Callsheet Africa Issue 01 | 2021

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ISSUE 01 | 2021

LOYISO’S UNLEARNING Netflix takes SA comedy to new heights

Hybrid Space

Introducing the CTICC’s

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02. Industry Snapshot

10. The SAFTAs are back,

04. Wesgro FMP: Locations, opportunities for youth, and film market updates

this time with a twist!


Loyiso Gola opens up about

06. Behind the scenes on Coming 2 America

his new Netflix comedy

special Unlearning

07. MIPTV Online+ ready for April launch 09. Spotlight on the Studio Sector, plus Sasani spaces have freed up


14. Pan-African lifestyle channel

Honey launches on DStv

15. Priest’s new post project

Good Life gets a good grade

22 16. Tali’s Baby Diary brings us oodles of laughs on Showmax 18. Greenset talks sustainability on Life of the Afterparty 20. Shooting Reality with Valen’tino on Real Housewives of Durban 22. Rapid Blue appoints Grant Flynn as Head of Creative Development 24. Directory of Advertisers


Industry Snapshot


We dig into the hot topics in the local commercials, animation, film and TV production, and festival sectors. COMMERCIALS

Africa fights malaria with groundbreaking brand film Dentsu International has partnered with Malaria No More UK and acclaimed Nigerian music video Director Meji Alabi to create a campaign that invites the world’s youth to join the movement against the world’s oldest deadly disease. The campaign invites people to share the cinematic hero film, which showcases the captivating talent and energy emanating out of the African continent, including Dr Omotola J Ekeinde, Nigerian actress and philanthropist; Osas Ighodaro, Nigerian American actress and producer; Saray Khumalo, South African explorer; Eliud Kipchoge, Olympic Gold-medallist and marathon world record-holder; Siya Kolisi, Captain of the Springboks, South Africa’s World Cup winning rugby team; and Sherrie Silver, award-winning Rwandan British choreographer. The stars are joined by global artist Láolú Senbanjo, and a team of malaria community champions who feature in different scenes to tell the human story of malaria and the devastating impact it has on their education, employment, health and prospects. Osu signs Yoza Mnyanda and Michelle Perkins Osu Creative Productions has announced that rising stars, Director Yoza Mnyanda and Photographer Michelle Perkins, have joined their fold. “Their agile, collaborative and daring approach within their respective disciplines, made them an obvious fit to the Osu way of working,” Simoné Bosman, Executive Creative Producer, told IDIDTHAT’s Julie Maunder recently. “With Yoza honing her craft in

Draw the Line Against Malaria © Dentsu

treating visual and strong performance films, and Michelle meticulously perfecting her artistic and performance direction in every still image, we are excited to journey with them in shaping the film and photography industry to the future.”


SA-Zim Co-Pro Shaina shines Young adult film Shaina opened the Halifax Black Film Festival (HBFF) in Nova Scotia, Canada, in early March. It will also enjoy a sneak preview at the Pan African Film Festival (PAFF) in Los Angeles. In addition, Zimbabwean/South African Director Beautie Masvaure Alt has been nominated in the Best Director – First Feature Narrative category at PAFF.

The film tells the story of Shaina who, in the face of life-altering events, must make her own future through ingenuity and determination. As she and her girlfriends deal with very adult problems, they rely on each other. At times heartbreaking, always hopeful, Shaina comes alive to the beat of contemporary Zimbabwean music. Written by Zimbabwean writer Wanisai Chigwendere, Shaina was produced by Impact(Ed) and Quizzical Pictures and filmed in South Africa and Zimbabwe. Led by Wilmah Munemera in the title role, the film introduces audiences to a lineup of brand-new Zimbabwean talent with cameos from some of Zimbabwe’s bestknown faces, such as Jesese Mungoshi, Eddie Sandifolo and Charmaine Mujeri.

Industry Snapshot


Neill Blomkamp reveals District 10 in the works The renowned South African director of District 9 and Elysium revealed on Twitter in late February that he and writing partners Sharlto Copley and Terri Tatchell are currently working on the screenplay for District 10, the long-awaited follow-up to South Africa’s biggest box office hit. The 2009 film grossed US$211 million worldwide, the largest-ever sum for a South African film. It also received four Academy Award nominations, including Best Picture and Best Original Screenplay. In a 2017 Reddit AMA (Ask Me Anything), Blomkamp confirmed that District 10 was a definite possibility. “Most importantly,” he added, “the exact right reason to make District 10 needs be very clear. The first film was based so explicitly on real themes and topics from South Africa that affected me greatly growing up there, which we need to make sure the next film does not forget.” Entertainment One Greenlights SA kids series Entertainment One (eOne), Hasbro’s

entertainment studio, has greenlit a new series for pre-schoolers set to launch in multiple markets globally in 2023. Kiya, about a young superhero and her two best friends, will debut with 52 x 11-minute episodes across linear and digital broadcast platforms including Disney Jr. and Disney + globally and France Télévisions. Kiya’s world features a diverse cast of characters inspired by the varied landscape, natural beauty and culture of Southern Africa. Produced by eOne, Triggerfish and Frog Box, in partnership with Disney Junior and France Télévisions, the series is based on an original concept from South African-based production company Triggerfish and developed for Television by Frog Box and eOne. “It was especially important for us to partner with eOne, who promote inclusive characters and storytelling from various cultures, including ours, as part of their global programming,” says Stuart Forrest, CEO of Triggerfish. “We know that Kiya has found the right home and we can’t wait for you to visit ours.”

Find your perfect location Book now at

As seen on


The characters were created by Kelly Dillon and Marc Dey, then developed for television by Robert Vargas. The production features a diverse creative team, including writers, designers and composers from across Africa as well as France, the US and the UK.

The Loft House now on Showmax Written and directed by Ferdinand W Gernandt, The Loft House was conceptualised and created by a group of South African creatives who came together to realise their passion project in the most unique way. The Loft House was mainly crowd-funded and brought to life by a community who wanted to express the restoration message through their collective creative contributions. The Loft House centres around themes of abuse and addiction, recovery and reconciliation and ultimately the hope that healing can happen. The film recently screened at EKO International Film Festival and Crown Wood International Film Festival respectively. It now is available for viewing on Showmax.



SXSW 2021 iKasi Media. Image by Shaylin Herring


Opportunities for youth, locations and film markets IKASI MEDIA EXPANDS

iKasi Creative is a specialised training provider delivering practical learning programmes to rural youth, that will inspire and equip them to design a future for themselves in the 4th Industrial Revolution. Their programmes take place in rural areas to accommodate students from far-flung communities. The iKasi Creative team will host several Film and TV Orientation courses

held over five days around the Western Cape including Plettenberg Bay, Worcester, Riebeek Valley and Velddrif. 25 learners were selected to join a three-month accredited training course to learn the fundamentals of making a movie. After graduating with a certificate, they will have the opportunity to work on professional documentary sets. For more information about the iKasi Creative courses, visit:

While large gatherings are still prohibited globally due to the surge in COVID-19, South by South West (SXSW) has opted not to stage their usual colossal, in-person event. This year’s event will focus on a digital experience, featuring conference keynotes and sessions, film screenings, music showcases, networking, and exhibitions. SXSW is on the list of premiere creative festivals to attend, to keep abreast of global trends in tech, music, film, gaming and interactive media. Various members from Wesgro will be attending this year’s SXSW festival. Wesgro will also host an online event, celebrating local talent success. There will also be experts discussing immersive technologies, innovation and why Cape Town and the Western Cape is emerging as a powerhouse in the film and tech industries. SXSW Online 2021 will run from 16-21 March 2021. For more information, visit:



25 learners were selected to join a three-month accredited training course to learn the fundamentals of making a movie.



The 71 st Berlin International Film Festival has developed a new festival format for 2021 because of the current and on-going COVID-19 situation, and will be hosting the festival for both the industry and the public virtually and in person. Industry platforms, European Film Market, Berlinale Co-Production Market, Berlinale Talents and the World Cinema Fund will kick off Berlinale in March with an online offer. In June, there will be a summer event with numerous film screenings for the public, not only in cinemas, but on open air as well. This division allows maintaining the two supporting pillars: film market and festival. Wesgro’s Film and Media a great place to create Promotion Unit will be attending the 5-day virtual event in an effort to continue promoting Cape Town and the Western Cape’s film industry. Berlinale will run from 1-5 March 2021. For more information:

The Junior Entertainment Talent Slate Initiative (JETS) is a joint effort of the film and TV industry, government film funding organisations and private investment sectors to create co-production opportunities for selected emerging projects. Besides encouraging various financing strategies and new partnerships for a global film market, the JETS Initiative has become a worldwide network for coproductions aimed at emerging filmmakers and filmmakers with less experience in feature film productions under coproduction terms. The 2021 edition of the JETS initiative took place on 16-17 February as an online event. Two of the 27 selected projects of the fifth round of this initiative originate in the Western Cape. Sandulela Asanda and James C. Williamson having worked on The Trek and Nolitha Mkulisi and Mzonke Maloney on The Violence. Other notable projects from South Africa include: The Illiterate, The Killing of the Beast, Moses and the Burning Bush, and Rocket Boy. To learn more about the JETS Initiative:


On the 1st of February, the President announced adjusted level 3 regulations for the country with beaches and parks open to the public again. Under the current regulations, filmmakers no longer require a permit for recces on beaches and parks, but permits are required when filming at those locations. In addition, film sets need to be COVID-compliant as per the Cape Town Film Permit Office’s Standard Operating Procedures. Should you have any queries, email

For more information on level 3 film regulations:

Download the Standard Operation Procedures here:

2017/03/07 10:56 AM


Costume Design Spotlight


on Holly wood


he world of costume design is often hidden behind swathes of fabrics and colours, bringing a sense of awe and magic to a story. In fact, it is such an integral part of good storytelling and character development that great costume designers are highly sought after. This is exactly Costume Designer Ruth E Carter experiences on the daily. And with over 40 films to her name including iconic productions like Black Panther, Shaft, Oldboy and Selma, her star-studded repertoire is as diverse as her wardrobe on each set. Callsheet Africa Editor Kim Crowie caught up with her ahead of the release of Coming 2 America to find out more – including her recently acquired star on the Hollywood Walk of Fame.

Images courtesy of Amazon Studios

Costume Design Spotlight



fame and Coming 2 America Congrats I believe are in order! Your name on the Hollywood Walk of Fame! Tell me about it… When people say I have 35+ years in the industry, I go, “Really?! It feels like it was just yesterday.” You love what you do so much, but when you see your name cemented in Hollywood, I think yes, I have sacrificed. Yes, I have given a lot of dedication to this craft, and I appreciate the stamp of approval. What is the significance of this kind of accolade, both personally and as a person of colour? When I first started in the late 80s and early 90s, it was a time when black film was burgeoning, rap was defining itself. So as a costume designer, I had the opportunity to create images that were empowering

and beautiful, that we felt represented the culture. When I worked with Spike Lee, so many beautiful images were created. I also bounced back and forth between Los Angeles and New York every year, doing one film in LA and doing one in New York. In LA, I was working with comedians like Keenan Ivory Wayans and Robert Townsend and I got to see another side of how I could use my voice. So I was creating a language for my artistry, and also honouring our images by being authentic. Tell me about your professional relationship with Eddie Murphy, with whom you’ve done many films – most recently Dolemite is my Name. How did this bright 70s getup compare with Coming 2 America? Eddie and I are one year apart so we remembered a lot of the nuances of the 70s. And because we’ve done so many films together, we were comfortable with each other and we wanted to show the 70s that we knew. Now with Coming 2 America it’s almost the opposite. I’m honoured to work with someone as brilliant as Eddie Murphy and to craft different characters and have fun. It’s the best person you could dress in a costume! How does the costume set the tone and tell the story? Most of us when we see a really good film, we’re affected by so many things that we don’t realise. We’re affected by mood and composition, when the textures and feeling of a place is well-crafted, it helps support the acting and the story. That’s the job of a costume designer, to really

Coming 2 America will be available on Amazon Prime Video and released in cinemas nationwide from 5 March 2021.

bring you into the story and the place. It’s magical. It really brings you to an understanding of the character and costume. We can’t talk about Africa without Black Panther! Tell me about the film and the build-up to the Oscar you won. We had built a beautiful world and honoured a vast continent of beautiful tribal customs. The reward of seeing that come to life through wonderful actors like Chadwick Boseman was incredibly rewarding. It was done from the soul, from the heart, from the imagination. And it was done for the culture. As we wound out of production and as people across the world fell in love with the costumes, I felt really good because you’re putting culture out there – whether it’s your own or someone else’s. You have a great responsibility to it. Even if you make parts of it up, it has to ring true to them, and not like you’re appropriating but rather celebrating. The world made me feel that I did the right thing and wanted to celebrate with me.


Industry Market Update

MIPTV goes digital in 2021 M

IPTV is the longest running international television market taking place in Cannes each April. Taking place from 12-16 April this year, Digital MIPTV will be bringing the best of MIPTV, MIPDoc and MIPFormats online in their 58 th international TV market. Despite going completely online, connections remain at the heart of Digital MIPTV. Procuring meetings for delegates will be the focus of the show, where the programme will feature a robust offer of pre-scheduled one-to-one matchmaking, online thematic meet-ups, one-to-many workshops, mentoring, as well as breakout sessions to boost sales, acquisitions, coproduction and development among TV execs worldwide across Doc, Factual, Formats, Drama and Kids.


Depending on your business goals, you can choose from pre-scheduled oneto-one matchmaking, online thematic meet-ups, one-to-many workshops, mentoring, as well as breakout sessions with buyers and commissioners.


All regions of the world are represented at Digital MIPTV, with executives from across the entire TV production and distribution

chain and in all genres. You can visit the website to find the complete list of confirmed 2021 buyers or commissioners.


CONFERENCES AND EVENTS The dedicated conference programme can be tailor-made to your needs. This includes curated themed discussions, mentoring, workshops, Médaille d’Honneur, keynotes, market Intel, fresh TV, and content trends across all genres to watch live and on demand.


The one-to-one matchmaking Distribution Market offers a unique experience of pre-scheduled online meetings for finished content sales and acquisitions across all genres. No need to prepare your meetings in advance. Let our proprietary algorithm set your three-day online meeting agenda based on your business interests. The one-to-one CoProduction and Development Forum for Factual, Formats and Doc offers a unique experience of pre-scheduled online meetings to accelerate coproduction and development of unscripted projects. No need to prepare your meetings in advance. Let our proprietary algorithm set your three-day online meeting agenda based on your business interests.

Distribution Market This pass is ideal for TV content distributors and buyers of all genres. It guarantees 20 prescheduled meetings over 3 days for 2000€ per agenda. Co-Pro and Dev Forum This pass is ideal for production and development executives, documentary, as well as factual and formats. It guarantees 15 pre-scheduled meetings over 3 days for 490€ per agenda. Digital Pass This pass offers a full week of online meet-ups, workshops, market intel, conferences and networking for 250€ per delegate. Visit to register and secure your place at Digital MIPTV.




has studios available again!


asani has suffered two major blows over the past twelve months, and we are not referring to COVID-19… Isidingo and Rhythm City were both terminated, and they will leave our small screens. These were two of Sasani’s anchor tenants, and their presence on site will be missed. However, this loss presents our industry with opportunity; there are now three, beautiful sound proof studios available at Sasani: Stage 6, the current home to Rhythm City, is 1057sqm in size, and has a grid height of 6m. Our Stage 2 and Stage 5, that were home to Isidingo, Egoli, Rhythm City, and many other productions, are also

available. These two studios are similar in size, at approximately 450 sqm each, with a grid height of 6m and 8m respectively. The studios are sound proof up to NC26, with levelled floors, and they are fully air-conditioned. They have dedicated offices and set storage areas and each studio is linked to a control room, with our top of the range Grass Valley LDX 80 cameras, edit suites, and a shared storage system which includes ingest, browsing, and logging capabilities. A medical series called the “Core Baby Series” is currently being filmed in Stage 2, where gifted professionals connect with soon-to-be parents and accompany

them on the adventure of bringing a new life into this world. Quintin Shea of Core Productions had this to say: At Sasani Studios, our problems were resolved by Sasani’s high-level of expertise. The team at Sasani Studios works hard to meet the demands of our industry, and we look forward to bringing many new productions to our home and yours!

CONTACT US: Tel: +27 11 719 4000 Email:




Saftas golden horn

The SAFTAs are back…


he 15 th Annual South African Film and Television Awards (SAFTAs) are back and there has been a buzz about some changes made to the country’s muchloved celebratory affair, set to take place in May this year. Despite a difficult year the country has had due to the imminent spread of COVID-19, South Africa’s film and television industry stood up and fought to tell the South African story, and for this, they deserve to be celebrated in style. In 2020, the SAFTAs announced the appointment of Anneke de Ridder as Executive Producer of this celebration of the stars. Commenting on her appointment, Anneke said, “It is a tremendous honour to be tasked with bringing the industry and its supporters together to celebrate the great talent our country has to offer. South Africa’s filmmakers best define what it means to keep it rolling– despite the challenging delays that resulted from Covid-19. The SAFTAs will celebrate South Africa’s golden talent, their perseverance and the sense of purpose that carried them through 2020 with such grace. We are ready to roll and determined to put on a spectacular show.”

Noting the impact of the nationwide lockdown, the SAFTAs committee has amended the submission criteria to include production houses and individuals that were affected by circumstances beyond their control. Changes to the submission criteria have also allowed for the inclusion of digital platforms and events. These changes speak to the growth of online content on platforms such as YouTube & Facebook, as well as consumption of

Changes to the submission criteria includes production houses and individuals affected by circumstances beyond their control.

content on Video on Demand platforms. The judging process is currently underway, taking place virtually. The announcement of the nominees is scheduled to take place in April. Ensuring the judging process remains fair and safe, the SAFTAs opened a call to the industry to submit their profiles to be considered for the judging panel. An astounding 400 submissions were received and a total of 205 judges have been appointed to judge this year’s entries. Ensuring all COVID-19 protocols are observed, the SAFTAs committee has conducted all judging panel briefing sessions virtually and the entire judging process will also take place online. The SAFTAs are hosted under the custodianship of the National Film and Video Foundation (NFVF). For more info, visit

UNLEARNING & EVOLVING with Loyiso Gola >>


Netflix Exclusive

It’s no secret th is at the forefro to their online

Loyiso Gola performing Unlearning live at the Zeitz MOCAA in December © Netflix


espite being locked in our homes for most of last year, we’ve stayed pretty busy. This rings particularly true for one of our favourite local comedians, Loyiso Gola, who’s been planning a delicious Netflix comedy special! Following a successful international Unlearning tour, he returns, this time with a live show recorded at the iconic Zeitz Museum of Contemporary Art Africa. Perhaps best known for the twotime Emmy nominated Late Nite News with Loyiso Gola, he debuted his Unlearning special at the Edinburgh Fringe Festival in 2017, followed by the MICF, Soho Theatre in London, Grahamstown, and Soho Playhouse in New York. He finally brought the show to Cape Town in December 2020, in a visually gorgeous (and hilarious) special that releases on Netflix this March. “It’s what every comedian wants,” he says. Plus, he’s got the additional honour of being the first African comedian to have a full solo special on the global streaming platform.


Although shot at the end of last year, the production was a good 10 months in the making. They began talks in February, followed by pre-production – carefully considering when and how to shoot it. “We could have shot it anywhere,” Gola explains, “but it’s so much sweeter that we just so happened to do it in Cape Town.” Around August, he was already back doing live shows, so by the time December rolled around, COVID protocols were pretty much in place and live events were a safe possibility. “It was awesome that people came out, but we also had to contain the numbers even when we shot – so it wasn’t anything over the top or ostentatious.” For decades he’s been surrounding

Netflix Exclusive


hat comedy is on a meteoric rise, and Netflix ont of bringing the world’s funniest people stage. Now it’s Loyiso Gola’s turn. himself with a tribe of people who share the same synergies as him. And, when the time came, it was a nobrainer that they would be supporting him in this production, too. “Generally I have great people around me, and producing the special became seamless because of it. Of course, there were some disagreements, but when the time came, I knew I could trust them to pull things off.” One such person is Kagiso Lediga, with whom he worked closely on Late Nite News .


As someone whose profession dictates a level of socio-political understanding, Gola brings a wealth of knowledge about human nature to all of his shows. “The weird thing about humans is that we tend to gravitate towards things. And race is something we gravitate towards all the time, so it’s a difficult topic to dismantle in that sense,” he explains. “Most of the time when people talk about

race, it’s more systemic and stems from humans gravitating towards comfort. This becomes destructive when you exclude other people and use other people. Naturally, humans move in packs. There’s a term for it – confirmation bias. No one hangs out with the people who challenge their ideas. It’s too uncomfortable. So the first thing I think people need to get away from is confirmation bias.” Loyiso is familiar with discomfort. He’s been surrounding himself with people who challenge his ideas for quite some time. “I don’t know if it’s a conscious thing to hang around people who challenge me, but I am saying that when we disagree, it’s an opportunity to get a totally new perspective on an issue. You can’t just cancel or ignore the things you don’t like. You’ve got to engage them sometimes.”


When it comes to personal and professional growth, Gola believes he’s

I don’t know if it’s a conscious thing to hang around people who challenge me, but I am saying that when we disagree, it’s an opportunity to get a totally new perspective on an issue. You can’t just cancel or ignore the things you don’t like. You’ve got to engage them sometimes.

definitely gained some valuable experience over the years. “Certainly I’ve evolved as a human being. There are things you understand more now as a 37-year-old than you thought you understood at 25. For example, talking about subjects on stage that I had no business talking about!” he laughs. That said, the content of his show takes many irreverent and fascinating twists and turns, from shocking childhood pranks reaching across South Africa’s socio-economic spectrum to a stag party gone wrong, to the power of advertising and how throughout history we’ve learned and relearned so many often incorrect things about ourselves and our fellow human beings. With all of these thoughts floating around in his head, we’re all wondering what exactly Loyiso Gola was thinking in the moment he walked onto the stage of his glittering (and particularly well-lit) Netflix special. After a moment of consideration, he says in the simplest of terms: “I have to follow the director’s notes – look into the camera, tell the story, take your time, enjoy the moment, be cognisant of the poignant points of the show…those are the things I was thinking about, but I also just wanted to make this thing cool and fun.”

CATCH LOYISO ONLINE Loyiso Gola’s Netflix special,

Unlearning, will be released on 23 March 2021.


Lifestyle TV

New Channel Alert:



aunched on 15 February 2021, HONEY is DStv’s newest addition, catering to Africa’s growing lifestyle and reality market. Designed to connect curious Africans across the continent, Channel 173 covers style, food, relationships, reality and more, with fresh content every weekday from 5-7:30pm CAT. Pan-African connection is the name of the game, and as such, HONEYbrings shows from across the likes of Kenya, South Africa, Nigeria and Zambia to viewers hungry for real and aspirational stories from their proverbial backyard. Kenya’s growing culinary industry is fertile ground for Making the Menu, while Nigerian Love Swap is sure to get audiences hot and bothered. “DStv is thrilled to launch HONEY,” says Yolisa Phahle, MultiChoice CEO of General Entertainment. “The channel is part of our commitment to keep bringing fresh, authentic and local content to our African subscribers. For many years, we’ve seen lifestyle is a popular genre on the continent; and now our subscribers will see their own talent, food, celebrations, and their families as the well-deserved hero.” The channel will be broadcast in all key African regions including Nigeria, Ghana, Kenya, Uganda, Namibia, Botswana, Malawi, Zambia, Angola, Mozambique, Tanzania, DRC, Cameroon and South Africa. Keeping with the continent’s effervescent energy and vibrancy, it will be a tapestry of African producers with exciting storylines and cross-continental casting, making HONEY, a go-to for African storytelling. Here’s a look at some of the highlights...


Drama, opulence, and sass from behind the pulpit is the order of the day with reality series, Pastor’s Wives. Produced by Sonia Mbele ( The Real Housewives of Jo’burg), it brings together the first ladies of five congregations as they juggle motherhood, marriage, family, friendships, businesses and careers, all while supporting their husbands and setting an example for their congregants.

Love Swap


What happens when couples swap partners to test the strength of their relationship over a meal? Blending cooking with insightful conversation to establish a common footing and a relaxing atmosphere, two couples have dinner together and share their opinions about each other and what they’ve learnt about their own relationships.


In each episode, two bloggers visit a muchloved Nairobi restaurant where they are tasked to create a bespoke meal worthy of a nod from the restauranteur. The bloggers explore some of Kenya’s cultural and tourist attractions for inspiration.

HOOT, COOK, GO Pastors Wives


At some point in our lives, we’ve all been convinced that two people we knew would be perfect for each other - if only we could make them see it! Well in this brand-new Zambian reality series, we get to find out if people’s intuitions are true.

A fast-paced cooking show where three teams treat one another to a hearty meal in one hour. When they hear the hooter, it’s time to get in the car and move on to the next team’s house. The team scoring the highest votes across the board takes home a prize and bragging rights.

HONEY is produced for MultiChoice by Media24. For more information visit











Good Life’s



aking feature films is challenging at the best of times, never more so than during the COVID era. Cue writer /director Bonnie Rodini’s new feature film, “Good Life”, shot in July/ August 2020. The film, set in South Africa and Greece, is a romantic drama starring Erica Wessels, Sven Ruygrok, Robyn Scott, Jennifer Steyn and other South African icons. Bonnie teamed up with producer / post supervisor Barry Strick to go into production in July 2020 and provide work for over 25 crew and 20 cast who were otherwise unemployed as, at that stage, none of the regular foreign productions were able to shoot in Cape Town. Now edited and ready to go into post production, Director of Photography Amelia “Mielies” Henning and Producer / Post supervisor Barry Strick decided that experienced feature colourist Donovan Bush would be the ideal collaborator for the grade. Donovan has 20 years that Mielies was comfortable with. We of colourist experience in South Africa decided on a technology solution so we and began working on international could work with Donovan remotely. The longformat projects 8 or 9 years ago. timing worked out well for Donovan too Several international DPs then asked – stuck at home during the strict British him to travel to Europe to grade dailies lockdown in December and January.” for them; he’s now settled in London. Working closely with Priest, Barry and “It was important to me to have South Priest’s resident young colourist Skye African crew on the film,” says Barry, Barrow set up tests with Donovan and used “and also a colourist that- IZoom trusted and Black colour sync mode to Call Sheet - Jan 2021 Theme_ForPrint.pdf 1 Magic 2/1/21Resolve’s 10:29 AM

give Donovan control of the Resolve suite at Priest. “With COVID and limited flights, courier services were not great over the Christmas period; we uploaded all the source footage to Donovan – all 400gb of it. Once we had the media mirrored in London and Cape Town, the rest worked like a dream.” said Barry. Mielies and Bonnie sat here in Cape Town reviewing the grade on Priest’s Sony OLED calibrated monitor with Donovan “live” on Skype on an iPad. Mielies commented, “There was virtually no delay, I would ask for something here, Don would make the changes over there and we’d see it immediately.” Priest will be doing the VFX for Good Life too, from minor clean-ups, painting signs in Greek and several sky replacements. While Priest has an excellent and extensive reputation for crafting commercials, Barry has been doing more and more longformat post production work with Cal, Michelle and their team. “I enjoy working with in a smaller, boutique post house, rather than a large corporately owned facility. Both Cal and Michelle have been fantastically supportive of the projects I’ve brought to Priest, and I appreciate the flexibility and personal nature of working with an owner managed business.” “We’re looking forward to many more collaborations with Barry in 2021” says Cal.









W W W . P R I E S T . C O . Z A


Production Spotlight

TALI’S BACK and we love her more!


here’s nothing like a baby bump to set you on a path to responsible adulthood…or in Ari Kruger and Julia Anastasopoulos’ case, on the road to a hit comedy show. Their own experience with their first child was the perfect fuel for tonnes of #veryrelatable laughs built on the highly successful first season of one of the first Showmax Originals, Tali’s Wedding Diary. The new season, aptly titled Tali’s Baby Diary, is being released on Showmax, with 4 episodes already available online for your binging pleasure. Callsheet Africa caught up with Director Ari as the show was launched to get the low down on this laugh-out-loud mockumentary series.

excited about doing another season. There were so many funny things that revealed themselves along the pregnancy journey, like trying to find the perfect gynie, the characters in the ante-natal class and the world of momfluencers. It took a while for S2 to be officially greenlit but in hindsight I’m glad that we got to experience pregnancy and childbirth first hand as a lot of our experiences went into the writing. We also felt that we would be able to make a much stronger second season as we knew who all the characters were now, whereas we were still inventing them in season one. It was really fun to give each character their own arc and push them to their extremes in this season.

Firstly congrats on the baby bump! Why continue this show, and what was the thought process behind putting this new storyline together? While we were making Tali’s Wedding Diary, Showmax already started asking us about doing a second season. We figured the next logical step for Tali would be to have a baby, but it was only when Julia and I went through the process of having our own baby that we started getting

Tali’s Baby Diary is packed with laughs – as well as some new cast members and characters. Tell us more... We have a bunch of new faces from actors, celebrity cameos and real life momfluencers. One of the breakout characters is Kathleen Stephens who plays Tali’s loyal fan, Sheri. Juliette Pauling plays a hilarious momfluencer @Liefie_Lifestyle, and Danny K and his wife Lisa play brilliant heightened version of themselves.

Production Spotlight

We’re huge fans of the mockumentary genre, but why do you think there is there such a demand for this brand of comedy? The mockumentary genre is such an attractive format for comedy, which is why it continues to get used over and over again. The format allows you to pack in jokes on jokes. It’s also very forgiving in that you can do crude things like interrupt a scene with a character talking to camera expressing their point of view - which often contradicts what the audience has just seen. In Tali, the format also helped us in creating a tension between reality and fiction. How have things been for you and Julia during and “post” COVID-19? What have the challenges been of completing a production during one of the most abnormal times for humans globally? We started writing the show in level 3 lockdown, which was actually great because we had a lot less going on. This meant we could focus fully on the writing. The production was stressful with all the protocols and COVID-19 scares, but we were lucky


that we made it through five weeks without getting shut down. Usually the cast and crew bond during meals but because we all ate separately from lunch packs, I don’t feel like everyone bonded as much as we could have. One of our lead actors, Guy de Lancey, was trapped in NYC because of COVID-19, and couldn’t be back in time for the shoot so we had to film him on greenscreen and composite him into some of the scenes. Hopefully nobody will be able to tell which scenes these were! Any fresh bits our readers should know? I’m really excited for the fans to watch this season of the show. I feel like we kept the audience expectations front of mind and have hopefully delivered a season that everyone will be really excited about. I also just want to say big ups to Showmax for giving us the creative freedom and support to make this show as wild and hilarious as possible.

Tali’s Baby Diary is available to view on


Film Sustainability

Raised By Wolves


Gives new momentum to environmental sustainability on set


nvironmental sustainability on film sets in South Africa is rapidly gaining momentum with the establishment of local, non-profit film industry sustainability operation GREENSET, which obtained an international Environmental Management Association (EMA) Gold Seal – for environmental sustainability on a recent Advantage Entertainment

production. The work done by GREENSET Eco Steward Kgomotso Mashigo received high praise. Aicha Bangoura of the EMA said: “BRAVO!!!! this report should be used as an example case study for all further productions”. Raised by Wolves, Season 1, (recently launched on Showmax) - in partnership with Wrap Zero and GREENSET - diverted tons of organic

waste from landfill to organic gardens; avoided an estimated 193 000 singleuse plastic water bottles by introducing Bluewater Trailers; installed a solar cell tower at Lourensford; and donated 97 tons of wood to CAFDA for recycling. Raised by Wolves Line Producer, Cheryl Eatock explained: “Every single department on our production has literally changed the way we source,

Film Sustainability

manufacture and recycle. The impact has been huge and the knock-on effect of this changed behaviour is clearly seen in our data, but more importantly in all crew on this production.” GREENSET’s goal is Sustainability in the film, Electronic and Digital Media Industries - assisting productions to minimise their carbon footprint and overall environmental impact - by implementing practical, economical, green initiatives. The main GREENSET focus is life, occupational, entrepreneurial skills development and In-service training - employment creation and career path development – effectively equipping professional green operators to help productions minimise waste and environmental impact in this vital arena. GREENSET provides the Film industry with trained, competent, certified Eco-Stewards and Green PA’s, equipped to assist productions to reduce waste and utilize resources economically and efficiently - in order to minimise their carbon footprint and overall environmental impact. GREENSET operators graduate from an accredited, specifically designed, unitstandard-aligned Eco-Steward training program and are trained, and equipped to record the relevant data into both international systems, ALBERT (UK) and the PGA Green (USA). In 2018 GREENSET worked closely with the Film Afrika production team on Noughts & Crosses - and Howard Elle of Mammoth Screen - to secure ALBERT 3-star certification. Commissioned by GREENSET, Credible Carbon has designed the most definitive, user-friendly, sector-specific carbon calculator. The GREENSET carbon calculator allows the local film, electronic and digital media industries to capture - and account in detail and in


Greenset Office On Raised By Wolves

real time - its carbon emissions. Measuring this will enable significant advances in minimizing productions’ carbon footprint and their overall environmental impact. For Raised by Wolves Season 2, the bespoke GREENSET carbon calculator, with 46 key film-industry specific environmental indicators, will accurately measure the carbon footprint of this much anticipated production. In addition to GREENSET Eco-Stewards assisting productions to minimise waste and carbon footprint, GREENSET has further identified the Green PA as a waste management and disposal services employment and small business opportunity in the market place – as well as a new production skillset in the film industry - to assist waste disposal to landfill. The Green PA is a trained

Every single department on our production has literally changed the way we source, manufacture and recycle.

operator, sorting, managing and disposing production waste, providing wastesorting bins at source and transporting the waste to a processing site for recycling, composting and disposal. Former 2019 - 2020 Film Afrika MICTSETA intern and GREENSET Operations Manager Cindy Mkhwanazi, says: “Sustainability is not only about ensuring that we’re using our resources efficiently - it’s also about being inclusive - and mobilizing the youth to seek sustainable solutions to ongoing challenges faced by the global film, electronic and digital media industries.” The ultimate GREENSET goal is to help create an internationally recognised, South African system of radical Film industry waste-reduction, help minimise productions’ waste, carbon footprint and overall environmental impact, competing on a global platform as a shining example of sustainability in the South African film industry.

CONTACT US: If you would like a GREENSET Eco Steward on your next production helping minimise waste, carbon footprint and overall environmental impact, please contact


Reality TV

RHOD Takes SA by Storm F

ranchising reality TV is no new concept. We all watched in fascination and shock at the first ever season of Real Housewives, and since then, our appetite as viewers and voyeurs has only increased. The Real Housewives of Johannesburg was a runaway success that saw South Africa clamouring to catch a piece of the action on Showmax. Now the newlylaunched Real Housewives of Durban has gone even further, proving that this genre of television is here to stay. Callsheet Africa’s Editor Kim Crowie caught up with Valen’tino, the director of the show, to find out what makes Real Housewives of Durban (RHOD) the roaring success that it is. Tell us about your journey on RHOD – what were the highlights and how was this different to other work you’ve done? I came onto RHOD straight from directing a hectic series that had just started enjoying

viewership and performing really well in Lebo M Coming Home S1. That was an emotionally intense series dealing with real family matters and an icon who is trying to mend critical relationships with his family. So I was looking for something that was a bit eased up emotionally for the next project I would do. The highlight for me in RHOD S1 is the team I am working with – behind the scenes and all the HODs, as well as Series Producer Monalisa Chisango. Having stable and resourced creative departments that service the series with the best of the crop at their professions, has truly yielded amazing results compared to most shows I have worked on where the struggle always remains with the director to make it work in SA television. The collaboration of myself as Series Director and Creative Director Lee Doig as well as Director of Photography Nico Nyoni and Art Director Claire Clark has enabled me and the content team to envision the impossible under difficult

weather conditions and time pressure, exacerbated by COVID-19 as channel schedules need to be filled with new content. The greatest highlight for us all, of course, was the show making it onto Showmax Originals at its premiere. What were the key moments that stood out for you behind the scenes and what made RHOD amazing for you personally? When Let It Rain Films called me to come on board and lead the vision for the new franchise of Real Housewives based in Durban, I was happy to collaborate; because nothing had been done on the creative and I knew I will have the creative licence and space to give specific direction to the series in its first season and give it its own identity. A Series Director’s dream is exactly that. To set the tone. Meeting the cast and shuffling around to a correct mix of storylines for the viewer to indulge and learn from these women’s lives, while being entertained

Reality TV


at the same time, is a rare find in formats like this one. Sometimes you get to see all the glitz and glamour without substance in content and sometimes you get the rich content but with grit; so to find a balance of engaging content filmed with such high quality expertise is what makes RHOD amazing for me personally. Let’s talk unscripted content. This market has grown like crazy in recent years. Will people ever get tired of reality TV? How do you see the industry evolving and changing? It is true that unscripted content has a bright future, but I actually think that, that rings even more true for African content on the global market. Entertainment is escapism for audience members so ‘reality TV’ will never lose its stride. However, the competition and yearn for real content is rising higher. People embrace platforms that will show them relatable stories. If we are exporting content out of the continent we need to keep it real and package something that is representative of us as Africans. This nonsense of duplicating the West and call it African content is not doing justice to the rich and unexplored DNA of our stories. No matter what the format is, it can live with African blood pumping in its veins when it comes to story. What are the content creative or production trends you have noticed of late? The greatest attraction is bold storylines behind small brands. You now have to hold on to your own story behind anything that carries your brand. Names and faces are brands now and bigger traditional brands

need these new trends in branding to attach themselves to for greater success and relevance. Branded content (personal and product based) has therefore become an equal competitor in the entertainment space competing for eyeballs with fiction, current affairs and reality television; forcing creatives to really take depiction seriously. Tell us about how RHOD has been received. Did you expect this? What was your reaction to its popularity? The reception of RHOD by the viewers has been truly inspiring for us and the cast alike. I’ll be honest, I expected some success but not this much. Our cast have been most generous with their personal stories and allowed us to dig in and tell them in the first season. While the shared stories still have other layers underneath, the first layers explored have done the job at securing a following and for that I am truly grateful for the viewer’s response.

This nonsense of duplicating the West and call it African content is not doing justice to the rich and unexplored DNA of our stories.

Any last words, future endeavours or news flashes our readers should know? The Spirit of Kwa-Zulu Natal is yet to thrive through this and other shows from the Province because we now know it’s there. The women have worked hard to show you as the viewer how to run business and be present in your own life while enjoying the ride; so grab a pen and paper and see what you can take away. As for me, I don’t share everything (Lol) but do keep an ear on the ground to see my next moves in the media, including in television, the music landscape and radio, as well as film screens over the next two years.

Real Housewives of Durban is available to binge on

TOP 3 TIPS FOR SHOOTING AMAZING REALITY SHOWS 1. Cast accordingly: The personalities viewers come back for are the life blood of any show that lives longer. 2. Team up accordingly: I can’t tell you how having the series producer by my side on this show in Monalisa did for us in terms of a solid support structure when all hell broke loose. And all hell does break lose in production. 3. Poke holes in your own work: Do this all the time. There is no such thing as a perfect project. It can always improve and gain even more ground in comparison to others. That way, if the project falls, it can still land.


Movers and Shakers

Family Feud SA © Rapid Blue

Grant Flynn - Head of Creative Development

Rapid Blue appoints



apid Blue, Mzansi’s leading entertainment television production company, welcomes Grant Flynn as Head of Creative Development. He joined Rapid Blue at the end of February, and will be responsible for building on the impressive pipe line of unscripted formats and shows and also exploring and developing new opportunities, IP and hit series for Rapid Blue for audiences both here in Africa and globally. Rapid Blue has an impressive team of industry leading creatives which will also see Ziyanda Mngomezulu promoted to Managing Director in April alongside Kim Thwaites, who becomes Head of Television, Tsubi Mapiyeye, who becomes Supervising Producer, and Adi de Lancey, who recently joined Rapid Blue as a Senior Executive Producer. Duncan Irvine, CEO of Rapid Blue, said, “Having Grant join the team, will help us to build on this legacy of bringing audiences more of what they love but also exploring new ideas and

productions to keep things fresh, exciting and above all entertaining for all.” Grant’s previous roles include, Head of Creative Development, and Head of Business Development and Commercial Affairs at Okuhle Media with extensive experience in unscripted ideation, while focussing on structuring deals with local broadcasters, international distributors and commercial brands. He began his career in television in front of the camera as a presenter on SABC 2’s daily youth show, Hectic Nine 9. Grant has also produced shows including Sarah Graham’s Food Safari (2 seasons), Neill Anthony’s Private Chef (3 seasons) and Finding the One. Rapid Blue is known for hit television series including Dancing With the Stars SA , The Bachelor/Bachelorette SA , Come Dine With Me SA, First Dates SA, SA’s Got Talent , Is’thunzi, The X Factor SA , Four Weddings and Pawn Stars to name but a few. Rapid Blue is currently in pre-production with Love Island SA , a second season of Family Feud as well as a global fashion reality series to be shot in South Africa.

Callsheet Af more about productions Tell us about your vision as Creative Development Head, and where you hope to take Rapid Blue – especially as we recover globally from the setbacks of the pandemic? I can clearly see that Rapid Blue is a well-oiled machine and that a big part of my initial journey upon joining will be learning and understanding the methodology and preferred business models of the company. Rapid Blue is known for producing high-end localisations of hit international formats and my hope is that I will help grow and develop even more hits for audiences here in Africa and further afield, as they do them so well. My vision, alongside the existing pipeline of showstopper formats, would be to work with the team to also expand original formats in partnership with global studios like Rapid Blue’s

Movers and Shakers


Come Dine With Me SA © Rapid Blue

frica caught up with Grant Flynn to find out t his new role, and what strategies (and s) he has up his sleeve as he starts at Rapid Blue. production partners, BBC Studios, which may in turn have an industry wide ripple effect giving more broadcasters access to cost effective formats and thereby supporting a rebalancing post-pandemic market. That, with a slice of factual, having just EP’d a reality factual series for local and international delivery and distribution, and a concerted push for scripted off of the back of Isthunzi which has received Emmy nominations for the lead actress. What trends in content creation and new concepts do you see Rapid Blue tapping into in the near future? Now, I’d be a very bad Head of Creative Development if I gave too much away here… but what I will say is that I’m excited to join a company who is constantly on the forefront of local and international trends already. I think Love Island South Africa will be a game changer and I would love to ‘push the boundaries’ further within the international formats space. I believe we’re living in one of the most interesting times in television.

With more time to view, audiences are seeking engaging non-scripted content, allowing for co-viewing that is content appropriate for multiple age groups and also provides some form of escapism from reality. Buyers are already competing for international versions of hit shows as there are so many more hours of content to fill, which will change the way shows are produced. It has also been said that vivid colours will brighten our screens and that caution will replace hedonism. An interesting and exciting 2021 lies ahead. You obviously have a long history with content creation and production for public broadcasting. How will your role, strategies or project slate differ now, and what experience and lessons are you bringing with you on this new leg of your journey? I foresee a welcomed gear-shift for me with the BBC and Rapid Blue integration. The structure and support system is something I’m really looking forward to working within,

and I cannot wait to dive into Rapid Blue’s wide and impressive schedule of shows. I bring along experience and lessons in developing and packaging shows for international pre-sales, and the experience of working with the public broadcasters in creating many factual entertainment shows and I’m looking to leverage this experience to significantly grow this area of Rapid Blue’s slate. I also bring along experience of being in front of camera, which I believe gives me the ability to communicate well, build relationships and identify strong talent. As we know, audiences will be stuck at home for a little while longer and we want to ensure that they’re as entertained as possible. In saying that, I’d like to also explore more co-production partnerships which will ensure an even bigger pipeline of shows for audiences.

We look forward to Grant’s new role and the exciting content from Rapid Blue and BBC that will come out if it. Best of luck!


Directory and Credits







+27 21 410 5000



+27 72 018 9679


Netflix c/o Eclipse Communications

+27 21 023 0440



+27 11 483 0880



+27 21 201 4777


Sasani Studios

+27 11 719 4250


Wesgro Film and Media Promotion

+27 21 487 4844


Behind the scenes of Tali’s Baby Diar y with Julia and Ari

CONTACT US Cover Image: Unlearning with Loyiso Gola © Netflix Publishing Editor: Lance Gibbons Contributors: Cal King Will, Seaton Bailey Editor: Kim Crowie - 066 486 5262

Head of Design: Liam Abrahams Production and Digital: Cindy Jarvis Business Development Manager: Jennifer Dianez

2 Dingle Avenue Kenilworth, 7708 Tel: +27 21 674 0646


DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved. While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.

Cape Town and Western Cape is famous for our towering mountains, rolling waves, bustling cityscapes, arid landscapes, and any other world you could possibly want to create. Cape Town and the Western Cape have as many locations as you have ideas. Our state-of-the-art facilities and budget-loving exchange rate will ensure you a seamless journey from script to screen. Over the past years, the Western Cape has masqueraded as Yemen, Hong Kong, and the island of Corfu which is why we’ve been the destination of choice for films and series such as Tomb Raider, Maze Runner: The Death Cure, The Dark Tower, Resident Evil: The Last Chapter, Mad Max: Fury Road, The Brothers Grimsby, Eye in the Sky, District 9, Mandela: Long Walk to Freedom, Blood Drive, Bloodshot, Rea Sea Diving Resort, Homeland S4, The Crown S1-2, Outlander S3, Troy: Fall of a City, Black Sails S1-4 and Raised by Wolves. The moderate climate, highly competitive rates, a skilled and well established commercial and stills industry, as well as worldclass animation, VFX, and post-production facilities are among the many benefits of shooting in the Cape. Mandated by the City of Cape Town and the Western Cape government to promote the region’s film and media industry, Wesgro is ideally positioned to help you turn your ideas into reality. Find out how Wesgro can support you by visiting:, and download our new e-book offering a look at some of the inspiring locations waiting for you.

Cape Town and the Western Cape

An inspiring place to create

For more information contact: Film and Media Promotion team +27 (0) 21 487 8600 | |

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