THE WORLDâ€™S LEADING FILM SERVICE DESTINATION
LONDON I TORONTO I SYDNEY I STOCKHOLM I JOHANNESBURG I COLOGNE I SHANGHAI
CONTENTS / 01
02. Chris Evans to
02 10 16 30
Star in Red Sea Diving Resort
RED SEA DIVING RESORT
This major production is reportedly making its way to South African shores.
04. Troy: Fall of a City
Heads to Cape Town
06. New Samson Movie
Filming on Location
08. Welcome to the
Cannes Film Festival
10. The South African Film Service Success Story
THE SOUTH AFRICAN SUCCESS STORY Why SA is the premier ﬁlm-service destination in the world.
16. The Complex World of Film Finance
22. Co-Production Treaties
24. Rising Star Zandi Tisani
26. A World in
Excellence: The Proof is in the Pudding
Unpacking the complex world of ﬁlm ﬁnance with the aid of a case study.
30. Cape Town &
Western Cape Film & Media Promotion 2017 Highlights
32. The Loeries: Where
Your Browser History Won’t Be Judged, but Your Work Will
CAPE TOWN & WESTERN CAPE FILM & MEDIA PROMOTION Wesgro announces some key highlights for the year ahead.
34. Opportunities: Bertha
BRITDOC Fund Open for Entries
36. Events to Diarise 38. Associations News 40. Directory of Advertisers
02 / NEWS
CHRIS EVANS TO STAR IN
RED SEA DIVING RESORT Chris Evans will star in the Gideon Raff-directed Drama Red Sea Diving Resort, which will reportedly shoot in South Africa.
est known for his recurring role of Captain America in Marvel Studios’ superhero flicks, Chris Evans will play the lead in Red Sea Diving Resort. The film will be directed by Homeland writer/ producer Gideon Raff, and produced by Alexandra Milchan. The film will be shot in South Africa, according to Callsheet sources, with production set to begin before the end of this year – although no details have been confirmed yet. Red Sea Diving Resort revolves around the rescue and transport of Ethiopian Jews to Israel in the late 70s and early 80s. It tells
the story of Israeli’s Mossad spy agency’s effort to rescue thousands of Ethiopian Jews trapped in Sudan at the time. Evans will play Ari Kidron, an agent who assembles a team and takes over a deserted resort in Sudan as they began their multi-year mission. From this covert forward base, they oversee the exodus to the Promised Land by sea and by air. The events of the mission were detailed in the Hebrew book Mossad Exodus: The Daring Undercover Rescue of the Lost Jewish Tribe by Gad Shimron, a surviving member of the team that oversaw the operation. Scarlett Johansson and Chris Evans in Captain America: The Winter Soldier © Marvel Studios
The first-hand account details how the agents ran a partying vacation spot for wealthy tourists by day, while rescuing desperate refugees by night. The Mossad were eventually aided by the White House and the CIA, who sheltered their operatives while they were on the run from Libyan secret service agents. They were then snuck out of the country in boxes labelled ‘Diplomatic Mail’. The film was initially called Operation Resort, and will be fully financed by Bron Studios, the company behind Fences. Haley Bennet is reportedly in negotiations to star in the film alongside Chris Evans, who will next be seen in Gifted, a drama by Marc Webb, and Avengers: Infinity War. Chris Evans © Marvel Studios
04 / NEWS
TROY: FALL OF A CITY HEADS TO CAPE TOWN
BBC and Netflix have joined forces to produce Troy: Fall of a City. The series has begun shooting in South Africa.
A Louis Hunter stars in Troy: Fall of a City
historical drama produced for BBC One and Netflix, Troy: Fall of a City is using South Africa as a double for its Middle East setting. It tells the mythical tale of the scandalous relationship between Paris and Helena, which led the Greek forces laying siege to the city for a decade. Homer famously recounted the tale in his two poems The Iliad and The Odyssey. Wild Mercury, part of the Endemol Shine Group, is
producing the eight-part series in association with Kudos. It will air on BBC One in the UK and launch internationally on Netflix. Louis Hunter and Bella Dayne star as Paris and Helena, with industry veterans David Threlfall and Frances O’Connor among the supporting cast. The story is set to be an epic tale of mortals and gods, and is described as ‘psychologically rich’ and ‘visceral’. Told from the perspective of the Trojan royal family at the heart of the
siege, its main themes are love, intrigue, betrayal and belonging. Troy is written and executive produced by David Farr, and is filming on location in Cape Town, according to Deadline. This is a re-team for Farr and BBC One after the awardwinning Night Manager. “The story we’re telling has an epic and political sweep but is also deeply human and intimate. I look forward to seeing these actors take you on the journey,” says Farr.
LANDS STARRING ROLE IN CW’S SEARCHERS Alex McGregor lands a lead role in CW drama Searchers, which began shooting its pilot in SA in March.
ocal thespians will be delighted that more and more South African stars are shining in international productions. The latest screen queen to step onto the global stage is Alex McGregor, who has been cast as the female lead opposite Zane Holtz in the CW drama pilot Searchers. The series began shooting its pilot in Cape Town in March of this year. Searchers is about a group of unlikely heroes who find
themselves on the journey of a lifetime. A decade after their parents die, two siblings are thrown together when they learn that their mother’s terrifying and bizarre stories may be a road map to discovering the mysteries of the world. The series is written by Jason Rothenberg, who executive produces together with Berlanti Productions. In early March, the 23-yearold starlet travelled to Los
Angeles for the final audition. She was one of three hopefuls who had to audition before a panel of about 20 executives at the CW, she shared on Facebook recently. McGregor, who makes her home in Cape Town, is also in the upcoming SyFy series Blood Drive, and is playing Susan Delgado in Sony’s adaptation of Stephen King’s The Dark Tower. McGregor is represented by Bob Glennon at Authentic and Janet Plessis at APM.
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06 / NEWS
NEW SAMSON FILM SHOOTING ON LOCATION
Pure Flix Entertainment has begun shooting a new biblical epic in South Africa called Samson.
n April this year, Pure Flix Entertainment began ﬁlming the biblical epic Samson in South Africa. It is a dramatic adaptation of a man with supernatural strength who leads his enslaved tribe to victory over the mighty Philistine empire. The ﬁlm features Jackson Rathbone, Rutger Hauer, Billy Zane, Lindsay Wagner, and Caitlin Leahy, with Taylor James as Samson. Samson is shooting on location in Stellenbosch, Western Cape, with a largely local support cast and crew. Award-winning local director Bruce Mac is att ached, with The Fabulous Boomtown Boys directing and producing. Projects he’s done include Van Der Merwe, Ocean Driven and The Perfect Wave. Vlokkie Gordon is att ached as Line Producer, with Film Industry Learner Mentorship (F.I.L.M.) Programme alumnus Lulu Stone as Production Manager. Greg Kriek (Origins: The Journey of Humankind, Tess) plays the role of Samson’s younger brother Caleb in the ﬁlm. Kriek is also an
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Greg Kriek plays a lead role in the Samson movie
IT’S A VERY CHARACTER-DRIVEN, EPIC STORY SHOT IN A GLADIATOR TYPE OF STYLE. AND IT’S A PRIVILEGE FLYING THE SOUTH AFRICAN FLAG HIGH HERE – I’M ONE OF THE LEADS AND IT’S ONE OF THE BIGGEST ROLES FOR A SOUTH AFRICAN.
alumnus and champion of the F.I.L.M. Programme, which has 10 trainees on this production. The Callsheet spoke to Kriek three weeks into the shoot, which he says is a massive production job from a logistic perspecti ve with hundreds of extras. “It’s a very character-driven, epic story shot in a Gladiator type of style,” he explains, “And it’s a privilege ﬂ ying the South African ﬂag high here – I’m one of the leads and it’s one of the biggest roles for a South African. It’s awesome that we’re ﬁnally getting a chance to play lead characters and not just supporting.” Pure Flix is a worldwide leader in the production and distribution of faith and familyfriendly entertainment. “We’re thrilled to bring audiences quality and diversity in our upcoming projects,” Pure Flix CEO and Co-Founder Michael Scott said in a statement. The company plans to release Samson in September 2017.
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08 / SPOTLIGHT
WELCOME TO THE
CANNES FILM FESTIVAL Visit the South African pavilion to meet with studio heads, service companies and more.
WHAT IS THE MISSION OF THE FESTIVAL DE CANNES?
In order to achieve this level of longevity, the Festi val de Cannes has remained faithful to its founding purpose: to draw attention to and raise the proﬁle of ﬁlms, with the aim of contributing towards the development of cinema, boosting the ﬁlm industry worldwide and celebrating cinema at an international level. And to this day, this profession of faith constitutes the ﬁrst article of the Festi val regulations.
HELPFUL INFORMATION: KNOW YOUR SURROUNDINGS Beyond the Palais des Festi vals and the Riviera, the Festi val Zone stretches from the International Village Pantiero to the International Village Riviera up to the Cinéma de la Plage. The Festi val zone is accessible for accreditation badge-holders via all entrances from Wednesday 17 May to Sunday 28 May. The Marché du Film is open from Wednesday 17 May to Friday 26 May.
Your accreditation badge (Festi val, Marché or Press) gives you access to the Festi val zone and to the screenings (Oﬃcial Selection, parallel events and/or Marché du Film depending on your accreditation category). Badges are nominati ve, non-transferable and must be worn so as to be visible in order to facilitate ID checks. In the event of loss or theft , please contact the late accreditation oﬃce.
THE FESTIVAL DE CANNES HAS REMAINED FAITHFUL TO ITS FOUNDING PURPOSE: TO DRAW ATTENTION TO AND RAISE THE PROFILE OF FILMS, WITH THE AIM OF CONTRIBUTING TOWARDS THE DEVELOPMENT OF CINEMA.
THE SOUTH AFRICAN DELEGATION A delegation of South African production companies, ﬁlmmakers and ﬁlm promotion agencies have gathered in Cannes to entice producers, execs and studio heads with the best that the country has to oﬀer. We urge you to visit the South African pavilion, where you will ﬁnd resources and marketing collateral that will further facilitate the decisionmaking process. South Africa is proud to be one of the greatest service destinations in the world, and our delegation is here to prove it to you.
10 / FEATURE
Madiba starring Lawrence Fishburne as Nelson Mandela and Terry Pheto as Winnie. © Blue Ice Pictures, Out of Africa Entertainment Production, BET Networks, Cinema Gypsy Productions, Photographer: Marcos Cruz
THE SOUTH AFRICAN FILM SERVICE
Who ever thought that a nation on the Southern tip of the African continent could become one of the world’s foremost film service destinations? Kim Crowie reports.
n the last two decades, South Africa has proven itself time and again as a competent film and television location. And in the last five, the international service industry has grown in leaps and bounds, with a range of large-scale feature films, recurring television series and historical epics being shot within its borders. “It’s no secret anymore to the world and the film
industry at large, that South Africa is one of the premier destinations when choosing a diverse, sunny and reliable location to shoot international projects,” explains local director Howard James Fyvie. “As I’m writing this, I’m actually on set with an American production shooting in Cape Town, and they can’t stop repeating how reliable the crews are down here, how friendly everyone is,
and how suitable the autumn climate is to facilitating films.” SA’s ability to replicate practically anywhere in the world was the country’s first leg up into the international community, but in recent years it has honed its prowess, providing the world with outstanding talent and crew, the latest equipment and technology, and a host of other artistic and creative skills that have grown its reputation.
Added to this is the weak Rand, allowing production budgets to stretch, and the cherry on top: a 25% tax incentive through the Department of Trade and Industry (dti). According to Daryne Joshua, Head of Film at Gambit Films, one of the latest trends is definitely the rise of virtual reality content in local circles. “It’s an interesting platform and the need for VR content
FEATURE / 11
AS I’M WRITING THIS, I’M ACTUALLY ON SET WITH AN AMERICAN PRODUCTION SHOOTING IN CAPE TOWN, AND THEY CAN’T STOP REPEATING HOW RELIABLE THE CREWS ARE DOWN HERE, HOW FRIENDLY EVERYONE IS, AND HOW SUITABLE THE AUTUMN CLIMATE IS TO FACILITATING FILMS. is on the rise. It really has a lot of potential and could really take storytelling in some wild and wonderful directions.” Another trend is the international interest in South Africa and Africa as a continent. Companies like Netf lix, Amazon and Showmax are increasing demand for content and opening more and more oﬃces here, while their new distribution models continue to inﬂuence the global ﬁlm and TV sector. “It’s still early
days for South Africa regarding this space – but soon cinema won’t always be the preferred destination for a ﬁlmmaker and her or his next project,” says Joshua. “It just broadens options and increases opportunities.” Gamiﬁcation of Intellectual Property is yet another growing trend, according to Monica Rorvik, Head of Film and Media Promotion at Wesgro. She cites the French South Africa Tech Labs in Cape Town (FSAT) who
are currently recruiting their ﬁrst class of entrepreneurs for their incubator. One of the areas they will be focusing on is Smart Media which includes video game design, media, 3D animation, 3D printers and connected objects. This programme is a partnership between Methys, an international company operating in digital transformation and Seda (Small Enterprise Development Agency), a South African government agency fostering small business development. Both organisations have invested a combined amount of R10-million in this new programme for entrepreneurs. Carol Coetzee, CEO Of KwaZulu-Natal Film Commission, reiterates these trends, adding that the digital realm will continue to be of more and more signiﬁcance. “The whole world has gone digital and the ﬁlm industry is not immune to this transition, we have witnessed a rise in virtual reality ﬁlming
and as South Africa we need to cater to that. Virtual reality has taken over from conventional methods of ﬁlmmaking. The next trend is video and gaming. This trend is quick and can yield instant results and can ensure ﬁnancial sustainability in a challenging industry,” she explains. “There will always be new trends in the ﬁlm industry. On the one hand, because the technology development process won’t stand still. On the other hand, creative heads continuously seek cheaper, faster and better ways to produce and showcase their production, it’s essential to keep up to date with the latest developments.” Some of the latest ﬁlms to be shot on location in the country include Tomb Raider, Outlander, The Last Post, and the third ﬁlm in the Maze Runner trilogy, as well as Stephen King’s The Dark Tower featuring Idris Elba.
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12 / FEATURE
Origins Documentary Drama Series ©National Geographic Channels & Asylum Entertainment LLC 2016, Film Afrika, Unit and Special Still Photography by Joe Alblas | African Photo Productions
Another promising miniseries is BET’s Madiba starring Lawrence Fishburne as Nelson Mandela and Terry Pheto as Winnie. Not only was it shot in South Africa, but Refinery handled all the dailies, VFX and sound post on the project. “It’s of great production value with attention to detail, and the Out of Africa guys are always great to work with. It was definitely one of the biggest sound jobs we’ve had in South Africa in recent years. We had six people employed with additional people plugging into that,” says Tracey Williams, Managing Director at Refinery. On the animation front, Triggerfish has done well with a number of awards for Stick Man, while their latest work with Magic Light Pictures, Revolting Rhymes, has also been well received locally and internationally.
FANTASTIC REBATES AND SUPPORT
The government provides a rebate to local and international productions. The dti offers the Foreign Film and Television Production and Post-Production incentive with a 20-25% rebate
on Qualifying South African Production Expenditure (QSAPE) for R12-million and above if at least 50% of the principal photography is done in SA for a minimum of four weeks. Additional rebates are also offered to companies conducting all their post-production in South Africa. SA’s three film hubs, the Western Cape, Gauteng and KwaZulu-Natal, all have their own commissions and organisations assisting the sector. They support filmmakers in various ways, for example, location information and permit assistance, promoting films and co-productions, and building strategic relationships and partnerships. One of the ways in which they do this is through export ventures and official delegations to international festivals and markets like the Cannes Film Festival, American Film Market, and Toronto International Film Festival. As one of the best film destinations globally, the Western Cape is not hard to market, says Rorvik. “Wesgro has the benefit of marketing a region that is rated by FDI as one of the top ten film production destinations in the
world. It has the lowest annual operating costs, world class locations, light and crew. The studios, especially Cape Town Film Studios, are world class. We also have amazing services – hotels, food, experiences – and these can be very attractive to both talent and crew,” she explains. The agency is currently working on offering strategic mentoring in terms of how companies could be scaling. “Our companies need to consider their market growth path, maybe into Africa. Some of this has certainly paid off in landing films, projects and so forth. We also help make a more enabling environment by getting the various ministries to help consider the business case to become more film friendly.” Wesgro works behind the scenes with things like familiarisaton tours, policy red tape, and directly helping companies to expand their business opportunities. One of their main services is business to business opportunities to drive co-productions, as well as market readiness in partnership with the NFVF and dti. Gauteng is SA’s other film hub, with well-established broadcast
and film facilities in Johannesburg. Gauteng Film Commission (GFC) serves the region, with most of their work focused on developing the local industry, although they also provide internationals with locations assistance, film advice and other support. The KwaZuluNatal Film Commission and the Durban Film Office provide support to KZN province, and have facilitated two international productions: Top Gear and Comatose recently. Comatose is co-production between South Africa and Nigeria with Mickey Madoda Dube and Nigerian born actor Fabian Adeoye Lojede. It is a KZNFC-funded project.
SA’S GOT TALENT (AND CREW AND EQUIPMENT)
South Africa’s talent pool has grown in leaps and bounds with a number of local actors picking up leading and supporting roles in international productions. One of these is Greg Kriek, who was in Momentum, Origins: The Journey of Humankind, and Dominion. He was recently also cast in a lead role for Samson: The Movie, currently shooting on location in Cape Town.
FEATURE / 13
“I’ve had the privilege of working on a couple of international movies like Chronicle, and I see how we’ve grown over the last few years. “The thing that makes South Africa really stand out and something that we need to continue working on is a combination of our work ethic – we are willing to go the extra mile, beyond our job descriptions, work extra hours – and our crews who have the technical experience. If one looks at the trends over the last few years and how this has exploded, it means that the big CEOs and the international film studios have a complete vote of confidence in us.” Fusion Models is one of the market leaders in SA and works with the likes of Tricia Akello and Shana Mouton. Fiona Craig, Owner of Fusion, says one of the reasons South Africa is sought after is because of its rich tapestry of talent and looks. “Our industry in Cape Town is
OUR INDUSTRY IN CAPE TOWN IS ABLE TO PROVIDE PEOPLE OF HUGELY DIVERSE ETHNICITY AND BACKGROUND. able to provide people of hugely diverse ethnicity and background to supply the needs of various clients worldwide – and in Africa, too.” Crag says authenticity and realness are in high demand right now, and fortunately the value of the Rand has helped. In addition to an eclectic and diverse talent pool, highly skilled crew with a host of expertise in special effects, stunts and set building, South Africa has the added benefit of some great studio spaces. Cape Town Film Studios has played host to some of the biggest names in the business, and just recently culminated Black Sails, a project
that saw four seasons shoot in their studios. Waterfront Film Studios recently hosted the Maze Runner shoot. “We’re seeing now that we’ve created more infrastructure and world-class studio facilities that we’re also becoming a studio base,” says Kriek. “This has naturally led to even our post-production services stepping up. I’m so excited to see this trend of confidence translating, even into animation with Triggerfish and Sunrise. Equipment houses are also reliable, making SA an ideal stopover even if a crew is shooting elsewhere in Africa. Companies like Media Film
Service, Photo Hire, Visual Impact and many others provide the industry with the latest cameras, lighting and auxiliary equipment, with many of these houses also offering a range of smaller studio spaces to service the vibrant commercial industry.
DEVELOPING THE INDUSTRY
Not only do production companies consistently bring in large-scale international service jobs, but they often feed into the development of the local industry. One such initiative is the Film Industry Learner Mentorship (FILM) Programme, where people from previously disadvantaged backgrounds are fast-tracked into the industry through rigorous, on-the-ground training in working on set. This has had a knock-on effect with a new wave of young local filmmakers telling universal, yet intrinsically South African stories that can be exported internationally.
14 / FEATURE According to Refinery’s Tracey Williams, in order to continue to grow, we need to build more resources and continue training and upskilling people to be more ‘user friendly’, that is, better admin skills and more mentoring. She emphasises the need for highly skilled workers in every facet of production, not just the creative side. Not only does the industry need film graduates, but people like production accountants with BCom degrees, too.
UNIQUE LOCATION? NO PROBLEM
South Africa has a number of incredible locations both with its film hubs and further afield. It has doubled as Egypt, Pakistan, the Americas and even the Caribbean in recent years. The Western Cape – and Cape Town in particular – remains the most popular destination thanks to its irresistible package deal says Philip Key, CEO of Moonlighting. Although many factors come into play when choosing a location, one of them is that we have great weather when filmmakers need it during their northern hemisphere winters. “Australia is far away for many clients and relatively expensive; South America has language and union issues (mainly in Argentina). We also have a collection of locations – natural and built – that are the envy of our competitors for their proximity to each other and major cities, and for their diversity,” he explains, saying that the exchange rate is an added bonus. “Probably more than anything else, after the above is taken as a given, is the fact that Cape Town is just a very nice place to be. If clients don’t come here to shoot they will likely come on holiday.” Cape Town may be sought after, but Johannesburg is also a popular location. Its CBD is a firm favourite, with the Gauteng Film Commission facilitating 863 location permits for the province since 2011. The most popular locations within the Johannesburg CBD are
Mashalltown, Nelson Mandela Bridge, Hillbrow, Yeoville, and the hip and happening Maboneng Precinct. According to Belinda Johnson, on a recent scout, an international producer felt this precinct offered up some of New York and Brooklyn in particular. Films like Avengers: Age of Ultron and Safe House have been shot here. KwaZulu-Natal is fast becoming a preferred location. Its ability to replicate jungles as demonstrated with the Roots miniseries, as well as a range of other looks, make it ideal for those in search of something farther afield to Cape Town. “The province offers unique elements including its people with warm smiles, urban settings, rural settings, the pristine beaches and captivating coastline, the majestic beasts in the wild and vegetation and the rich history and culture,” says Carol Coetzee. “The KZNFC has invested in systems to ensure continuous service excellence through its facilities and location, intended to cater to all film requirements ranging from permits and access to talent, locations and infrastructure. The new film cluster will provide basic office infrastructure to post editing suites for filmmakers coming into the region, thereby further enhancing our offering.” South Africa’s ability to replicate the rest of the world definitely works in its favour, however there are ways to ensure this stays a lucrative and growing film destination. According to Key, in order to protect our future, we need locals on board. “Location fees are climbing exponentially. Government red tape with respect to visa’s is alarming. [We need to] keep up the good work, smiling faces and positive workplace.” He says one of the location trends he’s seen is more service destinations opening in Eastern Europe that are closer and cheap. “They do not have the weather or the same level of skill but if you are short of time and money, they can be attractive.”
Marvel’s Avengers: Age Of Ultron © Marvel 2015. Image created by Industrial Light & Magic (ILM)
SA’S IMPRESSIVE TRACK RECORD South Africa has seen some incredible international blockbusters film on location, including the likes of Avengers: Age of Ultron, Maze Runner, Tomb Raider, The Dark Tower, and Resident Evil: The Final Chapter. Here’s a look at the major film and television series that have been shot in the country.
INTERNATIONAL FILMS SERVICED • • • • • • • • • • • • • • • • • • •
24 Hours to Live A United Kingdom Avengers: Age of Ultron Blended Blood Diamond Chappie Chronicle City of Violence (Zulu) District 9 Eye in the Sky Honey 3 Ladygrey Mad Max: Fury Road Mandela: The Long Walk to Freedom Maze Runner: The Death Cure Queen of Katwe Resident Evil: The Final Chapter Safe House Samson
• • • • • • • • • • • • • • •
Siege of Jadotville The Bang Bang Club The Brothers Grimsby The Dark Tower The Empty Man The Gamechangers The Girl The Giver The Good Lie The Journey is the Destination The Jungle Book The Last Face The Perfect Wave Tiger House Tomb Raider
INTERNATIONAL TV SERIES SERVICED • • • • • • • • • • • • • • • • • • • •
America: The Story of Us Black Mirror Black Sails Blood Drive Book of Negroes Dominion Gettysburg Homeland Hooten and the Lady Jamillah and Aladdin Mankind: The Story of Us Of Kings and Prophets Our Girl Roots Saints and Strangers The Crown The Last Post The Young Pope Tutankhamun Wallander
FEATURE / 15
MAJOR PRODUCTION SERVICE COMPANIES IN SA COMPANY
The Dark Tower, Black Mirror, Resident Evil, Queen of Katwe, The Crown
Roots, Black Sails, No Man Left Behind, Saints and Strangers, A Cinderella Story, Dominion
Out of Africa
Detour, The Journey is the Destination, Madiba, Our Girl, Hooten and the Lady
The Fabulous Boomtown Boys
Samson, The Perfect Wave, The Parlotones documentary, Springbok Nude Girls documentary
Beyond the River, The Lucky Specials, Rise, iNumber Number, Nothing for Mahala
Felix, Skilpoppe, Inside Out, Traffic!, Saints and Sinners
Dabka, Lost in Transmission, SAF3, Dredd, District 9, The Triangle
Big World Cinema
Beats of the Antonov, Love The One You Love, Viva Riva!, Winnie, Stories of Our Lives
The Dream of Shahrazad, The Devil’s Lair, The Chemo Club, Faces of Africa
Disclaimer: Due to space constrictions, we are unable to list every production service company operating in SA. If your company services, co-produces or produces major local and international feature films, please get in touch – we’d love to include you next time.
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16 / FEATURE
THE COMPLEX WORLD OF
FILM FINANCE Kim Crowie explores the options for filmmakers wanting to finance their productions, and looks at one miracle project’s long road to funding its story.
of a local production, sometimes more if the broadcaster invests equity finance in a license and equity deal.
WHERE THE COMPLETION BOND FITS IN
A completion guarantee or bond is an assurance of delivery offered by a completion guarantor company ensuring that the producer will complete and deliver the film. It is usually sought after the producer has acquired the majority of the film’s budget. Noem My Skollie - Photography by Lindsey Appolis
t is still an uphill struggle to acquire the finance one needs for development, pre-production, production, post, and marketing and publicity as a South African filmmaker. Most productions are made on a skeleton budget of less than US$1-million. This is already far less than the average Hollywood blockbuster cost of US$100200-million. A great example of this discrepancy is District 9, a South African/US/New Zealand co-production with a relatively low budget of US$30-million – just over the international benchmark for independent films (US$2-20-million). Fortunately the South African government sees film as a strategic economic sector and offers a number of options to ease this burden. The National Film and Video Foundation (NFVF) has an annual budget allocated to
film and television development, and the Industrial Development Corporation offers finances through debt/equity, quasi-equity, bridging finance and venture capital. The Department of Trade and Industry offers a rebate of 35% of the first R6-million for local films, and a 25% rebate on the remainder of the budget. If the film is 75% black-owned and managed, they are eligible for a 50% rebate on the first R6-million and 25% on the remainder. South Africa’s Emerging Black Filmmakers Transformation Fund (EBFTF) provides financial, marketing and related support with budgets capped at R5.2million. Filmmakers can also apply for completion bonds which are undertaken before filming in order to guarantee to the financiers that the film will be finished. “It’s like an insurance policy but more expensive because
the completion bonder will do whatever is required to bring the production in on budget, on time and completed,” explains David Max Brown, one of the Co-Producers on Noem My Skollie. Film commissions, too, have a budget to play with. Most of this goes into developing the local industry, from promoting local film culture and locations to growing a sustainable sector. Support, however, varies from region to region. One trend is the need for more production accountants and administrators in the industry. As a result, Destiny Media Africa is hosting a number of workshops in association with Film Finances SA. Another is the increasing demand for television content. This has seen companies like eTV and M-Net financing independent productions through pre-buys. These sales can fund up to 40%
This is the basic process according to Film Finances SA: 1. Immediately after an inquiry is made, the company will request the script, shooting schedule, cashflow and budget. After these are examined, relevant personnel are met and a project is considered. 2. When a positive decision is made, a ‘letter of intent’ is issued confirming a Contract of Completion subject to the fulfilment of various conditions. 3. The company works on the legal documentation. In preparing the documents, certain standard conditions will need to be fulfilled. Documents with rights to make the film are required. 4. The cornerstone of Film Finances’ contract process is ensuring that the production progresses “on schedule and on budget.” Their monitoring process requires daily shoot progress reports and a weekly cost report.
FEATURE / 17
CASE STUDY: NOEM MY SKOLLIE A RESOUNDING LOCAL SUCCESS A 15-year labour of love and utter determination against countless obstacles, Noem My Skollie is a compelling local film that has continued to make waves across the world since its release late last year. A story revolving around the life and struggles of Cape Flatsborn John W. Fredericks – who also wrote the screenplay – it has touched lives with its tragic tale of friendship and the hardships of Coloureds in the Apartheid era. But more than that, it is a beacon of light and encouragement to local filmmakers who struggle to muster up the finance to turn their screen dreams to reality. One of the producers on the
project is David Max Brown, who met John quite by chance on the steps of the Artscape Theatre at a Sithengi event in 2002. While collaborating on a documentary called Freedom is a Personal Journey, they worked on John’s trilogy of scripts, which eventually became Noem My Skollie. “I knew that John Fredericks had a great story, he had a great talent for writing entertaining, gripping dialogue and I knew this was a film that would attract an audience who hadn’t seen themselves authentically re-produced on the big screen and so the scope and challenge of that made it all the more worth fighting for,” says David.
WE’RE A TOUGH ACT TO FOLLOW.
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This is the kind of film that most producers would run away from, because it can only be made with the investment of blood, sweat and tears – not just money, he explains. “Normally a period film is impossible to finance adequately without well-known or internationally recognisable talent attached and we had 47 locations, 50 speaking parts, and required the four leads as children and then as adults. Just casting such a film is daunting enough.” Added to this, it was Daryne Joshua’s directorial debut feature. He says they went through about 500 auditions to find the perfect cast who knew
the culture, the lingo, and had the acting abilities to match. As a result of using an intrinsically South African cast and crew, they searched for as much local funds as they could in order to make it as unique and authentic as possible. “Our view was that the global audience would be more interested in a world unseen as compared to a copycat of their own genres and cultures,” David explains. “We made the film with a first time director, no international cast and almost half the budget that we originally intended to make it for. The road to find the finance on this basis was a thorny path.”
18 / FEATURE
NOEM MY SKOLLIE IN NUMBERS
Noem My Skollie - Photography by Lindsey Appolis
After being rejected by the National Film and Video Foundation in 2004, John enrolled in the SCRAWL screenwriting programme in 2005 which affirmed the script’s potential and improved its intensity. From there, it was submitted to kykNET – but they, too, were unable to help. The South African Broadcasting Corporation weren’t able to assist, and the Industrial Development Corporation would only be involved in financing the film if the producers could guarantee the return on investment. “We were at a funding impasse. We needed some cornerstone finance, and it seemed that the only crack in the system might be to knock harder on the NFVF’s door.” Which is exactly what they did. John was then enrolled in the NFVF’s rigorous Sediba writing programme, a daunting move for an older man from the Flats with little schooling who had to mix with largely middle-class graduates. “I was the NFVF’s protégé,” John says of the experience, “Because I was the only one who passed the programme.” After several tough years, they resubmitted his screenplay, but only received funding for further script development. This process
took another two years, where John was partnered with a more experienced script editor. In 2011, while the project was still called This Boy, David and John pitched the script at Durban FilmMart, and VideoVision came on board as a local distributor. In 2012, CoProducer Moshidi Motshegwa came on board and suggested an Afrikaans film title. After some discussion, they settled on Noem My Skollie, something John had used for a short story on the same theme. “The title basically means Call me Skollie even if I’m not because that’s all you see when you look at me,” David explains. After M-Net commissioning editor Henrietta Gryffenberg recommended the script to Jan du Plessis, the head of M-Net Movies, they had several successful meetings with M-Net and kykNET, which resulted in a pre-buy contract. This agreement gave both the IDC and VideoVision cold feet, but it finally brought the NFVF onto the project with R1.2-million in production cash. The NFVF went on to support the marketing of the finished film, which was invaluable in getting news of its cinema release to the public, says David. They also supported
the publicity campaign for the film’s entry to the Oscars’ Foreign Language Category. In 2015, pre-production began in earnest, and they ended up with a team of likeminded crew and cast who were “absolutely dedicated to the story and its various themes.” The film was first screened in Pollsmoor Prison on 16 August 2016, and was seen by 80 000 people during its theatrical release – a resounding success for a South African film. It was the first time a Coloured writer and director would make a film about the Cape Coloured experience. Its legacy, too, is far reaching, with John constantly being invited to speak about his experience to youth at risk and further afield.
ITS LEGACY, TOO, IS FAR REACHING, WITH JOHN CONSTANTLY BEING INVITED TO SPEAK ABOUT HIS EXPERIENCE TO YOUTH AT RISK AND FURTHER AFIELD.
• This was a film of firsts: a first-time writer, director, feature producers and actors • Opened in 28 cinemas across SA, expanded to 33 screens • The film was screened around the country for 16 weeks and was seen by 80 000. • 4th in local box office returns in 2016 – exceptional for a drama. • The marketing and publicity budget was R800 000; Starburst Entertainment managed to turn it into R20m through media coverage. • Noem My Skollie was nominated for 10 SAFTAs, 5 of which they won this March. • Ster Kinekor pledged R820 000 for print fees and advertising.
TYPES OF FINANCE USED IN THE FILM 1. M-Net licence deal and equity investment: This gives M-Net rights to sell TV, Pay TV to Africa, and to screen on Local Pay TV, while the producers share equally the local VoD rights and retain the rights to license for theatrical and DVD in SA, with theatrical, DVD, TV and VoD internationally. 2. Producers: The producers chose to defer fees until the film recoups their ROI. 3. NFVF: The National Film and Video Foundation will recoup fees after M-Net’s equity investment, the producer fees and finance costs are paid. They do not hold an equity position. 4. dti: The Department of Trade and Industry provided a rebate with milestones. 5. Cash Flow Loan: This covered the last two milestones of the dti rebate and the M-Net presale. 6. Completion Bond: The film had a completion bond with Hollard.
CHILDREN BUILD FORTS TO FEEL PROTECTED. WE FIND PARENTAL GUIDANCE MORE EFFECTIVE. Youth who watch and listen to a lot of media are more likely to accept stereotypes of sex roles as realistic than less frequent viewers. Our mission is to protect children from exploitation through information sharing and content regulation. Stay informed. Stay protected. Visit www.fpb.org.za
22 / SPOTLIGHT
Hooten and The Lady © ITV Drama Series; SKY & Red Planet Pictures 2015, Motion Picture Still Photography by Joe Alblas | African Photo Productions
CO-PRODUCTION TREATIES South Africa currently has nine co-production treaties with partner countries.
outh African ﬁlmmakers continue to attract mutually beneﬁcial coproduction treaties with international companies, with Germany, France, the US and UK all proving popular partners in 2016/17. There’s a reason why South African projects have been in demand: with the
industry’s high skills and lower overheads, collaborations make perfect sense. Opening avenues for creative input beyond the traditional go-to team often feeds inspiration and this year’s top coproductions are certainly a testament to the old adage that variety is the spice of life.
It’s been a busy 12 months for South African co-production treaties. Whether it be a case of striking up new partnerships or padding existing perks, the ink has set on a range of co-production treaties, both long-standing and freshly negotiated, paving the way
for exciting collaborative projects well into the future. Whilst the dti industry incentives scheme was up for renewal by April 2017, industry insiders see this as a time of opportunity to negotiate added incentives or streamline processes. As these deals are negotiated, it will inevitably be business as
SPOTLIGHT / 23
usual as the package typically rolls over automatically until such time as it is formally updated. • The UK updated its longstanding co-production treaty with South Africa in July last year to better include television productions. Collaborative projects between the countries enjoy South African production rebates of between 20 and 25% while still qualifying for the UK’s high-end television, animation or children’s television tax relief schemes. • The opportunities for Southern African collaborations are looking rosy after the National Film and Video Foundation signed a recent memo of understanding with neighbouring Namibia Film Commission – a necessary step before any co-production treaty can be considered. It’s no coincidence that
this move comes hot on the heels of the successful Mad Max: Fury Road and TV series Hooten and the Lady, which used both countries as extended ﬁlming locations. • Germany has been named as Johannesburg DISCOP 2017’s oﬃcial Guest Country and will partner once again with South Africa at this year’s European Film Market to highlight the countries’ co-production relationship successes, including the signing of a treaty for joint production of ﬁlm and television work. • The French National Centre for Cinema teamed up with South Africa’s National Film and Video Foundation in March to run a co-production workshop in Paris. It aimed to create a platform for French producers to explore developed projects by talented South African ﬁlmmakers.
FEATURED CO-PRODUCTION PROJECTS John Trengrove’s ﬁlm The Wound is a real co-production success story. Shared between SA, Netherlands, Germany and France, the ﬁlm was presold to broadcasters ARTE (France) and ZDF (Germany) and able to take advantage of funding from the Hubert Bals fund, the ARTE international prize and South Africa’s own Department of Trade and Industry (dti)
rebates and NFVF funding. South African ﬁlmmaker Akin Omotoso’s Waiting for an Angel is a collaboration between Johannesburg’s Rikiki Pictures and Torontobased Triptych Media. Omotoso will be taking the ﬁlm to the Berlinale Co-Production Market to woo international funding partners, after being selected as one of twenty international submissions.
THE OPPORTUNITIES FOR SOUTHERN AFRICAN COLLABORATIONS ARE LOOKING ROSY AFTER THE NATIONAL FILM AND VIDEO FOUNDATION SIGNED A RECENT MEMO OF UNDERSTANDING WITH NEIGHBOURING NAMIBIA FILM COMMISSION.
24 / SPOTLIGHT
This talented commercials director has joined Arcade Content, and has directed two brand films for Standard Bank - Take The First Step, and Make One Day.
Watching South African brand ﬁ lms in recent years, did you see something lacking? What mark do you want to make on the brand ﬁ lms you create? I think we still have a limited (and limiting) deﬁnition of what constitutes a brand ﬁlm. To me, a successful brand ﬁlm should be an interesting and engaging piece of content ﬁrst that can also act as a vehicle for a brand’s message. At the moment, we’re seeing way too many cases of a brand shoving its message down your throat to the detriment of the ﬁlm as a whole. Audiences are becoming wiser and more cynical. Being creative in the sphere of branded content is about disarming your audience and carrying them through an experience as opposed to force feeding them concepts. The imagery in Take the First Step is powerful without being over the top. It’s simple yet striking. How did you devise that style? The idea for Take the First Step and the other inﬂuencer ﬁlms was to move away from the typical inﬂuencer-driven content we’ve become accustomed to seeing - characterised by an inﬂuencer speaking directly to camera about what it is they do, with slow motion cutaways of them actually doing it. Personally, I ﬁnd it more interesting to watch people in conversation. We assume that just because someone is an inﬂuencer that automatically
might not be able to access. As far as camera style goes, we went for something handheld and a little bit loose and messy. It emphasises that documentary feel and made the experience feel a little more authentic.
AS FAR AS CAMERA STYLE GOES, WE WENT FOR SOMETHING HANDHELD AND A LITTLE BIT LOOSE AND MESSY. means they’ll be good onscreen, which isn’t necessarily true. To disarm our inﬂuencers, we had them speak to another person, as opposed to camera.
I think the success of those ﬁlms really resides in that exchange. It’s exciting and gives the impression of accessing information you otherwise
How do you balance your own artistic integrity with the (sometimes) restrictive nature of corporate commercial work? It’s diﬃcult but as a ﬁlmmaker it’s not a challenge that is unique to advertising. There are always restrictions, whether it’s how much time or how little money you have. When I was studying screenwriting, there were always those exercises where you had to write a scene with two people in one location, that had to be an exterior, and the scene had to end with one of the characters saying, “I’ll have the mango in the morning” or whatever the case was. The exercise was to write the most interesting scene possible, heeding all of those limitations. It’s not very diﬀerent working with corporate clients. You are essentially given a brief and a long list of limitations. Your strength and breadth of creativity as a ﬁlmmaker are tested by those boundaries. Having said that, corporates are known for being particularly restrictive, more so locally because we’re working in a prett y conservative society to begin with. I don’t worry about my artistic integrity; that is just a continuation of my personal integrity and I’m always sure to take that in with me to a brief!
ANNECY / 25
INTERNATIONAL ANIMATION FESTIVAL Annecy International Animation Film Festival is a must-attend event for animation fans and industry professionals.
ver the years it has become the biggest animation gathering in the world, supporting transformation and keeping its ﬁnger on the pulse of world production. The Festival attracts some 9 150 participants, more than 85 countries are represented and around 500 ﬁlms are screened. The Festival also has a number of world sneak previews, personalities, Work in Progress
sessions, conferences, signing sessions and exhibitions, daring programmes and much more besides, like encounters of the most unexpected and wonderful kind. As for the International Animation Film Market (Mifa), the leading global event for the animation industry, over the past 32 years it has become the most important appointment on the industry calendar.
The unmissable global trade platform for animation gather some 2 800 delegates and oﬀers the opportunity to meet, develop, pitch, co-produce, distribute, sell, ﬁnance, buy, license, promote and so much more! So get your ﬁll of this week-long panoramic view of animation that we have concocted just for you! https://www.annecy.org/home
Festival Annecy © Illustration : Ugo Bienvenu & Kevin Manach - Graphisme : Christian Debbane
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26 / SPOTLIGHT
CO PRODUCTION USA: 14 HRS
South Africa has co-production treaties with: • South Africa / Canada, 1997 • South Africa / Italy, 2003 • South Africa / Germany, 2004 • South Africa / United Kingdom, 2007 • South Africa / France, 2010 • South Africa / Australia, 2010 • South Africa / New Zealand, 2011 • South Africa / Ireland, 2012 • South Africa / Netherlands 2015
SUNSHINE HOURS October to March are the sunniest months – receiving over 300 hours of sunlight per month. Gauteng has the added advantage of dry and bright winters. The Western Cape’s summers are hot and dry. The coast receives winter rainfall, and the interior often receives summer rainfall.
$ R13.02 R14.14 R16.64 R1.89 R3.55
EXCHANGE RATE = = = = =
1 1 1 1 1
US Dollar Euro British Pound Chinese Yuan UAE Dirham
Correct as of 24 April 2017
Rock Formations Acacia Trees
CASTING DEMOGRAPHICS In South Africa, many races call the country home, creating a wealth of diversity: African American, Mixed Race, Indian, Mediterranean, Caucasian, European and Asian. Africa is a melting pot of ethnicities, and a casting director can find almost every look.
TIME ZONES South African Standard Time (SAST) is the time zone used by all of South Africa, as well as Swaziland and Lesotho. The zone is two hours ahead of UTC (UTC+2) and is the same as Central Africa Time. Daylight saving time is not observed in either time zone. South Africa is one or two hours ahead of the UK (depending on the time of year), six hours ahead of New York, nine hours ahead of LA, and six hours behind Hong Kong.
Sunny Skies in Winter
JHB: 2 HRS Rock Formations
White Sandy Beaches
WESTERN CAPE Dunes European feel
2 500km of coastline
Vineyards Art Deco Studios
SPOTLIGHT / 27
UK: 11 HRS
DUBAI: 8 HRS
CHINA: 14 HRS
JHB: 1 HR Savanna
Wheat fields and apple orchards
Rolling Hills Coastal Skyscrapers
Sunny Skies in Winter
DURBAN: 2 HRS
EASTERN CAPE Wildlife
THE WORLD IN ONE COUNTRY
28 / SPOTLIGHT
PRODUCTION EXCELLENCE: CLIENT TESTIMONIALS
We spoke to South African companies to find out what their clients said about their work ethic and the recent projects they serviced.
outh Africa has a stellar film reputation internationally, but who better to tell you than the internationals themselves? Here are a few highlights and testimonials from local production houses, suppliers and clients who have offered incredible film industry service to the rest of the world.
USA Producer, Facilitated by Moonlighting
“…The entire Moonlighting experience was truly wonderful. The crew was fantastic and the production was flawless! My only complaint is that this was just a two day shoot and we could not stay longer!”
Director of The Journey is the Destination, Facilitated by Out of Africa and Refinery
“I did Stander in Joburg in 2002, and since then the industry has exploded. For me arriving a decade later and seeing the depth of the crew and talent is mind-blowing. The film was 100% South African production crew and it was extraordinary... there were people really pulling out the stops to go beyond the usual, with real passion behind it.” © Fusion Models
“We have had many of our models work on varied projects both at home and worldwide. Tricia Akello has taken the New York market by storm with two brilliant fashion weeks in and shoots for Vogue Italia, Mac Cosmetics and Amica under her belt. Shana Mouton just wrapped up Vogue India and Harper’s Bazaar Bulgaria, and we are very lucky to rep the amazing Jourdana Phillips who has Paris and New York buzzing.”
“…I hope you managed to see the Top Gear episode that bore the fruits of our work. If so, I hope you enjoyed it. I just wanted to take this opportunity to thank you all and the rest of your team so very much again for all your assistance with its filming. It was a true pleasure to work with you all and I look forward to the opportunity to do so again one day in the future. I sincerely appreciate the energy and support you afforded me.”
Owner of Fusion Models, Facilitates internationals with local talent
© Top Gear presenters Chris Evans and Matt Le Blanc
Location Scout for Top Gear, Facilitated by KwaZulu-Natal Film Commission
30 / WESGRO
This quarter Wesgro will be attending the Cannes Film Festival, has partnered with Encounters Documentary Festival, and has created an innovative locations guide.
THE CANNES FILM FESTIVAL
Monica Rorvik from Cape Town and Western Cape Film & Media Promotion, a division of Wesgro, will be attending the Cannes Film Festival in May, taking place from the 17th to the 28th of May. She will promote the City of Cape Town and the Western Cape as a desirable destination for the filming of feature films, TV series, commercials and stills shoots. Major international and local productions are drawn by the wide range of
locations, exemplary services and studios. Wesgro’s Film & Media Promotion unit assists with promotion offering in the province, including regulation guidance and finding co-production parties and project mentoring.
19TH ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL
Encounters taking place from the 1st to the 11th of June in Johannesburg and Cape Town, and will celebrate
the best of the continent’s Intro (4.30pm – 5pm) documentaries. Al Jazeera has Saturday 3 June 3.30pm – 5pm partnered with Encounters to Watershed, 17 Dock Road announce a Pitching Forum V&A Waterfront Call, where African filmmakers RSVP: firstname.lastname@example.org are invited to submit proposals in Johannesburg on Saturday, Wesgro Workshop Exchange 2016/09/12 12:29 PM 10 June 2017, during the Join Monica Rorvik and Encounters festival. Lisa Mini as they explain how Wesgro’s film and Wesgro is involved with two media services can panel discussions at Encounters: help your company grow. Sunday 11 June 3.30 – 4.30pm Meet the Funders Watershed, 17 Dock (NFVF introduction/presentation Road, V&A Waterfront 3.30pm – 4.30pm) and Wesgro RSVP: email@example.com
Cape Winelands: Flickr © John Hickey-Fry
Garden Route and Klein Karoo © Cycking
WESGRO / 31
Cape Town International Convention Centre
BASELINE RESEARCH STUDY Wesgro’s Film & Media Promotion unit has commissioned a value chain baseline study on the Cape’s industry. This baseline research will be concluded by June 2017 and coincide with the recently announced South African Film Industry (SAFI) economic baseline research commissioned by the National Film and Video Foundation (NFVF). It will also provide the industry insights to its size and opportunities.
CAPE TOWN AND WESTERN CAPE – CREATIVE LOCATIONS
Wesgro’s Film & Media Promotion unit has pioneered the creation of an innovati ve guide to the province’s greatest locations. Available in a print or digital format, this guide provides incredible visual, key contact details and essential information about these locations. From state-of-the-art stadia, gritt y urban spaces, lush green parks, vibrant townships and
pristine beaches, this guide is the go-to resource for location scouts and producers. Visit www.wesgro.co.za to download the Creati ve Locations ebook. Monica Rorvik (Head: Film & Media Promotion) t: +27 21 487 8600 e: ﬁlm@wesgro.co.za LinkedIn: Wesgro - Film in the Western Cape www.wesgro.co.za Film Ad – Call Sheet A4.indd 1
Cape Overberg: Flickr © SA Tourism
Cape West Coast
CREATIVE LOCATIONS CAPE TOWN AND THE WESTERN CAPE
2016/09/12 12:29 PM
32 / LOERIES
THE LOERIES 2017 Where your dodgy browser history won’t be judged, but your work will.
Andrew Human © Gallo Images
Loerie Awards 2016 © Gallo Images
NEW CATEGORIES IN 2017 DESIGN FOR DIGITAL
painting precisely in the style of the great Dutch Master.
A new category in Communication Design, that recognises the important role that design has in digital media. • Any digital platform can be entered here, for the jury to consider the innovation in graphic design on the platform. • Examples include animation, motion graphic and still design – websites, mobile, interactive applications, publication design.
This new category in Digital & Interactive, recognises the creative use of data to shape campaign strategy, inform execution, profile audiences, and adapt to campaign performance and engagement metrics. A good current example is The Next Rembrandt, where data modelling and algorithms were used to create a believable
THE FACEBOOK CHALLENGE As part of Facebook’s support of young creatives, this Student Category focuses on the use of mobile media to promote a socially relevant cause. Check the category info for details.
A GOOD CURRENT EXAMPLE IS THE NEXT REMBRANDT, WHERE DATA MODELLING AND ALGORITHMS WERE USED TO CREATE A BELIEVABLE PAINTING PRECISELY IN THE STYLE OF THE GREAT DUTCH MASTER.
CHANGES TO CATEGORIES AND THE ENTRY SYSTEM
The Loeries categories are constantly reviewed and updated to mirror the changes in our media landscape. Please be sure to review all the categories to determine where to enter your work. • From 2017, no live media can be entered, including URLs. Websites, YouTube content and similar must be entered as either video walk-throughs or static jpegs. • Significant category changes have been made in the “Digital & Interactive” category. Be aware that digital
media can be entered in the following categories: Media Innovation; TV, Film & Video; and Design for Digital Media. • Please remember to double check entry rules - all work Made for the Region or Made by the Region is eligible, and all Craft work for eligible work can be entered, irrespective of whether or not the craft person is from the region. Check the full rules for details. • Overview videos for entries must be limited
to two minutes. • When submitting multiple elements of a campaign into various categories, it is vital that the entry is described appropriately for each category. • Check the “Preparation Guidelines” to ensure your media is entered correctly. • A reminder that all NonEnglish entries must come with English translations and/or subtitles. www.loeries.com
We won’t judge
that you did
and your name
work Loeries®Africa Middle East. Entry deadline 15 May 2017. Get tickets for Loeries® Creative WeekTM Durban, 14 - 20 Aug Visit loeries.com
34 / OPPORTUNITIES
BERTHA BRITDOC FUND AND TALENTS DURBAN CALL FOR ENTRIES
Entries for the Bertha BRITDOC Fund are now being accepted, as are the 10th Talents Durban, which will take place during Durban International Film Festival.
information on what kind of ﬁlms are funded, or to apply for this rolling fund, visit www. britdoc.org/bertha-journalism.
TALENTS DURBAN CALLS FOR PROJECT SUBMISSIONS
BERTHA BRITDOC FUND OPENS
The Bertha BRITDOC Journalism Fund is an international ﬁlm fund dedicated to supporting long form feature documentaries of a journalistic nature. They are looking for ﬁlms that break the important stories of our time, expose injustice, bring attention to unreported issues, and cameras into regions previously unseen. This fund recognises such ﬁlms are often delicate and protracted, making them diﬃcult to fund. With a mission to enable in-depth analysis of issues through long-form investigati ve ﬁlmmaking, the Bertha BRITDOC Journalism Fund is particularly looking to work with
ﬁlmmakers with a journalistic background or those who are collaborating with journalists. It is key that the journalistic intent is embedded within the ﬁlm itself rather than the ﬁlm simply being about a journalist or journalistic institution. If your project is highly sensiti ve and you would like to submit a more secure proposal, please contact Sandra Whipham in the ﬁrst instance: firstname.lastname@example.org. Since 2011 the fund has supported over 30 projects including Oscar and BAFTA winning CITIZENFOUR and Oscar nominated Virunga, The Square and Dirty Wars. Recent grantees can be found in the Bertha BRITDOC Journalism Fund directory. For more
The 38th Durban International Film Festi val (DIFF), hosted by the Centre for Creati ve Arts, University of KwaZulu-Natal, with support from Berlinale Talents, is proud to announce the opening of applications for the 10 th Talents Durban taking place 14-18 July under the theme “Perspecti ves; Seeing Things Diﬀerently”. This year, Talents Durban opens submissions to African writers and directors with ﬁction, documentary and hybrid projects in development. Talents Durban will again welcome projects of all media formats such as ﬁlm, television series, web series and content for mobile platforms. As part of the 10 year
celebration, the 2017 programme is also opened to alumni of Talents Durban, building on sustainable networks and opening doors for collaboration. As before, Talents Durban will host mentorship and hands-on training for emerging ﬁlm critics. The Talent Press programme is a co-operation with FIPRESCI and the Goethe-Institut. Talents Durban is also excited to include a new discipline in Animation and Visual Eﬀects. The Animation Studio, will be launched as part of the programme to keep Africa at the forefront of current and new cinematic technology. Entries close on 5 May 2017. For more information, contact Lungile Ngubelanga on +27 31 260 3586 or email email@example.com. Applications can be submitted on www.berlinale-talents.de/ bt/durban/ap/info/index or on www.durbanﬁlmfest.co.za.
THIS YEAR, TALENTS DURBAN OPENS SUBMISSIONS TO AFRICAN WRITERS AND DIRECTORS WITH FICTION, DOCUMENTARY AND HYBRID PROJECTS IN DEVELOPMENT.
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36 / EVENTS TO DIARISE
HOT DOCS 1–5 Toronto, Canada MARYLAND FILM FESTIVAL 3–7 Maryland, USA BRAND FILM FESTIVAL 4 New York, USA OXFORD INTERNATIONAL FILM FESTIVAL 5–7 Oxford, United Kingdom NICE INTERNATIONAL FILM MAKER FESTIVAL 6 – 13 Nice, France FESTIVAL DE CANNES 17 – 28 Cannes, France AFRICAN FILM FESTIVAL NEW ZEALAND 18 – 24 Wellington, New Zealand SEATTLE INTERNATIONAL FILM FESTIVAL 18 – 11 June Seatt le, USA
SUNSET FILM FESTIVAL LOS ANGELES 21 – 22 Los Angeles, USA MAMMOTH LAKES FILM FESTIVAL 24 – 28 California, USA
MENDOCINO FILM FESTIVAL 1–4 Mendocino, California SUNDANCE FILM FESTIVAL: LONDON 1–4 London, USA
TELLURIDE MOUNTAINFILM 26 – 29 Telluride, USA
ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL 1 – 11 Cape Town and Johannesburg, South Africa
KRAKOW FILM FESTIVAL 28 – 4 June Krakow, Poland
DANCES WITH FILMS 1 – 11 Hollywood, USA
NEW YORK INTERNATIONAL SHORT FILM FESTIVAL 30 – 1 June New York, USA
BROOKLYN FILM FESTIVAL 2 – 11 New York, USA
DISCOP AFRICA ABIDJAN 30 May – 1 June Abidjan, Ivory Coast
NEW MEDIA FILM FESTIVAL 6–8 Los Angeles, USA
ILLUMINATE FILM FESTIVAL 31 – 4 June Sedona, Arizona
SYDNEY FILM FESTIVAL 7 – 18 Sydney, Australia
SHEFFIELD DOC/FEST 9 – 14 Sheﬃeld, United Kingdom THE BANFF WORLD MEDIA FESTIVAL 11 – 14 Banﬀ, Canada ANNECY INTERNATIONAL FILM FESTIVAL AND MARKET 12 – 17 Annecy, France LOS ANGELES FILM FESTIVAL 14 – 22 Los Angeles, USA PROVINCETOWN INTERNATIONAL FILM FESTIVAL 14 – 18 Provincetown, USA AMERICAN BLACK FILM FESTIVAL 14 – 18 Miami, USA
EVENTS TO DIARISE / 37
MIDNIGHT SUN FILM FESTIVAL 14 – 18 Sodankyla, Finland RIVER FILM FESTIVAL 16 – 30 Padua, Italy INTERNATIONAL FESTIVAL OF CREATIVITY (CANNES LIONS) 17 – 24 Cannes, France SUNNY SIDE OF THE DOC 19 – 22 La Rochelle, France NANTUCKET FILM FESTIVAL 21 – 26 Nantucket, USA EDINBURGH INTERNATIONAL FILM FESTIVAL 21 – 2 July Edinburgh, Scotland
MOSCOW INTERNATIONAL FILM FESTIVAL 22 – 29 Moscow, Russia SERIES FEST SEASON THREE 27 – 2 July Denver, USA BERLIN SHORT FILM FESTIVAL 29 – 3 July Berlin, Germany
KOTA KINABALU INTERNATIONAL FILM FESTIVAL 7 – 16 Kota Kinabalu, Malaysia MADRID INTERNATIONAL FILM FESTIVAL 8 – 15 Madrid, Spain ZANZIBAR INTERNATIONAL FILM FESTIVAL 8 – 16 Zanzibar City, Tanzania
MAINE INTERNATIONAL FILM FESTIVAL 14 – 23 Maine, USA MEDIATECH AFRICA 19 – 21 Johannesburg, South Africa SAN FRANSISCO FROZEN FILM FESTIVAL 20 – 23 San Francisco, USA PERIPHERY OF EMPIRE SHORT FILM FESTIVAL 20 – 31 Sessa Aurunca, Italy
NATIONAL ARTS FESTIVAL 29 – 9 July Grahamstown, South Africa
DURBAN INTERNATIONAL FILM FESTIVAL 14 – 18 Durban, South Africa
TAIPEI FILM FESTIVAL 29 – 7 July Taipei, China
DURBAN FILMMART 14 – 17 Durban, South Africa
GUANAJUATO INTERNATIONAL FILM FESTIVAL 21 – 30 Guanajuato, Mexico
CAYMAN INTERNATIONAL FILM FESTIVAL 30 – 3 July The Cayman Islands
ODESSA INTERNATIONAL FILM FESTIVAL 14 – 22 Odessa, Ukraine
TRAVERSE CITY FILM FESTIVAL 25 – 30 Traverse City, USA
Unsplash © David Marcu
SUNLIGHT INTERNATIONAL FILM FESTIVAL 7–8 Moscow, Russia
38 / ASSOCIATIONS NEWS
AFCI GLOBAL PRODUCTION AND FINANCE CONFERENCE
CPA ASKS MEMBERS TO VERIFY DRONE OPERATORS
The Association of Film Commissioners International (AFCI) and its industry partner Lightsource Asia Media Group (LAMG) brought hundreds of directors, producers, writers, location managers, independent ﬁlmmakers and members of various industry guilds together from 6 – 8 April 2017 to learn, engage and connect at the AFCI Locations Show and Global Production and Finance conference in Los Angeles. A premier marketplace for global production locations and ﬁlm funding resources, the three-day event connected content producers to over 80 location show exhibitors from over 20 countries. It also offered unique insight into co-production, new incentives, tax reliefs and changes in the ﬁlm ﬁnancing landscape with executive speakers from 20th Century Fox, Amazon Studios, Entertainment Partners, Marvel, Paramount TV, Wanda Studios Qingdao, Warner Bros. Entertainment and more. “AFCI Members represent in part more than $3-billion each year toward funding support of commercial, ﬁlm and television production while supporting the industry with an estimated global impact of nearly $90-billion annually,” says Kevin Clark, AFCI Executive Director. For more information on the event and how you can get involved in 2018, visit www.afci.org.
The Commercial Producers Association of South Africa (CPA) has called for its members to verify that the drone (Remotely Piloted Aircraft Systems – RPAS) operators they use are licensed. The CPA recommends that all members check the credentials of RPAS operators on the Civil Aviation Authorities website: www.caa.co.za. As of 30 March 2017, the following operators are licensed: • UAV & Drone Solutions (Pty) Ltd • Public Display Technologies (Pty) Ltd • Timeslice Cinematography • LS Multi Copter Projects and Services (Pty) Ltd • Visual Air Productions (Pty) Ltd • Premier Aviation CC • FC Hamman Films CC • UAV Industries (Pty) Ltd • Anglo Operations (Pty) Ltd – CORPORATE operations only • Gillcor CC • Skyhook (Pty) Ltd • Fortune Air (Pty) Ltd Newly licensed operators will be updated by the CAA and members can check the website for details.
ASSOCIATIONS NEWS / 39
The Documentary Filmmakers Association of South Africa (DFA) recently held two Visions du Réel readiness workshops in Cape Town and Johannesburg. Taking place on 1 and 8 April respectively, the workshops covered packaging and pitching, as well as many other facets to successfully preparing a ﬁlm project for international festivals. The workshops were facilitated by talented local industry professionals Francois Verster and Sylvia Vollenhoven in Cape Town, and Tiny Mungwe in Joburg. Visions du Réel is an internationally renowned documentary ﬁlm festival held annually in Nyon, Switzerland. This year’s festival took place from 21 – 29 April 2017.
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40 / DIRECTORY
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We’re famous for our mountain, and our oceans, and our desert, and our forests, and our city, and our rivers, and our salt pans, and our winelands, and our farms, and our beaches, and our parklands, and our game reserves, and our studios, and any other location you need. Cape Town and the Western Cape has as many locations as you have ideas. Together with state-of-the-art facilities and a budget-loving exchange rate, the journey from script to screen will be seamless. That’s why movies and series such as Resident Evil: The Last Chapter, Mad Max: Fury Road, The Brothers Grimsby, Eye in the Sky, Momentum, District 9, Shepherds and Butchers, Noem My Skollie, Mandela: Long Walk to Freedom, Invictus, Safe House, Dredd, Strike Backs S3, Blood Drive, Homeland S4 and Black Sails S1-4 have been filmed here. Other benefits of shooting here are the moderate climate, highly competitive rates, a skilled and established commercial and stills industry, as well as world-class animation, VFX, and post production facilities. Wesgro is mandated by the City of Cape Town and the Western Cape government to promote the region’s film and media industry. This means we’re a favour waiting to happen. Find out how Wesgro can support you by visiting www.wesgro.co.za and download our new e-book to see some of the inspiring locations we have waiting for you. Cape Town and the Western Cape. An inspiring place to create.
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Published on May 1, 2017
In Issue 5 of the Callsheet, we bring you an in-depth look at why South Africa is one of the top 10 film service destinations in the world -...