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Issue 08 | 2013

Callsheet Africa’s Leading Film Industry Magazine

+ TV vs. Film

The Golden Age of Television

+ DIFF and DFM Make Waves in Durban

+ Kevin Spacey

The Callsheet Interview


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04 www.filmmakerafrica.co.za Publisher: Lance Gibbons lance@filmeventmedia.co.za

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Contents Durban International Film Festival and Durban FilmMart

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The Callsheet Talks With Kevin Spacey

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Wild Talk Africa Successful in Durban

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Film Industry and Animal Trainers Welcome SA Court Ruling

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A Conversation with Bruce Paisner

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The Animation School to Open Johannesburg Campus

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Cape Town TV to be Broadcast Accross Sub-continent

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Adrian Brody Invites Creative Talent to Enter Film Competition

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Film Industry Celebrates Mandela Day

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Mediatech

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TV vs. Film: The Golden Age of Television

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A Conversation with Zama Mkosi

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Film & Event Media Wrap Party at DIFF

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Impossible to Ignore Ads

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Zambia: Cradle of Mankind

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In Production: August 2013

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Industry Moves

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Join us

Events

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Facebook: www.facebook.com/thecallsheetsa Twitter: @FilmmakerAfrica Youtube: www.youtube.com/thecallsheet Linked In: Filmmaker Africa

Opportunities

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Associations

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Executive Editor: Maya Kulycky maya@filmeventmedia.co.za Business Manager: Taryn Fowler taryn@filmeventmedia.co.za Advertising Sales: Jennifer Dianez jennifer@filmeventmedia.co.za Head of Design: Jess Novotna jess@filmeventmedia.co.za Editorial and Design Co-ordinator: Danielle Illman danielle@filmeventmedia.co.za 57 2nd Avenue, Harfield Village, Claremont 7708, Cape Town, South Africa Telephone: +27 21 674 0646 www.filmeventmedia.co.za

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.

www.f i l mma kera f r i ca .co.za T HE C A L L SHEET

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NEWS

DIFF and DFM Make Waves in Durban

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he 34th Anniversary of Durban International Film Festival (DIFF), South Africa’s largest and longest running film festival, and the Durban FilmMart (DFM), had widespread international attention this year after the DIFF opening night film was refused classification by the South African Film and Publication Board (see following story). But that incident was just one aspect of the film festival that included theatrical screenings, seminars and workshops, and award presentations. The Finance Forum awards of the 4th Durban FilmMart 2013, the co-production programme between the Durban Film Office (DFO) and the Durban International Film Festival included the following winners: •

International Documentary Festival of Amsterdam (IDFA) gave an award for ‘Most Promising Documentary Project’ to ‘Blindness’ (Kom Haal My) directed by Sarah Ping Nie Jones and produced Jean Meeran (South Africa) to attend IDFA 2013 later this year. ARTE France’s ‘ARTE International Award’ to the value of €6000, went to ‘Black Sunshine’, directed by Akosua Adoma Owusu and co-produced by Julio Chavezmontes and Angele Diabang (Ghana). The Independent Filmmaker Project (IFP) award for a producer to attend 2013’s ‘No Borders International Co-Production Market’ in New York,

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USA, went to ‘Solidarity’, directed by Rungano Nyoni and produced by Juliette Grandmont (Zambia). Paris Cinema, ‘Paris Project Award’ to attend Paris Project at the Paris Cinema International Film Festival, went to ‘Blindness’ (Kom Haal My), directed by Sarah Ping Nie Jones (and produced by Jean Meeran) (South Africa). The Organisation Internationale de la Francophonie ‘OIF Prize’ of €5000 was awarded to ‘GITI – Paradise in Hell’, produced and directed by Yves Montand Niyongabo (Rwanda). Two development grants of €2,500 each from WorldView went to ‘Unearthed’, directed by Jolynn Minnaar and produced by Dylan Voogt (South Africa) and Talent Campus Durban/Doc Station project Parole Camp directed by Maanda Ntfandeni (South Africa) The Your WorldView Online Short Film Challenge prize of £1,000 pounds was awarded to ‘Freetown Home’ from Sierra Leone. Videovision Entertainment’s award for ‘Best South African Film Project’ valued at R75 000 went to Five Fingers for ‘Marseilles’, directed and produced by Michael Matthews and written and co-produced by Sean Drummond (South Africa). The Produire au Sud - Festival des 3 Continents, Nantes award went to two

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projects to enable them to attend the “Produire au Sud (PAS) Script Studio” at the festival: ‘The Bill’ directed by Nosipho Dumisa, (co-produced by Travis Taute and Junaid Ahmed) (South Africa) and Whiplash, directed by Meg Rickards (and produced by Jacky Lourens) (South Africa). • As part of the France South Africa Seasons, another project had been pre-selected for the “Produire au Sud (PAS) Script Studio”: ‘Hhola, Hhola’ directed by Madoda Ncayiyana (and produced by Julie Frederikse) (South Africa). • Additionally International Film Festival Rotterdam (IFFR) and Hubert Bals Fund awarded the MEDIA Mundus ‘Boost’ Project prize two months ago to a pre-selected African project ‘Wasswa – Twins’ Blessing’, directed by Donald Mugisha and produced by Robert Nyanzi (Uganda) to attend DFM 2013 and ‘CineMart Rotterdam Lab 2014’. “It has been a robust market this year, with over 200 meetings taking place with official DFM projects,” says Toni Monty of the Durban Film Office. “We are really grateful to our partners and sponsors for the valuable contributions they have made to engaging with the film-makers. The DFM is an important market for the continent, and we are encouraged by the quality of projects pitched and the interest shown in the development of African content.”


NEWS

DIFF Opening Night Film Sparks Industry Debate

DIFF was notified by the FPB ahead of the opening night that they would not allow the film to be screened because of child pornography content.

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he opening night film at DIFF, ‘Of Good Report’, was not screened as scheduled by festival organizers who instead posted the message above stating that the film was refused classification by South African Film and Publication Board (FPB). Immediately social media was buzzing with discussions about the film and whether or not the move was “censorship”. Since then, industry leaders, government spokespeople, even professors have weighed in on the debate and the ban was lifted by an appeals committee, though possibly temporarily. The film, ‘Of Good Report’, is from South African director Jahmil XT Qubeka. He has described it as “a passionate homage to classic film noir”, telling the sombre tale of a small-town high-school teacher with a penchant for young girls. Peter Machen, the Manager of the Durban International Film Festival said of the film before DIFF, “we are extremely happy to be opening DIFF 2013 with Jahmil’s brave and remarkable film. ‘Of Good Report’ does so much more than simply telling a South African story – the film redefines the local filmmaking

landscape and extends the language of African filmmaking while acknowledging the rich history of global cinema.” DIFF was notified by the FPB ahead of the opening night that they would not allow the film to be screened because of child pornography content. The FPB is currently running a campaign against child pornography and said the movie violated the law by containing child pornography, which the law states includes “any image, however created, or any description of a person, real or simulated, who is, or who

is depicted, made to appear, look like, represented or described as being under the age of 18 years,” engaged in sexual conduct. The letter from the FPB to DIFF pointed out the exact scenes and actions that constituted a violation of the law. The FPB said the decision by their viewing committee was unanimous. Filmmaker Africa was at the screening. Jahmil stood on stage with paper over his mouth and refused to comment. However, the female lead did stand up and spoke, objecting to the FPB’s decision. As a result of the banning of “Of Good Report” DIFF organizers decided not to show any other films on opening night. Subsequently the film was classified by an appeals committee and the movie was shown on the last night of DIFF. According to DIFF ‘Of Good Report’ was “principally funded by the National Lottery Distribution Trust Fund”. The National Film and Video Foundation, which did not fund the film, pointed out after the event that though the film was funded, in part, by the government and banned by the government, both agencies must adhere to their standards. The imperatives may not overlap.

www.f i l mma kera f r i ca .co.za T HE C A L L S HEET

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NEWS

The Callsheet Talks with

Kevin Spacey by Lesley Stones

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creenplay writer Hanneke Schutte had an unexpected advantage when she entered her short film script in the Jameson First Shot competition. She’d unknowingly chosen a favourite hobby of the judge and creative director Kevin Spacey - ping-pong. Hanneke’s touching story about a hypochondriac ex ping-pong player who never got over missing a major final was the winner from 215 South African entries. The second annual Jameson First Shot competition is also open to emerging movie directors in Russia and America, and the winner from each country flew to Los Angeles to produce their films. They worked with Kevin and Dana Brunetti, his partner in Trigger Street Productions, with Willem Dafoe playing the starring roles. Hanneke started as a copywriter with advertising agencies and is now a writer and director who has twice won South African Film and Television Awards. Her film, Saving Norman, made its premier at a party attended by Kevin and Dana at Shine Film Studios in Johannesburg. First, The Callsheet sat with the trio for an interview:

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What was the standard of entries like in this second year - has it improved as people recognise the value of the experience? Kevin: It was pretty on par. We were really impressed last year with the quality of entrants and we weren’t sure if that was a fluke and this year it would go down, but it was on par. Dana: The number of submissions increased therefore the number of good

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submissions increased, but there was definitely more for us to select from with the filmmakers and the stories they wanted to tell.

What are the main reasons a script is rejected or accepted? Dana: It starts with the story. It’s the same as when I look at any script – if it doesn’t keep my attention and I don’t like the story that’s going to eliminate it. The second


NEWS

Even though the film was lighthearted it meant its origin was something about South Africa, and that interested me from a story telling point.

aspect is production. We only have two days to shoot and a limited budget and a smaller crew. Kevin: So if someone writes ‘this film takes place in 2000BC and there are dinosaurs’ we might think we may not be able to accomplish that in two days, or if they want a lot of CGI (computer generated imagery). So there does have to be a practical aspect.

What stood out about Hanneke’s entry? Kevin: It’s a combination of a lot of things. I’m more focused on what gives Willem an opportunity to play something distinct in each of the films that will come together when all these films are made as a nice package. In this particular case I happen to be a ping-pong nut. If I’m not playing tennis I’m playing ping-pong so it immediately had my attention. Also the story came from her father’s experience when he couldn’t play sports and I found that quite compelling. Even though the film was lighthearted it meant its origin was something about South Africa, and that interested me from a story telling point.

South Africa’s unique history must have influenced our filmmakers. Can we still tell stories that are universally appealing?

Kevin: Absolutely. If somebody has a compelling story to tell then it should be able to hold up anywhere. One of the things I hope in terms of focusing this competition in South Africa and Russia is that it will get people to look at the filmmakers here. So many changes have happened in this country in the last 25 years that the more there are ideas and institutes and financial bodies and sponsorships to help emerging filmmakers tell stories about the culture in this country that’s a great thing. More should be done to bring attention to what’s now a burgeoning film industry in this country. One of the reasons film festivals are so valuable for emerging filmmakers is so movies from countries that may not get a big distribution do get a chance to be seen and heard.

Hanneke, you’ve been in the industry a while - is this the leg up you need to reach a higher level? Hanneke: I absolutely hope so. It’s such an amazing platform. Last year the films went onto YouTube and got millions of views so a lot of people will get to see your work and that’s what any filmmaker wants. So who knows where it will lead. It was exciting and nerve racking and amazing to work with such incredibly talented people. They made my life so much easier knowing you are in the hands of such a capable crew. And I got to play ping-pong with Willem Dafoe.

Dana: The films we put online last year generated six million views so people are experiencing their work and getting to know them. It only leads to better things for them as hopefully other producers and writers and actors here will take notice and want to get involved in their projects.

How did your father inspire your story? Hanneke: My dad played provincial rugby in the 70s and he was chosen for the Springboks quite a few times but because of sanctions he never got to play. So he was the Springbok that never became a Springbok and I think he lived with a bit of regret because of that. The character I created was definitely not my dad, that was just the genesis of the story.

Is there a market for the short film format, or is it just a showcase for what could be achieved if money was available? Kevin: If you look at any of the great film festivals there is always a short competition and if you look at the great filmmakers there are a couple of great DVD packages from Martin Scorsese and Roman Polanski. The short form is an incredible form to experience. One of the reasons Willem wanted to do it was because he’d never experienced the short form before, so he really wanted to jump in and do it. But nowadays to try and get money for a movie director will make trailers of their movies before the movie is made and I certainly think people make a short to try to show ‘I have a bigger story to tell.’ But I do think the short form on its own has a place in the industry.

www.f i l mma kera f r i ca .co.za T HE C A L L S HEET

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NEWS

Wild Talk Africa Successful in Durban

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ild Talk Africa returned to the city of Durban, South Africa in 2013. Durban is where the festival first began in 2006 and organisers noted that the lush green landscape and abundant wildlife of Kwa-Zulu Natal was the perfect backdrop for South Africa’s natural history film festival.

ROSCAR Winners This year the ROSCAR awards received a record-breaking 445 entries from 32 countries; almost double compared with the 267 entries that were received in 2011. Presenter Michaela Strachan and Dairen Simpson hosted the awards. Congratulations to all the winners!

Wild Talk Africa Team

2013 ROSCAR Winners List: The Music Award

The Best Presenter Award

The 3D Award

The Green Universe- Doclights GmbH / NDR Naturfilm

Lucy Cooke’s Freaks & Creeps: Devil Island - National Geographic Television

You, Plant – an Exploration - Terra Mater Factual

The Best Sound Design Award

The Editing Award

The Fir Tree- Lars Ostenfeld Film

A Wild Dog’s Tale - Table Mountain Films

The Best Children’s Natural History Production Award

The Cinematography Award

The Best Script Award

This category is judged by school children. Results to follow when term starts.

Africa – Kalahari- BBC NHU

Natural World: Queen of the Savannah BBC Natural History Unit

The Limited Budget Award Where the Wild Things Were- Amber Eames

The Best Series Award

The Best Environmental Production Award

The Best Newcomer Award

Africa – Kalahari & The Future - BBC NHU

Saving Rhino Phila - NHU Africa

Bikpela Bagarap (Big Damage) - David Fedele

The Expedition/Adventure Award

The Best African Production Award

2 Wings, Many Prayers – Sabido Productions

2 Wings, Many Prayers - Sabido Productions

The Short Film Award

The Campaign Award

Amazing Grace - Makhulu

Amazing Grace – Makhulu

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Dr Ian Player Receives Lifetime Achievement Award with MC’s– Michaela Strachen and Dairen Simson

Two Wings Many Prayers: Roscar Awards - Expedition / Adventure Award and the Best African production award From Left: Donfrey Meyer, James Pitman - main character in Two Wings, Many Prayers, Director - Lloyd Ross


NEWS

Film Industry and Animal Trainers Welcome SA Court Ruling @ Sapa

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he Licensed Animal Trainers Association (LATA), the Commercial Producers Association of South Africa (CPA) and the South African Association of Stills Producers (SAASP) are pleased with the recent ruling by the South African Constitutional Court that keeps the animal welfare organisation National Council of SPCAs (NSPCA) from becoming part of the process of issuing licenses to animal handlers. The judgement upheld an order of constitutional invalidity in the Performing Animals Protection Act (PAPA). But the Court suspended the order and gave the government 18 months to rectify the Act. During this time magistrates will continue to issue PAPA licences. Together, LATA, CPA and SAASP advocated for the processing of licenses issued to animal handlers to remain with the Magistrate’s Court. This was done primarily to prevent the NSPCA from becoming involved in the process. The film industry says the NSPCA has a well-documented bias against the use of

animals in the entertainment and film industries. The judgement found that although it is unconstitutional for magistrates to issue PAPA licenses, the North Gauteng High Court erred in its decision to refer the defect to the Department of Agriculture, Forestry & Fisheries to rectify, rather than to Parliament. The Constitutional Court also found that the High Court’s decision to form an interim committee comprising of members of the Department of Agriculture, the NSPCA and the SAVC to assess applications for licenses for animal handlers “do not appear to have been justified or to have had a proper basis”. The judgement continues that “even though the High Court should not have made these orders it will not be necessary to set them aside because, upon the handing down of the judgement, their operation comes to an end since they were meant to govern the position pending the judgement of this court.” The Court ruled that the best course of action would be to suspend the declaration of invalidity for a period of 18 months to give Parliament the

opportunity to cure the deficiency. Until this is achieved the function of issuing licenses will revert to the magistrate’s court. Bobby Amm, Executive Officer of the CPA says, “it was clear to us from the very start that this case was not about rectifying a legal defect in the Performing Animals Protection Act, it was about the NSPCA finding a way to take control of the licensing process thereby preventing animal handlers from obtaining permits and making it impossible for them to operate their businesses. This would have had a very detrimental effect on their industry and ours as we would no longer be able to make films or television commercials featuring animals which would be a great pity and also cause irreparable financial damage to our business.” LATA spokesman Jim Stockley noted that, “LATA welcomes the judgement as it ends months of confusion and sets a time limit on rectifying the defects in the Act. He added that LATA looks forward to working with Government to find solutions so that the 70 animal trainers and 30 companies LATA represents can have security of employment, something they have not enjoyed whilst the NSPCA was part of the licensing process”. According to Rudi Riek, Chairperson of SAASP, “the judgement is welcomed as it ensures that professional animal handlers can continue to provide animals for all forms of print media for the next 18 months without the interference of a clearly biased NSPCA which clearly has more of a political agenda rather than concern for the welfare of the animals. Says Riek, “we hope that in the following months a workable solution can be found in which the rights of the animal handlers to earn a living as well as the welfare of the animals can be taken into account.”

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NEWS

A Conversation with Bruce Paisner, President and CEO of the International Academy of Television Arts & Sciences Has membership in the Academy from the African continent changed in recent years?

and commenting on it. It’s a confusing world, it’s socially confusing, economically confusing, politically confusing and changing so fast and people want to try to get a handle on it.

When I started we didn’t have much of anybody. Now we’re up to double-digits in terms of members and more than that in terms of entries. The entries are growing significantly over the last three, four, five years.

What regions are gaining ground? What countries are looking a little bit stronger this year?

What countries have grown significantly? South Africa first, Kenya second, and two or three other countries.

What are the trends in entries from the continent?

Bruce Paisner

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ecently Bruce Paisner, President and CEO of the International Academy of Television Arts & Sciences visited Cape Town, South Africa for judging sessions hosted by the Cape Film Commission. Film & Event Publisher, Lance Gibbons, had a conversation with Bruce about how his organisation views Africa and the rest of the world.

Five years ago if you got an entry at all it was a little bit rough - series rather than a movie. I think you are starting to see two things everyplace, not just in South Africa. One is what in the U.S. we call reality shows... and I would say a lot more documentary programming too. There is among television filmmakers increasing interest in the world around them and presenting it on television

I can tell you a five year trend because that is very clear. Continent by continent: Asia - I see real growth in China, in South Korea. In that stretch that kind of goes from India to Thailand. You really cannot underestimate the growth of everything in Asia and therefore the growth in television… A number of our best actor nominees are from Asia. They have a lot of money and they spend it on programming. Latin America through to Brazil, Brazil above all. To some degree Argentina, to some extent Mexico…As I travel around and I talk to all of these people what I see is that the quality has gone up. I think in Europe the UK is steady as it’s always been and somewhat financially challenged and you see that somewhat reflected in the programming…it’s less that anybody has gone down, and its more that a lot of people who were lumbering along bottom are suddenly spurred it up and that has made a big difference.

What can you tell us about projects in Africa? We want more entries from Africa. We want more producers, more production companies to understand that the work they do is good and it really can compete with work from other places in the world and they ought to enter the competition and they ought to enter more programs. The key is not to go through 100 programs and find two to enter. The key is to go through 100 programs and find 15.

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NEWS

The Animation School to Open Johannesburg Campus

The Animation School is one of South Africa’s only formally accredited animation and visual effects training centres.

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he internationally recognised and government accredited animation and visual arts institution, The Animation School, has announced that it will open a fullyequipped Johannesburg campus. The Cape Town-based animation training institution says it is opening the campus to meet significant student demand. The campus, which is now receiving applications, will commence operations in January 2014 by taking in its first class of new students. Although the facility is expected to offer a three year undergraduate Diploma in Animation, post graduate studies will be included as the Johannesburg site expands. Established in 2000, The Animation School is one of South Africa’s only formally accredited animation and visual effects training centres. The school issues its graduates with Diploma in Animation and Visual Effects governed by an industrywide education body. The Animation School has partnerships with major industry players such as Gobelins l’ecole de l’image (School of Imagery). Gobelins is a Paris-based school in animation and visual arts that is widely regarded for its student work and ability to produce world class animators. In South Africa, Triggerfish – the Cape Town based animation studio responsible for

the feature films ‘Adventures in Zambezia’ and ‘Khumba’, also work with the school to offer students opportunities for growth following their studies. “When we established The Animation School in 2000 we did not expect it to take off in the way that it has. In many ways, the introduction of our Johannesburg campus is the realisation of a long term goal for us and signifies that the South African animation industry is growing rapidly” comments Nuno Martins, Principal and cofounder of The Animation School. “We are extremely excited to bring The Animation School to Johanneburg and have already begun receiving applications from a number of talented prospective animators based in Gauteng,” he continues.

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NEWS

Cape Town TV to be Broadcast Across Sub-continent

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ape Town TV (CTV), Cape Town, South Africa’s community television station, will be broadcast much more widely later this year with a radical expansion of its reach. From September, 2013 the channel will have a stronger signal in Cape Town and it will also be available throughout the sub-continent on DSTV. September is a fitting date for the channel’s broadcast expansion because it will be exactly five years from Cape Town TV’s debut. Says Station Manager Karen Thorne, “These developments are a real boost for Cape Town TV and will be a breath of fresh air in the media landscape, which is dominated by conventional and commercially-driven television channels.” “Our content is fresh, innovative and people-driven. It is often controversial and pushes boundaries in terms of form and content. CTV’s programming promotes debate and creates a rare space for authentic voices to come through in a sea of media mediocrity.” Community participation is a core part of CTV’s mandate and the channel encourages Capetonians to get involved in the production of programming that meets the needs of the community. This results in content that is locally relevant, fresh and innovative.

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This is a great step forward for Cape Town TV as the channel will be reaching many more viewers and it will be accessible both nationally and in our neighbouring states.

© SA Tourism

CTV also sources some of the best international documentaries that help people to understand the complex challenges which confront humanity today. Says Thorne, “We promote freedom of expression and access to information in our programming, which enables our audience to make informed decisions on relevant issues.” The fact that ICASA, the regulator for the South African communications sector, has awarded CTV a second frequency is a significant victory for the channel because in March, 2012 CTV was moved to another frequency to make way for digital terrestrial transmission (DTT). The station was shifted to a higher frequency (Channel 67), which resulted in many viewers no longer being

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able to tune in without an outdoor, wideband aerial. Says Thorne, “ICASA has now acknowledged that channel 67 was not viable from a reception point of view and has given us a second frequency (channel 32) which is lower in the spectrum. This will enable many more Capetonians to pick up our free-to-air signal with any aerial type.” In addition to its local footprint, Cape Town TV has also signed an agreement with Multichoice for the channel to be carried on DSTV bouquets in the southern African region. The station will be available on the Access pack and above (including the Family bouquet), on channel 263. Comments Thorne, “. This does not mean, however, that we will be losing our local focus and relevance. On the contrary we see this as a great opportunity to showcase the city and all it has to offer to the country and the region.” In preparation for its September re-launch Cape Town TV has been refreshing its image with new on-air branding. The channel will be embarking on extensive community outreach and marketing in the weeks leading up to the September deadline. CTV is also working hard to produce and source more content, especially locally-produced videos and the thought-provoking documentaries for which the channel is already well-known.


Visual Impact Getting Real by Marius van Straaten

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isual Impact South Africa has become an international leader in providing the equipment, specialised crew and expertise to facilitate largescale Reality TV projects. Apart from projects facilitated in South Africa, Namibia and surrounding countries, Visuals has completed projects as far afield as South America and

China. As part of the international Visual Impact group, Visuals South Africa has access to large amounts of equipment at a good price and quick turnaround. The ability to provide complete fly away kits and detailed workflow solutions has positioned Visual Impact as one of the best Reality TV service providers. Master Chef, Fear Factor, Survivor, X-Factor Nigeria, Bar One man, The Bachelor, You Deserve It are a few of the projects accommodated in the last two years. According to Goran Music, Visual Impact director, “The ability to provide various solutions from economically priced Sony Z7’s to more advanced Sony PDW 700s and 800s in a camera chain, allows Visual Impact to quote clients on more than one option. This creates increased flexibility and a high utilisation of our equipment.” With one of the few remaining broadcast workshops supported by qualified broadcast engineers, Visuals has the ability to solve problems quickly and provide expert advice.

In an ever changing technological market Visuals is focussing on areas where they can differentiate and provide a niche service. “Reality TV is something we are good at and uniquely positioned for, which is evident in the amount of Reality TV projects completed in the last eight months. We have been very fortunate,” says Marius van Straaten, Visual Impact director. Exciting new ways of working are possible with increased availability of high speed affordable bandwidth and connectivity in South Africa. Towards the end of 2013, Visual Impact is facilitating a studio-based show in the Media Hive Studio in Cape Town which is being uploaded straight to the cloud. Increased bandwith allows for new workflow solutions and ways of working. Looking at the future Stefan Nell, head of digital imaging is positive and says: “For the second half of the year, Visuals has three confirmed large-scale Reality TV projects, which puts a smile on our face.”


NEWS

Adrien Brody Invites Creative Talent to Enter Film Contest

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Imagination really can take you anywhere and is so subjective, so I’m excited to see people’s interpretation of Geoffrey’s script and I look forward to embarking on this incredible journey with them.

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cademy Award winner Adrien Brody and gin brand Bombay Sapphire, invite budding film makers from around the world to enter the Bombay Sapphire Imagination Series: Film competition. In association with the Tribeca Film Festival, the competition offers entrants the chance to have their own short film made through interpreting a script written by Academy Award winning screenwriter Geoffrey Fletcher. Until 4 August people from around the world can visit www.imaginationseries. com to view Geoffrey Fletcher’s script and submit their imaginative film concepts based on this script. The films deemed the most imaginative will go into production and each winner can be involved in the production of their film alongside world-class talent, as well as see their version of Fletcher’s script brought to life on the big screen. The four ideas will be shortlisted by Adrien Brody, Geoffrey Fletcher and a panel of experts from the Tribeca Film Festival to go into production. The panel will shortlist a further five ideas to go forward to a public vote, the winner of which will also go into production. All five films will then be showcased during the Tribeca Film Festival the following year, in April 2014. Academy Award winner Brody says, “I’m grateful that I’ve found opportunities for

my creativity to flourish and I feel extremely passionate about working with Bombay Sapphire gin on this competition – which will encourage people to explore their own. Imagination really can take you anywhere and is so subjective, so I’m excited to see people’s interpretation of Geoffrey’s script and I look forward to embarking on this incredible journey with them.” “We are proud to continue our association with a brand who embraces creativity and imagination the way Bombay Sapphire does. The competition is a fantastic way for creative people all over the world to express their imagination,” adds Jon Patricof, President of Tribeca Enterprises. The Tribeca Film Festival is expected to be hosted in Cape Town, South Africa

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in 2013. espAfrika, which organises the Cape Town International Jazz Festival, has signed a five year agreement to host the Cape Town edition of the Tribeca Film Festival, starting in this year. This is not the only international film competition that is run in partnership with a liquor brand. Jameson First Shot is an international short film competition that allows the winner to make a movie in Hollywood using a script they write. To watch the five winning films from last year and for more details on the competition, script and how to enter visit: www.imaginationseries.com. For updates on the Bombay Sapphire Imagination Series: Film visit: www.facebook.com/ BombaySapphire.


Broadcast House Offers Studios and Much More

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roadcast House in Johannesburg is the home of Global Access studios. These grand studios have been buzzing recently with a dizzying array of productions including sit-coms, dramas, green-screen live broadcasts, talk shows, magazine shows, and kids’ puppet shows. Productions such as Cell C adverts, Sezla Top, Squeeza’s, Ricoffee adverts, My Perfect Family, Big Debate, Nando’s adverts, and Talk to Thami - pretty much anything that can be done indoors - has been done at Global Access’s studios. Comprised of two major studios – studio One and studio Six (the rest exist but are only used for specialist purposes), one of 234 square meters,

by Guy Standers

and the other a whopping 564 square meters, both studios are fully rigged for HD recording, and have all the supporting offices, rooms, and amenities (crew rooms, make-up rooms, set storage, etc.) that you could need. Our studios were originally built and used by the SABC and are some of the best soundproofed studios in the country. The studios can be booked fully kitted and staffed, or as a dry hire. Studio productions are not the only thing Global Access does. Apart from being the only company outside of Multichoice to have a private channel on DSTV, Global Access has a full-time production team with thousands of hours of live television under their belts. From

creative to production support, the team produces most of the content that Global Access’s clients need. Added to that is a full post-production facility for editing, 3D animation, and DVD authoring. Broadcast House is no longer just a big building in the heart of Jozi, but is a one stop power-house for any and all production needs from start to finish. It’s no wonder clients keep returning with the competitive rates, convenient location, and incredible support teams.


NEWS

Film Industry Celebrates

Mandela Day

Facebook Pule Pulchi Molebatsi my company is planning on how to get money to make films that deals with our current socio-economic challenges that could have been avoided… Fika Shange Jonathan I don’t have a company but i’ve spent 67 min teaching 67learners about film and tv production as a career after they matriculate...

Twitter @AFDADURBAN: you’ve done it again you amazing fools! ow.ly/n5vi5 Happy Birthday Madiba @FilmmakerAfrica #67minutes of #MandelaDay @quichekish: We raised R10k for @BreadlineAfrica with the #SaatchiGoodsMarket on #MandelaDay what an awesome achievement @SaatchiZA @tincanpr thank u!!!! @fredfelton: Crew at Bertoua @Musgrave_centre gave us cards we had to write down what we pledge to do for #MandelaDay http://t.co/ NT2u99HGk0 @Casper_Lee: Today we packed hundreds of boxes of food for needy kids around South Africa! #MandelaDay pic. twitter.com/r4g1kYQVA5 - this kids a youtube sensation!

‘Mandela, Long Walk to Freedom’

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he film industry celebrated Mandela Day – 18 July – the annual international day in honour of Nelson Mandela, in a variety of ways. Happy Birthday Madiba! Film Producer Anant Singh wished Madiba a happy 95th Birthday with the following message: “Madiba has been and continues to be an inspiration to all of us. We wish him a Happy Birthday. We also wish him

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and Mrs Machel Happy Anniversary today. I’m honoured to celebrate his legacy and his inspirational life in the film adaptation of his autobiography, ‘Long Walk To Freedom’. Today, as a special celebration to him, we release exclave footage from the film Mandela: Long Walk To Freedom which can be viewed at: www.mandelamovie.co.za.” Here’s a look at how other The Callsheet readers celebrated Mandela Day:

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@CTAngelsZA: What a fun time the angels had at the #MandelaDay #DogBoxProject and 4 kennels to donate to our #K9K pawtners :-) @unisgeneva: Inspiring #MandelaDay film w/ Desmond Tutu, Morgan Freeman, Bill & Hillary Clinton, Branson, Int. Space Station: http://youtu. be/7QM0xSuOJ5c


Sony Success in South Africa By Jess Goedhals

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ccording to Sony SA’s Broadcast General Manager, Jess Goedhals, the Sony PMW-F55 & F5 has achieved remarkable success in South Africa with 13 units already sold since the local launch in March. Sony is the world’s largest image sensor manufacturer and is focussed on leading the new 4K evolution. The F55 is the ideal 4K/2K complete camera system designed for Commercials, Features & High-end TV programming. It has been designed as a modular system with the RAW recorder docking onto the F55 without cables. The Exposure Latitude is an incredible 14 stops allowing for creative post production grading. It uses the same Colour Gamut as the flagship Sony F65 8K sensor camera giving it better

colour characteristics than Super 35mm film. The modular Sony RAW recorder (AXS-R5) can record 4K (&2K) RAW onto AXS Memory Cards whilst the internal XAVC codec records onto SxS Pro+ cards. This means that producers acquire their content in a future proofed format at prices equal to or less than competitive 2K cameras currently in the market. A special feature of the F55/R5 is that you can record 4K (2K) RAW on the R5 whilst simultaneously recording your 2K (or HD) content onto the onboard SxS recorder, thus eliminating dailies transfer at the end of the day’s shoot. Shooting in RAW (16 bit linear) allows for high frame rates of 60fps in 4K and 240fps in 2K RAW. New software due for

release in Sept 2013 will allow even greater flexibility in shooting high frame rates. Leading Sony broadcast dealer, Specialised Broadcast Sales & Service (SBSS) based in Cape Town have sold 5 of the 10 F55 units to date. SBSS owners Neil White & James McPherson have been the driving force in setting up F65, F55 & 4K workshops in the Western Cape generating massive interest amongst the local SA filmmakers. For further information contact: SBSS: Cape Town Office: 021 425 6337 Contact: Neil White, James Macpherson, Najma Hoosain Johannesburg Office: Collette Corthouts 083 595 7180

Mediatech Showcases the Latest Technology

Film, broadcast, and AV sector techies were in their element at Mediatech in Johannesburg, South Africa in July where the industry got a peek at the latest in technology. The event, which happens bi-annually, is the African continent’s largest advanced technology trade exhibition for film. It

offers an opportunity to see the offerings of more than 800 brands at over 90 stands for exhibiting companies. The 4K, energy efficiency, and electronic component design were in the spotlight. Below are images of some of what was on offer.

www.f i l mma kera f r i ca .co.za T HE C A L L SHEET

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FEATURE

TV

The Golden Age of Television

Dredd © Joe Alblas

Strikeback © Joe Alblas

Film

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By Kevin Kreidemann

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The pathway to get into theatres is really getting smaller and smaller. We’re talking Lincoln and Red Tails – we barely got them into theatre. You’re talking about Steven Spielberg and George Lucas can’t get their movie into a theatre!

Star Wars creator George Lucas in The Guardian, June, 2013

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ot long ago, TVs were called idiot boxes. Now television shows are being hailed as the novels of the 21st century while cinemas are full of low-brow blockbusters. Talent is increasingly jumping film’s sinking ship for TV, whether its A-list directors like David Fincher (‘House of Lies’) and the Coen brothers (upcoming ‘Fargo’ adaptation), A-list writers like Alan Ball (‘True Blood’) and Aaron Sorkin (‘The Newsroom’), or A-list stars like Kevin Spacey (‘House of Cards’) and Kate Winslet (‘Mildred Pierce’). This power shift isn’t complete yet: for now, there’s no TV star in the league of Brad Pitt, Will Smith or Johnny Depp. “Film is still the glamour end of the industry; tentpole movies still get more columns inches and media coverage,” says Film Afrika’s David Wicht. “But TV is definitely taking centre stage. It’s been a shift that’s taken everyone by surprise.”

Tracking the Shift How did this shift towards television happen? There are numerous theories. “I think we underestimated the power in the availability of cheap, large, flat screen TVs and their ability to feel more like a cinema,” says David. “That has changed the nature of TV completely.” It’s not just that TV screens are bigger - it’s also that VOD, piracy and online streaming have broken the tyranny of the TV schedule. “The whole broadcast model – where a broadcaster tells you what to watch and when - is outdated,” says David. “In five years time, that will have disappeared.” In the past, audiences would miss a TV episode and have few ways to catch up, with led to simple, episodic plotting. Now, with the ease of catch-up and the ability to watch entire series in a single weekend, television makers have been able to write


FEATURE The Ultimate Braai Master

All my favourite s*** is on TV. It’s just totally hijacked the cultural landscape. Nobody’s talking about movies the way they’re talking about TV.

more complex story arcs than ever before, often spread out over multiple episodes or even seasons. This increase in television quality has coincided with the ‘blockbusterisation’ of Hollywood. For a variety of reasons, studios are making fewer films, for much larger budgets. “10 years ago, the studios would do 25-30 movies a year,” says Advantage Entertainment’s Vlokkie Gordon. “They would split their slate, with some high-end and more below $20m. But now they only do four movies a year of between $200-300million.”

Oscar-winning director Steven Soderbergh, The Telegraph, June, 2013

David agrees. “It’s become so expensive to release a film that studios are focusing on tentpole movies and the middle ground of $5-25 films has disappeared.” Critics say this is like putting all your eggs in one basket: speaking to students at The University of Southern California recently, Steven Spielberg predicted an “implosion or a big meltdown… where three or four or maybe even a half-dozen megabudget movies are going to go crashing into the ground, and that’s going to change the paradigm.” According to The Economist magazine,

Disney lost $160m on ‘John Carter,’ while early estimates suggest ‘Lone Ranger’ may be almost as catastrophic. Imagine any company taking that kind of hit on five films in a row… To mitigate this risk, studios are playing it safe, relying on sequels and adaptations to bring in existing audiences. With the recession compounding the lack of financing for mid-range films, talent is being driven towards TV if they want riskier, more challenging subject matter. “The advent of cable and on-demand has allowed these channels to take on subject matter you wouldn’t have seen on network,” David says. “They’ve stretched the boundaries of nudity, violence, and storyline, which has changed television’s viewership.” DO Productions Brigid Olen agrees. “The TV audience has become discerning, sophisticated and demanding, which has in turn increased the quality.”

TV: For Dough and For Show “For many years, there was a funny statement: film is for show, TV is for dough,” says David. Now, you could rather safely say that TV is for show and for dough. “TV is your pension,” Vlokkie says. “If you were a producer on ‘The Wire’ or ‘Luther,’ you’d get a fee on every single episode, even if it was season seven. In contrast, if you acted in two or three movies a year for four years, you’d be lucky if one of them gave you some form of residual income.” David agrees, “For movies in the $525m dollar range, it’s almost impossible to see backend profits, other than your fees in the budget. On TV, your returns are stable and immediate; you don’t have to wait for the blue sky breakout hit.”


FEATURE Bad News for South Africa’s Service Industry?

Marple © Joe Alblas

It’s not just about talent - studios are finding TV more lucrative too. As The Economist recently wrote, “In 2012 Time Warner grossed $12 billion from film, up 20% from 2002. That compares with a more than 84% rise in the company’s TV-network revenues during the period, to $14.2 billion.” Brigid explains, “TV has become so popular because of the consistency of its quality and series franchise prospects, moreover it offers a multi-platform,

so there are new tiers of finance and distribution opportunities available: digital streaming, PAY TV, VOD , product placement/sponsorship have all elevated the content. This has helped create bigger budgets and elevated production values.” TV also offers a stability you don’t find in film. “International TV series are good business for South Africa,” says David. “Black Sails is six-eight months at a time and could run for six years. That’s great, long-term employment.”

For the local service industry, the shift means traditional markets are drying up. “We built our industry on movie of the weeks, then straight-to-DVD movies,” says Vlokkie. “But with the DVD market falling out, there’s nowhere to distribute those anymore.” Thankfully, Brigid expects the movie of the week market to “remain buoyant particularly with the favourable exchange rate and screen value available”. After movies of the week and straightto-DVD, the industry migrated to servicing British TV series, but this has dried up since the UK introduced their own rebate, especially since the South Africa-UK co-production treaty currently excludes television. Since the middle of the market has dropped out, that leaves low-budget films of under $1.5m and high-budget films of over $25m. Vlokkie says, “It’s a very hard model for South African service companies. You can’t make an international film here for $1.5m – above-the-line travel alone is R200 000. And if you have a $25m budget, you can shoot wherever you want.” David agrees, “The tent-pole movies don’t choose location based on cost; they decide what works for the film. The middle market is diminishing, which does make it more difficult for South Africa. We’re dependent on $25m and under films, which are being made less and less. We do see a lot of films coming through in that range and they’re all looking to cut costs, but there are less going into production because it’s harder to get funded. South Africa continues to be a favourite, but we’re not getting those films at the same rate, which is not a reflection on South


FEATURE

Outcast © Joe Alblas

Africa but more on the state of funding for those movies as a whole.” ‘Black Sails’ was a breakthrough as a South African-shot TV series commissioned from the U.S., so there’s hope for more American content, but there are travel-time and time-zone deterrents to overcome. The dearth of functioning local broadcasters also hurts South Africa’s coproductions. “Without local broadcasters, it’s really difficult to do co-productions,” says Brigid. “If we don’t have a local broadcaster with interest or muscle, it’s seen as a weakness, whereas having a local broadcaster on board is seen as a vote of confidence.” The most any of the co-producers seem to hope for from local broadcasters is a minimal license fee.

A Golden Age for Local TV? The golden age of TV should create opportunities for local South African producers: after all, the original series ‘Homeland’ and ‘The Killing’ were made in Israel and Denmark respectively, before being remade for American audiences. Unfortunately, the state of local broadcasters makes a South African equivalent unlikely.

Okuhle Media’s Louise van Hoff says local broadcasters are essential to progress; both in terms of accessing the Department of Trade and Industry (dti) rebate and attracting distributors. “International distributors won’t look at a TV show that hasn’t flighted in its own country,” Louise says. Louise says South African television hasn’t rebranded itself as successfully locally as international content has. “In South Africa, it still feels like things are very skewed towards film in the eyes of the dti and The National Film and Video Foundation, especially in terms of access to rebate and co-production treaties. A white paper on that has just gone in to the dti, so hopefully we’ll see that start to change soon.” For example, she explains that Okuhle was unable to access the dti rebate for ‘Bitten’, their recent cooking show with Sunrise Productions, because cooking shows fall under how-to shows within the rebate, and how-to shows don’t qualify for the rebate. Similarly, when she was at HotDocs, she says most South African documentary makers seemed primarily focused on making feature-length, one-off

documentaries and saw TV series as “slumming it.” “But even at HotDocs, everyone who spoke was looking for series and saying broadcasters don’t really want to schedule one-offs,” she says. In South Africa, where only 5% of the country attends the cinema, theatrical releases are often little more than vanity projects, especially compared to Okuhle’s three million daily viewers, so perhaps it’s time for a shift in industry priorities back towards TV. Okuhle is busy setting up Cape Town’s first full HD live studio facility, with a 270m2 stage area in a 700m2 studio complex in Observatory. They’ve already moved in next door and plan to go live with ‘Hectic Nine9’ there in October, 2013, while also renting the space to the broader industry. “The local TV landscape is not as bad as rumoured, if producers are creative with it,” says Louise. “But we need to start being very creative in the way we look at our funding models.” She’s hopeful that digital terrestrial television (DTT) – when it arrives – will be a game-changer “as long as the broadcasters actually commission and spend money, unlike TopTV.”


FEATURE

A Conversation with

Zama Mkosi CEO, National Film and Video Foundation (South Africa)

Is television overtaking film globally? What signs have you seen that this is occurring? It depends on the perspective. From an audience and consumer perspective, TV as a platform has evolved as more value is added to the previous one way communication. The introduction of interactivity and 3D technology has eroded the experience that consumers could only experience in a cinema environment. The introduction of new and high end TV formats which are able to attract high international audiences has been an interesting trend that continues to grow. Film will always have a space in the industry but there is no denying television is convenient, cheaper and has a much

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wider audience reach and penetration. There is still space for the 2 platforms as TV still remains a distribution platform for all films regardless. What has even been more interesting lately is that we have seen a trend where TV stations have been showing interest in some film productions at the early stages of their life cycle. Locally, more and more producers are able to secure broadcast pre sales as the content market is becoming more and more competitive. Producers’ ability to negotiate fair TV licensing deals becomes imperative.

Why is TV becoming more lucrative and influential than film? TV has a bigger and wider audience compared to film. TV penetration is much higher than the type of audiences that a

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film is able to attract. It is also cheaper and convenient for audience to consume TV content compared to film which is an experience on its own and more expensive if distributed mainly for a cinema audience. In a country like South Africa where the cinemas are limited to urban areas, access to film remains restricted to a small cinema going audience, which is something that needs to be addressed. We have seen in South African TV the high audience ratings that local content is able to attract. Traditionally, films had more bigger production budgets compared to TV programmes. Although TV productions are able to shoot more episodes in a day, production budgets have increased as more productions are not limited to shooting in studios. Location shooting has grown over the years as TV productions


FEATURE more channels is seen as an opportunity for the industry to supply content that will be required as more channels are introduced in the digital environment. A procurement system for independently produced programming that will empower producers of content to own and exploit IP will also go a long way in building and sustaining a vibrant local industry.

How is this impacting on the National Film and Video Foundation’s strategy and role? ‘The Borrowers’ © Joe Alblas

expand their audience reach outside their own territory for a broader global audience. The ability to also distribute productions on DVD, Video on demand and internet has introduced new revenue streams for TV productions. There will always be a space for film and it is an interesting trend to watch on how this will change how audiences prefer to consume TV and film productions. TV as distribution platform allows filmmakers to attract audiences to their product and tap into more audiences over a period of time through longer broadcast times. Film, on the other hand, has a limited theatrical window/lifespan.

How is this impacting on South Africa and Africa? Television has introduced a lot of opportunities in South Africa and in the continent. Satellite TV transcends borders and that has contributed to TV production being able to have a wider and mass audience compared to TV. The market value of local films is without a doubt not where one would like it to be, but I don’t think that this has to do with television. I think this has more to do with factors such as accessibility of cinemas to the majority of the South African population and the barriers to Box Office entry which South African and African films have to contend with on cinema release. These lead to there being a negative impact on South African and African films as they are not able to recoup their production costs and break even or even make a profit in their own territories. The ideal situation is when

there is a thriving audience and demand for content and distribution channels that allow audiences to consume content. Urgent interventions are necessary in this area as in the long-run this will have serious implications in the sustainability of the local and African film industry.

How is the South African and African TV landscape different to the global one: is something holding us back and how can we overcome this to make the most of the new opportunities? There has always been a notion among local broadcasters that local TV content is expensive to make. This position has been challenged by the industry as it’s not a fair one. It is detrimental to the industry to compare the cost of producing local content with the acquisition spend of cheap foreign programming that has already recouped costs in the domestic territories. The introduction of more broadcasters has definitely increased competition for local offerings. We hope that the industry, broadcasters and policy makers will strike a balance where the industry is a sustainable and profitable one and audiences are provided with a variety of TV content for consumption. I think we would like to see more unique and original ideas for local TV shows that will resonate with audiences and are able to attract new audiences. There is no denying that we have missed the digital migration trend as DTT rollout has not been implemented as planned. The availability of

The National Film and Video Foundation (NFVF) will continue to monitor the trends and developments in the industry to ensure that the industry environment across the value chain is enabling for our filmmakers. Where possible, we will continue to ensure that the policy environment is enabling and advocate for changes to policies where appropriate. Part of our new approach has been to ensure that there is an increase of production volumes and the number of previously disadvantaged individuals producing films. This will ensure that we increase the pool of talent and that there is an industry to absorb film graduates and new entrants into the industry. It is therefore important that there are opportunities for the different tiers of filmmakers whether it be a first time filmmaker, emerging producer or seasoned filmmakers with experience locally and internationally. Part of our rethink of strategy has seen the support of development of TV concepts, as TV continues to grow and productions are becoming competitive and able to draw international audiences. It is becoming clear that the film/TV distinction is becoming blurred as focus is no longer on the distribution platform as content produced digitally can be viewed across many platforms that exist.

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WRAP PARTY DURBAN

Film & Event Wrap Party

at DIFF

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ndustry leaders and celebrities joined Film & Event Media for an evening of networking at the Durban FilmMart Wrap Party at the beautiful Suncoast Towers in Durban. The event was jam packed! Hosts ZenHQ Films and My Movies presented trailers for ‘The Forgotten Kingdom’ (which had its African Premiere at DIFF 2013), ‘Die Windpomp’, and

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‘Bordering on Bad Behaviour’ which both release in 2013. Toni Monty from the Durban Film Office welcomed guests who were introduced to the cast of ‘The Forgotten Kingdom’ by Chris Roland of ZenHQ. Film & Event Media would like to thank all of our sponsors including the Durban FilmMart, ZenHQ and My Movies, Tsogo Sun, and Superior Vision for a wonderful event!

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WRAP PARTY DURBAN

www.f i l mma kera f r i ca .co.za T HE C A L L SHEET

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COMMERCIAL SPOTLIGHT

Impossible to

Ignore Ads Every month the Creative Circle and Primedia Unlimited are launching an ‘Impossible to Ignore’ spotlight. This feature that is shared via ididthatad showcases “one brilliant piece from every judge that causes night-sweats and jealous tyre-slashing fantasies. It can be from anywhere in the world as long as it falls into the outdoor/ambient category.”

This month’s Creative Circle judges are: Zee Tshabangu (Mohlang), Melusi Mhlungu (DraftFCB), Ryan Dupen (Havas ww), Mick Shepard (M&C Saatchiabel), Glen Jeffery (Volcano), Georja Bunger (Ogilvy), Rob Rutherford (Metropolitan), Juliet Honey (Net#Work BBDO), Shane Forbes (Hunts)

Ryan Dupen IMB ‘People for smarter cities’ It’s a simple, clear and strong message and for me, it’s the epitome of form versus function. It’s not just advertising for advertising’s sake but rather the identification of a real problem, and a unique way to solve it. The campaign initiative is also far more than just an outdoor piece - it’s major drive is more of a call to action for the public to share ideas on what we can all do to make our cities work better for us. You can see the short AV for the campaign attached here: http://vimeo.com/69084437

ROB RUTHERFORD URA.RU City Website ‘Make the politicians work’ It’s hard for me to ignore this piece, but even harder for the vain politicians who were targeted by the campaign. An idea that us South African creatives will be kicking ourselves for missing. We have the potholes, we have the lazy bureaucrats and we have the artists to execute this sort of irreverent, budget-friendly idea.

MELUSI MHLUNGU MINICUOTAS RIBEIRO ‘Taxi’ When i saw this piece of work i thought to myself “I wish I was in the same room with the creative team when they thought of this, so i could put my name on it”.

GLEN JEFFERY Science World ‘We Can Explain (Campaign)’ It’s actually a campaign of mulitple outdoor pieces but every one a winner for originality, interactivity and innovation.

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COMMERCIAL SPOTLIGHT Courtesy of:

GEORJA BUNGER Mobile News ‘Travel’ I think the Olé Sport News outdoor is really smart and funny. The idea is embedded in a really strong insight, and it’s been brought to life with a simple, striking visual. Like most really great work, it seems so simple that I want to kick myself for not thinking of it first!

MICK SHEPARD The Coca Cola Company ‘Cratefan’ This piece of work makes people happy. They gravitate towards it. And it’s make out of Coke crates…pure genius.

GRAHAM LANG The Museum. NY. ‘Recalling 1993’ This is a very disruptive example of outdoor because it takes you out of the museum and onto every street corner in Manhattan, using one of the last remaining relics of that time: the pay phone.

ZEE TSHABANGU - Land Rover ‘Eyes’ It’s the quintessential outdoor piece. It’s simple, clever and most of all takes full advantage of the medium (back-lit billboard) which has beena round for a while now in an interesting and engaging way.

JULIET HONEY Children’s Help Line ‘Only for children’ I like the way this idea manages to speak to adults and children (or short people) seperately but at the same time and I thought it was a relevant use of the medium for the client. It’s also a fresh way of using the good old lenticular.

SHANE FORBES Glad ‘Glad Tents’ I love how simple it is. As advertisers we’re always looking for a new way to get our point/ product benefit accross and i think this is a fresh sollution to a problem at festivals which demonstrates how durable Glads garbage bags are. In a world where everyone’s trying to “go green” I think this breaks through.

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COUNTRY SPOTLIGHT

Zambia Cradle of Mankind

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nown as the ‘Cradle of Mankind’, Zambia’s scenic offerings range from Victoria Falls to the bustling urban city of Lusaka. Filmmakers visit Lakes Kariba and Tanganyika and the Zambezi River to capture pristine, tranquil beauty. In 2012 Zambia was ranked the second friendliest country in the world behind Mauritius, and in 2011 the country was named the best all-round destination in Southern Africa in an HSBC survey.

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COUNTRY SPOTLIGHT

© Greenwich photography

What’s Happening Now The Shungu Namutitima International Film Festival (SHUNAFFoZ) will take place from 23 -31 August in Zambia’s tourist capital, Livingstone. The festival runs for 9 days and will include forums, village film screenings, workshops, and a gala night. The festival aims to enable networking and allow producers to buy, sell and promote their products and exchange ideas and information on an international scale but in an African context. For more information about the festival and film submissions contact info@viloleimages.com

Key Venues Victoria Falls Victoria Falls is synonymous with Zambia and is known as ‘the greatest known curtain of falling water’. It is located on the Zambezi River, bordering Zambia and Zimbabwe. The extensive basalt cliff, where the water thunders down, transforms the Zambezi from a broad docile river to a violent torrent, known as the “Smoke that Thunders”, slicing through a number of gorges.

Filmmakers visit Lakes Kariba and Tanganyika and the Zambezi River to capture pristine, tranquil beauty.

Livingstone Livingstone was established in 1905 and still retains Edwardian buildings that line the city’s main road. This city still retains historical charm. The proximity to the Zambezi River and Victoria Falls makes Livingstone a logical base for travellers.

Getting to Zambia by Air Kenneth Kaunda International Airport in Lusaka is Zambia’s primary airport. It is located off the Great East Road, approximately 14 km north-east of the central business district of the country’s capital city. Airlines flying to Lusaka include Air Botswana, Iberia, Egypt Air, British Airways, KLM, Kenya Airways, TAAG Angloa Airlines, Ethiopian Airlines and American Airlines. Airlines flying directly from South Africa include South African Airways, Emirates Airlines, and Royal Dutch KLM. Harry Mwaanga Nkumbula International Airport (in Livingstone) also receives a large number of international travellers and has recently been renovated and upgraded.

There are three seasons – cool and dry from May to August, hot and dry from September to November, and warm and wet from December to April. Only in the Valleys of the Zambezi and Luangwa is there excessive heat, particularly in October and, in the wet season, a high humidity. In the warm wet season, frequent heavy showers and thunderstorms occur, followed by spells of bright sunshine. During the cool dry season, night frosts may occur in places sheltered from the wind.

You Need to Know about Filmmakers should be able to get location permits for most Zambian locations given time, money and the right approach. Locations, local talent and support crew are fairly inexpensive but it is recommended that all key crew and equipment are brought from abroad as Zambia is still in their development stages of a filming infrastructure.

Population 14,222,233 in July, 2013 according to the CIA World Factbook.

Climate The general height of the land gives Zambia a more pleasant climate than that experienced in most tropical countries.

Did you know? The capital of Zambia, Lusaka, with a population of roughly 1.5 million, was originally planned to hold a mere 200,000 people!

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IN PRODUCTION

In Production August 2013

Thanks to ever-present confidentiality clauses, no one is ever allowed to officially talk about what’s in production in Africa, so this monthly section is an unofficial overview of the industry’s worst-kept secrets.

On the Record: Book of Negroes Conquering Lion Pictures, Out Of Africa Entertainment and Entertainment One are prepping a mini-series adaptation of ‘The Book of Negroes,’ based on Lawrence Hill’s Commonwealth Writer’s Prize winning novel about a resolute African woman who survives slavery, the American revolution, and the jungles of Sierra Leone to secure her freedom. Director Clement Virgo (‘The Wire,’ ‘Poor Baby’s Game’) co-wrote the screenplay with Lawrence. Out of Africa’s Lance Samuel has compared the CanadaSouth Africa co-production to the classic TV series ‘Roots’.

Big Brother: The Chase Sasani Studios is hosting the grand finale of ‘Big Brother: The Chase’. Sasani’s Eileen Sandrock says, ”Sasani has hosted every season of ‘Big Brother Africa’ barring the inaugural one, and we are currently preparing for the long-awaited ‘Big Brother Mzanzi’ early in the new year.” Their daily soaps – ‘7de Laan’, ‘Scandal!’, and ‘Rhythm City’ all continue, as does ‘Isidingo,’ a new arrival at Sasani.

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IN PRODUCTION Unconfirmed Speculation: Northmen: A Viking Saga

One

Vikings are the new vampires, and they’re heading for South Africa. Two Oceans Productions are prepping the feature ‘Northmen: A Viking Saga.’ ‘Sniper Reloaded’’s Claudio Faeh is directing, while Tobias Santelmann (2013 Oscar-nominee ‘Kon Tiki’) and Ken Duken (‘Inglorious Bastards’) co-star. The synopsis on Salt’s website talks about ‘viking marauders,’ ‘intent on pillaging,’ who ‘mercilessly decimate their pursuers one by one…’ It also mentions ‘a monk who preaches with his sword.’

Enigma Pictures is prepping ‘One’ for Australian director Murali Krishna Thalluri. Deadline describes it as “racially fueled post-apocalyptic adventure as seen through the eyes of a 26-year old girl. She is the hope of her world, yet holds fundamental doubts about whether she can live up to this daunting task.”

Chappie ‘District 9’ and ‘Elysium’ director Neill Blomkamp is prepping ‘Chappie’, a robot science fiction comedy based on his

short film ‘Tetra Vaal.’ It’s expected to shoot in Johannesburg with Uncle Morris. Sharlto Copley stars as a police robot. Variety reports that Dev Patel (‘Slumdog Millionaire’ & ‘Newsroom’) is in talks to co-star, while Die Antwoord’s Ninja and Yolandi Vi$$er have also been linked to the film.

Echo Beach Jyoti Mistry (‘The Bull on The Roof’) is expected to start shooting psychological thriller ‘Echo Beach’ in Johannesburg. Her husband Florian Schattauer is producing.

Recently Wrapped:

Love the One You’re With Africa First rising star Jenna Bass recently wrapped “the first half” of her debut feature film ‘Love the One You’re With.’

Spud 3 ‘Spud 3’ started shooting at the end of June, so should have wrapped by the time you read this. John Barker (‘Bunny Chow,’ ‘31 Million Reasons’) replaced Donovan Marsh in the director’s chair, but John Cleese was still there.

Really Surprising

Spud 3 - Director John Barker chats with John Cleese (The Guv) & Troye Sivan (Spud)

‘Really Surprising’ is a Nigerian film directed by Emmanuel Olabode who trained at AFDA Johannesburg. The film was written by AFDA alumnus Feyisayo Anjorin; he also co-produced and acted in the film. The film was shot in Enugu, with most of the crew from Lagos and most of the cast from Enugu (which is the heart of filmmaking in Nollywood). Olabode and Anjorin seek a cinematic release before the DVD market. Emmanuel says, “we are now focusing on bringing out the best in postproduction. A good film would speak for itself anywhere and in all seasons.”

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Puma Video

Provides The Best in Broadcast Equipment by Henk Germishuysen

P

uma Video is a professional broadcast equipment rentals company where we aim to make the latest affordable technology available to the media & entertainment industry. In addition to reliable equipment, we offer technical assistance and support and in so doing endeavor to develop trusting relationships with our clients through appropriate advice and support from our staff. This year we have added the new Sony FS-700 AVCam (960 f/s), Sony PMW 150 XDCam and Sony PMW F-55 Super 35mm 4K camera to our range. Other cameras

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include HPX 174, HPX 250 & HPX 500 in the P2 HD range; the EX-3, PMW-150 and PMW 350 in the XDCam EX range, Canon 7 & 5 D’s, Sony Z5 & Z7’s, Go-Pro’s etc. Our new Panasonic HS-410 8-ch video switcher, up-scalable to 12 channels with option boards, together with the Panasonic HDX-24 HD-P2 recorder, is a superb value for money portable multi-cam solution. Together with our Data Video HS-2000 4-ch HD switcher it currently allows us to cater from 3-camera up to 8-camera multicam productions. We have a basic but useful lighting inventory that includes Kino Flo’s, Dedo kits, Arri pup’s and peppers, LED panels and camera lights as well as the stock redheads & blondes. We plan on increasing our range to include hi-output LED’s & HMI’s before the end of the year. Our audio range includes radio mics, rifle mics, mixers and Zoom recorders.

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These work ideally with our Canon 7 & 5D DSLR’s. For these cameras we also keep the Azden & Beechtec audio adapters. Grip-wise we have a range of tripods with accessories, slide & glide, dollies, tracks and mini jib. The future is 4K, 2K & AVC (Intra and Ultra). We have it. Call us to find out how we can assist or advise you on your next production. For our latest rate card go to our web-site at www.pumavideo.co.za Puma Video T: 011 886 1122/3/4 F: 086 681 8623 E: info@pumavideo.co.za www.pumavideo.co.za


INDUSTRY MOVES

My Movies Launches at Durban Film Mart Cape Town production company ZenHQ Films is launching its newly formed sales arm My Movies Film & Television Sales at the Durban FilmMart. Originally formed to sell content produced by ZenHQ Films into the African market, My Movies is also acquiring select content from third party rights holders primarily from North America and Europe. “While the African market is still a challenge, we are seeing a growing demand for quality entertainment that speaks to African audiences. International sales companies largely ignore Africa due to the challenges in understanding that market. It made sense for us to retain African rights, which most sales company are happy to relinquish.” says My Movies founder Chris Roland, who also owns ZenHQ Films with partner Lee-Ann Cotton.

Titles My Movies has acquired include ‘Bordering on Bad Behavior’ starring Tom Sizemore, ‘Die Windpomp’, the much anticipated Afrikaans fantasy love story starring Ian Roberts, Marga Van Rooy and Grethe Fox, and ‘The Forgotten Kingdom’, which is screening in competition at the Durban International Film Festival. All three titles are ZenHQ Films productions. My Movies recently attended Marche Du Film and Berlinale which included meetings with rights holders interested in penetrating the African market. My Movies is currently compiling a slate of films and TV content which it is packaging for African sales including ZenHQ’s titles. Additional information regarding My Movies projects can be found on the company’s website www.my-movies.co.za.

Aquavision TV Productions Purchases Back Fox Stake After a three year relationship with FOX International Channels, Peter Lamberti has announced that he has purchased back Fox’s shareholding in Aquavision TV Productions for an undisclosed sum. “We have had a fantastic relationship with Fox over the past three years” says Lamberti, “but with the change in focus of broadcasters worldwide, it was felt by both parties that our interests are better served independently of one another. Although Fox will no longer be a stake holder in our company we will continue to work with them on a project by project basis.”

Marketing & Communications, Fresh Azania Muendane Bids Eye Film Farewell to the NFVF Productions Launches Johnny Gun Azania Meundane is leaving the South African National Film and Video Foundation (NFVF) after six years. She has worked on projects including the South African Film & Television Awards (SAFTAs) since joining the NFVF. She says, “I would like to sincerely thank the entire industry for trusting me to work with you and for allowing me to

participate in telling your stories. I have always said that the film industry is the one industry that I take my hat off to because of the drive and determination each filmmaker and practitioner has to tell their particular story whatever their age, they will not give up and believe that one day, that story will be told.”

Fresh Eye Film Productions is proud to announce the launch of a new division, Johnny Gun, aimed at identifying, nurturing and supporting the new generation of directing talent in the South African film industry. “Johnny Gun will give new talent the opportunity to enter the industry and gain hands-on experience,” says Fresh Eye Film Productions executive producer Gavin Gillespie. It will seek production content across the board -- from below the line, web, corporate AVs and music promotions, to full spec TV commercials. Young directors already appointed under the Johnny Gun label include, Supa Mbele, Brennan Lewis, Lwazi Mkhize, Justin Beachcroft-Shaw, and Joanna Imrie.

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INDUSTRY MOVES

Call for National Technical Crew Database As part of the ongoing investigation into the South African Film Criteria, the National Film and Video Foundation is looking to establish a database of technical crew who are based in the country. The purpose of this database is to facilitate the search for experienced technical crew by both local and international production companies. Technical crews in the following categories are requested to submit their details via email to Thandeka Zwana using the subject title “TECHNICAL CREW DATABASE”. This will be an ongoing process and has no deadline date but crew are advised to submit their details as soon as possible.

Categories of Crew: • • • • • • • • • • • •

Editor - 1st AD Composer - 2nd AD Cinematographer – Gaffer Production Designer - Best Boy Lighting Art Direction - Best Boy Grip Sound - on set/location - Set Dresser Sound – designer - Props Master Sound – designer - Accounts Assistant Production Manager - Location Manager Focus Puller - Line Producer Key Grip - Script Supervisor Makeup / Hair

Details required for database are: 1. 2. 3.

Full name and email address Age, gender and race CV showing experience in the last two years For enquiries, and to submit information, please contact Thandeka Zwana at thandekaz@nfvf.co.za

Bring Back Choirboy Focuses on the People The production process is changing so rapidly it’s been hard to keep up. With formats becoming obsolete, entire workflows disappearing and an oversaturated market, it’s no wonder that we’ve turned our focus back to the basics, back to what really matters… the people. Bring Back Choirboy has gathered together the most inspired, talented and creative team that ticks off each block of

by By Luke Apteker the production process, from producers to animators, directors to editors, we are paving a new way forward. Parallel to this vastly experienced team we have facilities comprised of state-of-the-art edit suites in a beautiful loft office space spoiled with mountain views, an arsenal of equipment with Camera Drones and Steadicam rigs in the ranks, and finally the expertise that earns us the title as an absolute creative

collective. Be a part of the new movement and join us at Bring Back Choirboy and find out just how wonderful it is to work with people that know what they are doing. To meet the team, gaze at our equipment and take a peek at one of our ground-breaking concepts, please go to www.bringbackchoirboy.co.za. For more information you can also send a mail to luke@bringbackchoirboy.co.za.


INDUSTRY MOVES

AFDA Student Films Win Awards at New York City Picture Start Film Festival

AFDA Students - Garon Campbell (left) and Ben Arredondo (NYC Picturestart Film festival Director)

Two Johannesburg AFDA’s student films, ‘Kanye Kanye’ and ‘Umkhumbi Wethu’ walked away with awards at this year’s New York City Picture Start Film Festival. A collection of short films from around the world were screened at the 17th NYC Picture Start Film Festival this year. The festival director Ben Arredondo visited South Africa earlier in the year and four SA films were selected to go to New York festival. Founded in 2002 by Greg Segal, NYC Picture Start Film Festival (NYCPSFF) showcases short films from all over the world from emerging filmmakers as well as those already established in the industry. ‘Kanye Kanye’, directed by Miklas Manneke is a romantic comedy about a forbidden love affair between two young township teenagers. It won the award for best cinematography ‘Umkhumbi Wethu’, directed by Garon Campbell and won the award for best director and best actor.

Movie Weapons Specialists Open Cape Town, South Africa Branch Black Sails

Movie weapons specialists Hire Arms has opened a Cape Town branch. The office is being run by Brian Wentzel, Senior Armourer, who has extensive experience in the film industry

having been HOD Armourery and Weapons on productions including ‘Machine Gun Preacher’, ‘History of America’, ‘Blue Stone 42’, ‘Mr Bob’, ‘Crusoe’, ‘Expendables 2’ and ‘Black Sails’.


EVENTS

August

4th ANNUAL CLOUD & VIRTUALISATION SUMMIT AFRICA 1-2 Aug Cape Town, South Africa

September TRI CONTINENTAL HUMAN RIGHTS FILM FESTIVAL 13-29 September Cape Town, Johannesburg, and Pretoria, South Africa

THE LOERIES 16-22 Sep Cape Town, South Africa

NIGERIA COM 17-18 Sep Lagos, Nigeria

October DOCKANEMA On set Marple © Joe Alblas

13-22 Maputo, Mozambique

PHOTO & FILM EXPO 31-3 Nov Johannesburg, South Africa

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EVENTS

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OPPORTUNITIES

SAFTAs Call for Entries Now Open

T

he National Film and Video Foundation (NFVF) calls on all local production companies to submit their entries for the 8th Annual South African Film and Television Awards (SAFTAs). The entries will close on Friday the 2nd of August, 2013. The SAFTAs, managed under the custodianship of the NFVF, are an industry initiative governed by the SAFTAS committee and the body of industry representatives comprising of the broadcasters, SASFED and other key stakeholders.

The basic guidelines for the eligibility of entries are as follows: •

For TV fiction, non-fiction, student films and TV animation, only South African films and television programmes that have been produced and publicly exhibited or broadcast between the 1st of August, 2012 and the 31st of July, 2013 are eligible to enter. For feature film and feature length animation, only South African films produced and publicly exhibited or broadcast between the 1st of January, 2013 and the 31st of December, 2013 are

eligible to enter. Only productions that are entered will be eligible for consideration. The SAFTAs give recognition to individuals and productions that have excelled in the following categories: TV Non-fiction, TV Fiction, Feature Films, Short Films, Student Films and Animation. The SAFTAs also afford the public an opportunity to vote for their favourite TV soap in the Best TV Soap award. Although this award is voted for by the public, TV soapies don’t receive automatic nomination; they still need to submit an entry to be eligible for this award. The SAFTAs committee has also decided that no deadline extension will be granted for the submission of entries and as such the industry is encouraged to submit by the set closing date. The submission of entries will be followed by the filtration which will then be followed by the actual judging process and the nominees will be announced in February 2014. The main awards ceremonies will be held in March 2014 in Johannesburg where all winners will be announced and be presented with the official SAFTA trophy, the Golden Horn. To register for the SAFTAs visit: www.saftaregistration.co.za.

SA National Film and Video Foundation Calls for Application of Bursaries The National Film and Video Foundation (NFVF) is calling for 2014 bursary applications from students who are interested in studying film related courses, at recognised tertiary institution in South Africa. These bursaries will cover students who are enrolled in film related course for duration of their studies. In 2012 64 students (24 Females: 40 Males) were awarded bursaries to study film and video related courses in South African intuitions. As part of the NFVF’s objective of redressing past

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imbalances, priority will given to students from previously underprivileged and disadvantaged communities. Criteria for selection of students: • Must have already been selected at an institution that offers formal qualifications such as a diploma or degree • Demonstrate financial need – by submitting parents’ pay slips, etc. • Good academic results • Submit a one-page motivation letter that demonstrates students’ passion

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for the industry as well as ambition. It must also include all the required information as per application form.

How to Apply for the Bursary: Application Forms are available on the NFVF website: www.nfvf.co.za For more information about NFVF bursaries, e-mail Lebohang Khunou at lebohang@nfvf.co.za The closing date for applications is 31 August, 2013


OPPORTUNITIES

Submissions Open Submissions are now open for the third annual Jozi Film Festival 2014, which will take place in venues across Johannesburg from 21-23 February, 2014. Competition categories include: Best Feature Film, Best Feature Documentary Film, Best Documentary Short, Best Fiction

Short, Best Animated Film, Best Student Film, Best Mobile Phone Film and an Audience Choice Award. We are also excited to announce the addition of an international documentary film category. Our main focus remains providing a

platform for local filmmakers telling stories about our city and screening films made in and about Johannesburg. Submissions are being accepted through October 18, 2013 (postmark date). For more information visit: www.jozifilmfestival.co.za

Compete in World’s Largest Timed Filmmaking Challenge The 48 Hour Film Project The 48 Hour Film Project brings together contestants from all walks of life fuelled by imagination, ingenuity, energy drinks and dreams of being the BEST FILMMAKER in the WORLD. The 2013 tour will make stops in 100 other cities around the globe in 2013. The winning films will go on to represent their city at Filmapalooza in the USA in 2013, top films also stand a chance of screening at the prestigious Cannes Film Festival’s short film corner. Filmmaking teams begin at 7pm on a Friday and deliver a finished 4 to 7 minute film by 7:30pm Sunday. They are responsible for

putting together a cast and crew, and getting equipment and anything else necessary to make a film/video in just one weekend. Any team, regardless of skill level, is eligible to participate in this competition. The 48 Hour Film Project will be held in the following African cities: • Durban, South Africa 2 - 4 August • Gaborone, Botswana 9 - 11 August 2013 • Johannesburg , South Africa 6 - 8 September • Cape Town, South Africa 4 - 6 October • Nairobi, Kenya (TBA) For more information visit: www.48hourfilm.com

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ASSOCIATIONS

Animal Trainers and Film Industry Welcome Concourt Ruling Velocity Films on set A1 LTE “The Big Wait” with Director: Leigh Ogilvie, Producer: Karen Kloppers, DOP: Terence Maritz, 1st AD: Nick Lorentz, Production Manager: Lauren Seymour, Wrangler: Nicole Jennings, Animal: “Dave” 3½ yr old Male Borzoi, Animal Welfare Monitor: Animal Issues Matter Organisation, Dog Owner / Veterinarian: Dr. Darryl Hunt

The Licensed Animal Trainers Association (LATA), the Commercial Producers Association of South Africa (CPA) and the South African Association of Stills Producers (SAASP) welcome the judgement handed down by the Constitutional Court on Thursday which upheld an order of constitutional invalidity in the Performing Animals Protection Act. LATA was admitted as an intervening party in the case, with the CPA & SAASP who were represented as “friends of the court” together they motivated for the processing of licenses issued to animal handlers to remain with the Magistrate’s Court, this was done primarily to prevent the NSPCA from involving itself in the process given its well documented bias against the use of animals in the entertainment and film industries. The judgement found that although it is unconstitutional for magistrates to issue PAPA licenses, the North Gauteng High Court erred in its decision to refer the defect to the Department of Agriculture, Forestry & Fisheries to rectify, rather than to Parliament. The Constitutional Court also found that the High Court’s decision to form an

38 | T HE CALLSHEET

interim committee comprising of members of the Department of Agriculture, the NSPCA and the SAVC to assess applications for licenses for animal handlers “do not appear to have been justified or to have had a proper basis”. The judgement continues that “even though the High Court should not have made these orders it will not be necessary to set them aside because, upon the handing down of the judgement, their operation comes to an end since they were meant to govern the position pending the judgement of this court.” The Court ruled that the best course of action would be to suspend the declaration of invalidity for a period of 18 months to give Parliament the opportunity to cure the deficiency. Until this is achieved the function of issuing licenses will revert to the magistrate’s court. LATA, the CPA and SAASP welcome these recommendations as they effectively put an end to the interim licensing committee and the NSPCA’s meddling in the process which, by its own admission when presenting its case to the Constitutional Court in March, is undesirable given its inherent bias and

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documented opposition to the involvement of animals in film and entertainment industries. The three organizations questioned in their representations to the Court how the NSPCA could possibly make an objective recommendation under these circumstances and their concerns have proved to be well founded with the interim licensing committee dragging its heels for months on end and including in PAPA licenses bizarre terms and conditions which have no basis in law. The three organizations look forward to an inclusive and transparent process in the drafting of new legislation and hope to see an appropriate and accountable authority replacing magistrates once the Constitutional defect has been remedied.” ISSUED BY THE LICENSED ANIMAL TRAINERS ASSOCIATION, THE SOUTH AFRICAN ASSOCIATION OF STILLS PRODUCERS AND THE COMMERCIAL PRODUCERS ASSOCIATION OF SOUTH AFRICA

(Read more about the ruling on page 07)


ASSOCIATIONS

NFVF Hosts the Eastern Cape Industry Consultation The National Film and Video Foundation hosted its first provincial engagement for the year 2013 in East London on Friday, 12 July. The provincial engagement sessions, held at the Eastern Cape Audio Visual Centre were attended by the East London government department, advanced filmmakers, as well as emerging filmmakers who are at the core of the NFVF strategy in terms of youth development. The sessions were divided into two. The first, a presentation on South African Film Strategy development was presented

by Ms. Mawande Seti from Policy and Research. During her session Ms. Seti shared the background behind the strategy development, which was influenced by the Golden Economy and White Paper policy development. Ms. Seti encouraged the filmmakers to constantly be in touch with the NFVF in order for their views to be heard, in preparation of the Film Indaba and the conclusion of the South African Film Strategy. The second session, “In Conversation with...” was facilitated by Ms. Thandeka Zwana,

Writers’ Guild of South Africa Launches Online Magazine The Writers’ Guild of South Africa has launched an online magazine – WGSA Mag South Africa. Included in the inaugural issue: • Feedback on residuals from the WGSA Collection Agency • Professional development programme for this year • Writing tips To view the magazine visit: http://joom.ag/C0JX Also from the WGSA, educational workshops for the month of August: “What Production Companies Want” Durban, 5 August “Gaming: A look at gaming for writers” Johannesburg, 10 August “Documentary Writers” Cape Town, 10 August “Writing for Radio” Johannesburg, 24 August

and featured Vincent Moloi, Marike Bekker and Mayenzeke Baza. The team, who travelled to the 2013 Cannes International Film Festival, shared their travel experiences, including what to expect when attending the festivals, which markets to look for and scheduling of meetings prior to their travels. The NFVF will announce the next provincial engagement in due course. The engagements are crucial in the process of developing the film industry strategy, as well as important as the foundation prepares for the next film Indaba to be held later in November.

SAGE Suite Talks Presents Guerilla Moves The South African Guild of Editors Suite Talks invites all interested to a presentation that will look at guerrilla or low-budget filmmaking. Yoav Dagan and Ziggy Hofmeyr will be discussing tips for the independent filmmaker and will look at the importance of independent work. Topics under discussion will be the relevance of the short film to our industry, the purpose it serves and the benefits. Yoav Dagan will discuss his personal experience with the 48-hour Film Project. Dagan is a full member of SAGE and owns TiNT Post Production. Ziggy Hofmeyr, owner of Joziewood Films and also a full member of SAGE, will discuss the possibility of making a living through independent films. The presentation will take place at the AFDA film school in Johannesburg on the 22nd of August. The presentation will be free for SAGE members and students, R30.00 for an electronic transfer on/before 21 August and R50.00 at the door. For more information visit the SAGE website: www.editorsguildsa.org

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DIRECTORY LISTINGS

Advertisers COMPANY

TELEPHONE

EMAIL

WEBSITE

Durban FilmMart

+27 31 569 5988

info@durbanfilmmart.com

www.durbanfilmmart.com

Etv

+27 82 884 6207

michelle.tilburn@etv.co.za

www.etv.co.za

Film Freight

+27 11 706 0143

filmfreight@filmfreight.co.za

www.filmfreight.co.za

Global Access

+27 11 350 6111

amelia@globalaccess.co.za

www.globalaccess.co.za

KIDZ 2000

+27 82 835 8627

kidz2000@mweb.co.za

www.kidz2000.co.za

Lindbergh Lodge

+27 11 884 8923

lindbergh@iafrica.com

www.lindberghlocations.co.za

Namibia Film Commission

+264 61 38 1900

info@nfc.com.na

www.namibia-film-commission.com

Neotel

+27 86 063 6835

sales@neotel.co.za

www.neotel.co.za

Priest Films

+27 87 742 2250

cal@priest.co.za

www.priest.co.za

Puma Video

+27 11 886 1122

info@pumavideo.co.za

www.pumavideo.co.za

Rock Solid Remotes

+27 71 475 1810

lara@rocksolidremotes.com

not available

SBSS

+27 21 425 6337

neil@sbss.tv

www.sbss.tv

Sony South Africa

+27 11 690 3200

jess.goedhals@ap.sony.com

www.sonybiz.net

Spit & Polish

+27 83 577 6600

info@spitandpolish.co.za

www.spitandpolish.co.za

Loeries

+27 11 447 6889

info@loeries.com

www.loeries.com

Visual Impact

+27 21 468 6000

werner@visuals.tv

www.visuals.tv

Wizardz

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

ZSE TV/Sasani Studios

+27 11 719 4200

eileen@sasani.co.za

wwwsasanistudios.co.za


For Advertising Please Contact Hanlie Mylo 021 674 0646 or hanlie@filmeventmedia.co.za


The Callsheet Issue 08  

Africa's Leading Film Industry Magazine

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