, and you’ll find addicts, prostitutes and other members of our society that the mainstream tend to shy away from. Tess presents these people and their daily turmoil through an unflinching and unbiased lens, thanks to the immeasurably talented director Meg Rickards.

Tess lives in a loop of selling her body, downing her “sweeties” (codeine pills) with a Coke, and repeat. It’s a small life, but her daily rituals (ironing her underwear, for instance) shine a light into a subconscious that is far from content. What happened to Tess? Why would this sweet, gentle girl feel that

By Katie Reynolds-Da Silva the only option is to sell sex for money? Add to her plight an unwanted pregnancy, and the viewer is sure that Tess will surely collapse under her already substantial burden.

Segue to rape culture.

Being a victim of abuse is never justification to abuse a woman further, especially when it comes to the topic of male sexual violence. When violence against women is perpetuated, as it so often is for abuse survivors, sexual attacks by men become normalised. I read in the newspaper that a young girl was recently hospitalised after a boy in her class threw a rock at her. The nurse tried to calm the girl by saying, “he probably did it because he likes you!”. Since when is common assault or unwanted sexual contact deems acceptable

courtship behaviour? Rape culture is so entrenched in Tess’s psyche that she would prefer to supress her emotional pain with prescription drugs than face day after day of violence sober.

Now to the cast. Christia Visser is a revelation. I’ve said this before but it bears repeating.

She is the full package of quiet intellectualism, understated beauty, with a core that resonates with the real. As Tess, you can’t look away from her.

Brendon Daniels as Merrick oozes malevolence that is not overt, but never fully hidden.

There is an air about him that says he may hurt you at any moment. And he does.

The lead up to the harrowing rape scene on the dunes of Strandfontein and its shattering conclusion are etched in my

memory since I saw the film two months ago. It’s the culmination of having to have sex with police officers as “payment” for not being arrested. For all the times she was bloodied because a customer thought that paying for sex means that he can beat her up too, or hold her captive for his own twisted pleasure. And above all, it is justice for Merrick thinking he can abduct a little girl with the intent to rape her. Her eventual triumph over the past that haunted her is remarkable in allowing the viewer to feel her small victories with her. There is a sweetness and empathy about Tess that infuses the lives of her acquaintances with joy.

You feel fuller for knowing her.

The film is based on the novel Whiplash by Tracey Farran.

CHRISTIA VISSER IS A REVELATION. SHE IS THE FULL PACKAGE OF QUIET INTELLECTUALISM, UNDERSTATED BEAUTY, WITH A CORE THAT RESONATES WITH THE REAL. AS TESS, YOU CAN’T LOOK AWAY FROM HER.

FILM REVIEW / 27

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SHEPHERDS AND BUTCHERS REVIEW “You cannot ask a man to be both shepherd and butcher at the same time.”

S

teve Coogan rises to the challenge of playing the lawyer who takes on a seemingly open-and-shut case. An off-duty prison guard murders seven black men in a fit of rage, however, there is much more to the prison guard than at first meets the eye. He’s a guard on death row. Can a man, who has witnessed the killing of hundreds of his fellow countrymen, and without any emotional support or counselling, be held accountable for his actions when he inevitably breaks? This is the central question in Anant Singh’s harrowing drama.

Garion Dowds shines as the emotionally tortured Leon Labuschagne. He spends much of the film in stony silence, but his eyes betray what lies beneath.

As a man who actively took part in hundreds of state executions, his internal conflicts wage a war just beneath the surface of his almost catatonic exterior.

Andrea Riseborough excels

as the prosecuting attorney Kathleen Marais. Her accent is remarkable and she nails the very specific South African inflections, without letting the task distract her from the meaty dialogue and weighty conflict with Steve Coogan’s character (who lacks her skill at pegging the South African accent, completely).

Deon Lotz as Warrant Officer Rautenbach is chilling. He is completely hardened to his role, and lacks empathy, warmth, even humanity. Massive praise must go to the actors who played the prisoners awaiting execution, their fear and despair is palpable, and they bring a wider range of emotion to the cold, unfeeling wardens.

Production Designer Mike Berg brings incredible attention to detail to the sets, resulting in the very unsettling feeling of actually being inside a 1980’s execution chamber, as well as austerity and authenticity to the courtroom scenes. The wonderful props and colours are brilliant

Shepherds and Butchers © Videovision Entertainment

in their ability to transport the viewer to the scene. The film is beautifully shot and superbly lit, with the courtroom scenes subtly done, leaving the defence and prosecution to square up against each other like warriors,

without interference from flashy distractions in the shot.

Be warned, the execution scenes are brutal and often very hard to watch. But keep your eyes on the screen.

You need to witness this.

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28 / MOVERS AND SHAKERS

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ZIFF APPOINTS NEW FESTIVAL DIRECTOR Zanzibar International Film Festival has officially announced the appointment of new Festival Director Fabrizio Colombo.

View of a film venue at the Zanzibar International Film Festival © ZIFF

A

s the Zanzibar International Film Festival (ZIFF) prepares for its 20th annual edition, the Board of Directors has proudly announced the appointment of a new Festival Director. Fabrizio Colombo will follow in the footsteps of Dr. Martin Mhando, who stepped down in 2016 after nearly ten years at the helm.

The ZIFF Board of Directors has officially confirmed that Fabrizio Colombo took over as ZIFF Festival Director in November 2016 and will be responsible for overseeing the festival as it enters into its third decade.

Colombo is no stranger to ZIFF or Zanzibar, having played a critical role in ZIFF for the past five years as Assistant Festival Director.

Fabrizio’s passion for cinema – particularly African cinema – has

grown over many decades’ worth of development and media work across Europe and Africa.

Fabrizio has worked across various media platforms since the 1980s, with a particular focus on training and development within the sector. In addition to his work at ZIFF, he was the Acting Director of the African Film Festival of Verona from 2006-2012, and also held the position of Programmer and Artistic Director at the KIKAKA African Film Festival in Florence Italy for a number of years.

Fabrizio Colombo is Director of the office of the world association for media SIGNIS in Rome.

Former ZIFF Festival Director, Dr. Martin Mhando has this to say of his replacement: “ZIFF could not have found a better replacement for the position

Fabrizio Colombo

ZIFF COULD NOT HAVE FOUND A BETTER REPLACEMENT FOR THE POSITION OF FESTIVAL DIRECTOR. FABRIZIO’S KNOWLEDGE OF WORLD CINEMA, HIS FLAIR FOR THE ARTS, HIS EXPERIENCE IN FESTIVAL MANAGEMENT AND IN THE ZIFF FESTIVAL ETHOS, MAKES HIM THE NATURAL SUCCESSOR.

of Festival Director. Fabrizio’s knowledge of world cinema, his flair for the arts, his experience in festival management and in the ZIFF festival ethos, makes him the natural successor. ZIFF is in very capable and safe hands.”

Colombo has committed to putting film at the centre of next year’s festival that will celebrate the theme ‘Finding Joy’ – Kusikaa Furaha. Announcements will soon be made regarding film submissions and programming.

OPPORTUNITIES / 29

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DIFF AND DFM CALL FOR ENTRIES

Durban International Film Festival and its corresponding marketplace Durban FilmMart are calling for submissions for film and projects respectively.

D

urban International Film Festival (DIFF) submissions for the 38th edition are open. Taking place from 13-23 July 2017, the festival invites filmmakers from across the world to submit their shorts, documentaries or feature fiction films to screen in Durban, South Africa.

The festival is organised by the University of KwaZulu-Natal Centre for Creative Arts in partnership with the Durban Film Office, eThekwini Municipality, the National Film and Video Foundation, and the KwaZuluNatal Film Commission and other valued funders and partners.

A diverse selection of films is always present at the festival, with a special focus on South African and African motion pictures. This year’s event will place a spotlight on the everexpanding trend in cinema highlighting the refugee or immigrant stories through their Transit Tales. In recent years, global cinema has highlighted stories of subjects as they chase hopes and dreams for their lives in a new and sometimes unknown land. The festival is looking for feature shorts and documentaries that chronicle such stories.

Only films completed in 2015/2016/2017 will be considered, and there is no charge for entry. Submissions will be accepted only through an online screener. All submissions must be entered through the DIFF Visitors Page online at https://vp.eventival.eu/cca/ diff2017. In order to submit a

A view of the floor at one of the African Television Market sessions at DFM 2016

film, an account needs to be created if this has not already been done in previous years.

The deadline for all entries (short films, documentaries and feature fiction films), including delivery of screeners, is 28 February 2017.

The 8th edition of the Durban FilmMart (DFM) has also called for submissions of projects. The industry event will take place from 14-17 July 2017 and is a joint project of the Durban Film office, the City’s industry development unit, and DIFF. it aims to raise the profile and visibility of African cinema and encourage increased production in Africa, as well as stimulate collaboration across borders between African filmmakers.

Ten documentary and ten fiction feature length film projects will be selected from the submissions, and these projects will undergo a two-day packaging

and mentoring programme followed by two days of one-toone meetings with a panel of film financiers, buyers and distributors from around the world. DFM also offers project- and general delegates with an opportunity to network, and attend workshops and seminars conducted by film industry experts.

The DFM is open to full length feature and documentary films projects with Africans in the major creative roles (writers, directors

and producers) that are looking for co-producers, financiers, sales agents and funders. All film projects submitted are reviewed by a selection committee for consideration. All projects must have both a producer and director attached to them, and must be submitted by 12 December 2016. For more about the DFM 2017, project submission criteria and how to submit your project, visit www.durbanfilmmart.com.

A DIVERSE SELECTION OF FILMS IS ALWAYS PRESENT AT THE FESTIVAL, WITH A SPECIAL FOCUS ON SOUTH AFRICAN AND AFRICAN MOTION PICTURES.

30 / LOCATION SPOTLIGHT

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UGANDA: FILM GOLD Described as Africa in miniature, Uganda is home to one of the continent’s most diverse ranges of African wildlife. Added to this is its film industry – Ugawood – growing in leaps and bounds.

U

ganda is a veritable film location with a variety of regions and looks to choose from and an unmatched selection of African wildlife. The Bwindi Impenetrable National Park is home to the Great Apes, while the country is the source of the Nile River and home to the highest mountain range in Africa: the Mountains of the Moon in Rwenzori National Park. Uganda’s traditional villages, rural areas, estates and colonial houses, and the bustling commercial city of Kampala are of interest to filmmakers and photographers alike. Lakes, waterfalls, rivers and forests abound, as well as agricultural areas including coffee, cotton, tea and tobacco plantations.

Uganda has a steadily growing local film industry better known as Ugawood. It is helped on by initiatives such as Maisha Film Lab, a longstanding filmmaker development programme, Pearlwood, a national film marketplace for producers of local content, and the annual Uganda Film Festival. The latter’s role is to streamline and develop the film industry in Uganda in line with Uganda Communications Commission mandate.

FILMS SHOT IN UGANDA

Although almost unknown as a film destination, Uganda has been immortalised in Hollywood as the backdrop for Humphrey Bogart and Katherine Hepburn as they dazzled audiences in The African Queen, filmed on location

in 1951. Other international films shot on location include Mighty Joe Young, Congo, The Last King of Scotland, and King Solomon’s Mines.

But perhaps the country’s most important triumph of the 21st century is Disney’s Queen of Katwe, which is set in Uganda, stars East African talent, and was filmed on location in Kampala by director Mira Nair, who is also a Maisha Film Lab mentor. The story is based on the life of chess prodigy Phiona Mutesi, who overcame incredible hurdles to reach success.

Tendo Nagenda, Disney’s Executive VP of Production facilitated the film, saying, “There’s a commitment to telling stories authentically. We shot in Africa—in Uganda and South Africa. All the children in the film had never acted before and were from Katwe.

That was a big thing for Disney to commit to using untrained actors—to make sure we trained them.” Oscar-recognised talent Lupita Nyong’o and David Oyelowo made the story all the more enchanting for international audiences.

Most local filming permits are possible given time, money and the right approach. Uganda has a wet, tropical climate, with dry seasons running from December to February and June to August – these are the best times to film wildlife as they congregate around water sources. Local crew and infrastructure are minimal, with a limited talent pool and inexpensive, locally sourced goods.

Oscar ™ winner Lupita Nyong’o is Nakku Harriet and newcomer Madina Nalwanga is Phiona Mutesi in Disney’s Queen of Katwe © 2016 Disney Enterprises inc. All Rights Reserved

FILMING ON LOCATION

Anyone looking to film on location in Uganda should apply early as press accreditation is required for each visiting crew member. Processing documentation takes between 2-3 days and accreditation is valid for 60 days. Visitors are required to have this permit at the point of entry and when filming anywhere in the country.

THE COUNTRY IS THE SOURCE OF THE NILE RIVER AND HOME TO THE HIGHEST MOUNTAIN RANGE IN AFRICA.

Stone Steps, Entebbe, Uganda © Rod Waddington

LOCATION SPOTLIGHT / 31

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ACCESS

CONTACTS

Entebbe International is the country’s main airport, while three domestic airports offer connecting flights to the rest of the country: Arua, Gulu and Loyo Airport.

Major carriers with regular flights to Uganda include:

Uganda Communications Commission The UCC governs supports and facilitates industry affairs and content of the film and broadcasting sectors in Uganda.

Head Office: Plot 42-44, Spring Road, Bugolobi, Kampala, Uganda Tel: +256 414 339 000 / +256 312 339 000 Email: ucc@ucc.co.ug Website: www.ucc.co.ug

• • • • • •

British Airways Brussels Airlines EgyptAir Emirates Kenya Airways KLM

• • • • •

Qatar Airways South African Airways Turkish Airlines Ethiopian Airlines Etihad Airways

POPULATION 38,319,241 (July 2016 est; CIA World Factbook)

CLIMATE Because it straddles the equator, Uganda has a tropical climate with slightly milder weather near Lake Victoria.

Areas at higher altitude get considerably colder and drop by about 6 degrees Celsius for every 1 000m climbed.

Average Min and Max Temperatures in Entebbe, Uganda 40°C 30°C 20°C 10°C 0°C

Jan

Feb

Mar Apr May Jun

Max temp

Jul

Aug Sep

Oct Nov Dec

Min temp www.weather-and-climate.com

East African Film Network The East African Film Network was formed about three years ago to enhance the value and promote talent and filmmakers from the East African community, including Uganda.

Head Office: Ngong Road, Ngong Hills, Kenya Tel: +254 722 486 531 / +254 733 703 374 Email: info@eastafricanfilmnetwork.org Website: www.eastafricanfilmnetwork.org

Maisha Film Lab Maisha Film Lab is a non-profit training initiative for emerging East African filmmakers. They provide hands-on intensives in screenwriting, directing, producing and more.

Maisha Foundation: Timber King Building, 2nd Floor, Plot 944, Block 254, Ggaba Road, Kampala, Uganda Tel: +256 701 712 712 Email: fibby@maishafilmlab.org Website: www.maishafilmlab.org

Average Monthly Sunshine Hours in Entebbe, Uganda 250hrs 200hrs 150hrs 100hrs 50hrs 0°C

Jan Feb Mar Apr May Jun

Jul

Aug Sep Oct Nov Dec www.weather-and-climate.com

Pearlwood – Uganda Film Producers Alliance Pearlwood is a marketing and networking base for Ugandan feature films and television series. Its provides a platform for financing and distribution locally and internationally Tel: + +256 754 692 183 Email: ugfilmproducers@gmail.com Facebook: @UgandaFilmProducersAlliance

FIXERS Blue Sky Films Contact: Mario Zvan, Executive Producer Tel: +254 722 336 840 Email: mario@blueskyafrica.com Website: www.blueskyafrica.com

Piapiacs on Buffalo’s back near Murchison Falls in Uganda © Bernard Dupont

Wild Side Productions Contact: Jean-Marie Sabin Tel: +254 722 324 176 Email: contact@wildside-productions. com / onsafariafrica@gmail.com Website: www.wildside-productions.com

32 / EVENTS TO DIARISE

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

DECEMBER FESTIVAL INTERNATIONAL DU FILM DE MARRAKECH 2 – 10 Marrakech, Morocco INTERNATIONAL FILM FESTIVAL OF ZAMBIA 2 – 10 Livingstone, Zambia 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 GOLDEN GLOBE AWARDS 8 Beverly Hills, USA 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 NY WILD FILM FESTIVAL 23 – 26 New York, USA GERARDMER FESTIVAL INTERNATIONAL DU FILM FANTASTIQUE 25 – 29 Paris, France INTERNATIONAL FILM FESTIVAL OF ROTTERDAM 25 – 5 February Rotterdam, The Netherlands GÖTEBORG FILM FESTIVAL 27 – 6 February Gothenburg, Sweden

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EVENTS TO DIARISE / 33

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FEBRUARY SAN DIEGO BLACK FILM FESTIVAL 1–5 San Diego, USA

CLERMONT-FERRAND INTERNATIONAL SHORT FILM FESTIVAL 5 – 11 Clermont-Ferrand, France BERLINALE INTERNATIONAL FILM FESTIVAL 9 – 19 Berlin, Germany PAN AFRICAN FILM AND ARTS FESTIVAL 9 – 20 Los Angeles, USA PORTLAND INTERNATIONAL FILM FESTIVAL 9 – 26 Portland, USA EE BRITISH ACADEMY FILM AWARDS (BAFTAS) 12 London, United Kingdom

BEAUFORT INTERNATIONAL FILM FESTIVAL 15 – 19 Beaufort, USA SEDONA INTERNATIONAL FILM FESTIVAL 18 – 26 Arizona, USA CHENNAI INTERNATIONAL SHORT FILM FESTIVAL 2016 19 – 25 Chennai, India ANNUAL ACADEMY AWARDS (OSCARS) 26 Los Angeles, USA ANIMA – BRUSSELS CARTOON AND ANIMATION FILM FESTIVAL 24 – 5 March Brussels, Belgium

NEW YORK INTERNATIONAL CHILDREN’S FILM FESTIVAL 26 – 20 March New York, USA

Emma Stone and Ryan Gosling in La La Land. Photo by Dale Robinette.

SANTA BARBARA INTERNATIONAL FILM FESTIVAL 1 – 11 Santa Barbara, USA

34 / ASSOCIATIONS NEWS

SOS COALITION REMEMBERS BLACK WEDNESDAY

SAGA HOSTS INTERNATIONAL DELEGATION

On 19 October this year, the SOS Coalition recognised the efforts of journalists who were banned on this day by the apartheid government in 1977, with a short film called Revolution Must Be Televised.

This is part of their ongoing campaign to challenge and put an end to the corruption in the SABC. Earlier this year journalists stood in solidarity with SABC reporters who were unlawfully dismissed after taking a stand against the broadcaster’s many questionable decisions in 2016.

To view the short or to find out what campaigns the SOS Coalition is currently involved in, visit www.soscoalition.org.za.

In other news, Jeanette Minnie, one of the founding members of the SOS: Support Public Broadcasting Coalition has passed away.

She was a leading member of the Campaign for Open Media and the Campaign for Independent Broadcasting active in the 1990s.

“She was constantly willing to help, to participate, to contribute, to edit and even to translate campaign materials.

Jeanette will be sorely missed.

We will miss her enthusiasm, her generosity, her wisdom and her constant courage. Jeanette, you brought new meaning to the phrase ‘speaking truth to power’,” The SOS Coalition said in their official tribute.

The South African Guild of Actors hosted a series of conferences in both Johannesburg and Cape Town in late October, aimed at strengthening actors’ rights to decent working conditions and fair compensation. SAGA executive members Jack Devnarain and Carlynn de Waal-Smith recently returned from the 21st Congress of the International Federation of Actors (FIA). The organisation represents several hundred thousand performers with some 90 member organisations in more than 60 countries around the world.

Since South Africa has entered into co-production treaties with Canada, the UK, Italy and Germany, SAGA believes it is vital for the various actors’ representative bodies to coordinate their efforts and through FIA enjoys direct access to these countries’ organisations.

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“We must fight to ensure every performer gets the benefit of a union contract, a safe work environment, and a fair share of the revenue that is generated from the exploitation of their work in all media,” says FIA President Ferne Downey.

For the third-year running, FIA sponsored conferences in Johannesburg and Cape Town from 24-28 October, where SAGA hosted FIA affiliates who shared knowledge and helped build capacity.

WGSA RAMPS UP WORKSHOPS The Writers’ Guild of South Africa continues to educate members and other writers across the country with their skills development workshops.

October saw a Knowledge Share Session in Cape Town called ‘How Much Is My Script Worth?’ while a workshop in Pretoria focused on script formatting.

Soweto also saw the WGSA present ‘Creating TV that People Want to Watch: How Do the Popular Series get it Right?’

In other news, WGSA members can receive a 40% discount at Final Draft – the number-one selling screenwriting software in the world. The discount is ideal for upgrades and full versions of the programme, which has been used by the likes of James Cameron, JJ Abrams, and Aaron Sorkin. To make use of the discount, contact admin@writersguildsa.org.

ASSOCIATIONS NEWS / 35

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The Personal Managers’ Association mourns the loss of one of the organisation’s founding members, Sybil Sands.

Sands was one of the first actors’ agents in South Africa, and the owner of Sybil Sands Artsts’ Agency. Since 1972, she has represented over 80 artists in the industry, was winner of the Chairman’s Lifetime Achievement Award 2007, as well as the Fleur de Cap Lifetime Achievement Award 2008 – among many other accolades.

Sands was the first actors’ agent in Cape Town and a pioneer in her field. Suzanne Boje, a fellow agent who joined her agency in 1997, and owner of Stella Talent, told the Cape Times that she “cannot put into words” all she learnt from Sybil.

Francis Chouler (Eye in the Sky, Black Sails, Book of Negroes, Dredd) fondly remembers signing up with her.

“I never forget meeting Sybil in her eclectic Camps Bay home office. I was so nervous, a friend who was on her books put in a good word; my mom drove. I was 16, but determined. She sat me down, fetched me something fizzy from the kitchen and not only did she take my awkwardlooking 16 year old self on as an actor, but despite two years of auditions before I booked even a commercial, she came to watch my class 12 school play, even bringing along her agents.”

IPO INAUGURAL PRODUCERS CONFERENCE

CPA ANNOUNCES NEW EXCO

The Independent Producers Organisation, in partnership with the SABC and Gauteng Film Commission, hosted its 20/20 Vision Conference on 6 October 2016. The conference was the first of its kind to be hosted by the IPO and brought all its members together to discuss the needs and interests of the community they are representing.

Speakers at the event included an SABC representative, GFC CEO Andile Mbeki, IPO Executive Marvin Saven, Harriet Gavshon and Michael Auret. “Partnering with the IPO on this important occasion is the beginning of a solid relationship that would see home-grown talent and stories being further appreciated by the public and other stakeholders,” Andile Mbeki said.

In mid-October the Commercial Producers Association of South Africa announced their new Executive Committee after their AGM and Agency Breakfast in Cape Town.

The following members have been elected to the CPA Exco for 2016 – 2018: • Linda Bogle | Your Girlfriend • Olivia Leitch | Ola Films • Meike Laesch-Schoeman | Navigator Films • Claire Richards | The Shooting Gallery • Scott Njumbuxa | Picture Tree • Alan Lawson | Birdfilm • Gavin Gillespie | Fresh Eye Films • Charles Gallacher | Cab Films • Daniel Kaplan | Bioscope Films More information on the new members, as well as the AGM 2016 report can be found on www.cpasa.tv.

© Kazuend / Unsplash

PMA MOURNS THE LOSS OF SYBIL SANDS

36 / DIRECTORY

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