The Callsheet Issue 01 2013

The

Issue 01 2013

Callsheet Africa’s Leading Film Industry Magazine

What’s Ahead in 2013 Making a Film in Africa Locations! Locations! Locations!

In Production

The

Callsheet Africa’s Leading Film Industry Magazine

www.thecallsheet.co.za

CONTENTS 32

Cover Photograph: © Kudos for BBC : Joe Albas for Film Afrika Publisher: Lance Gibbons lance@filmeventmedia.co.za Executive Editor: Maya Kulycky maya@filmeventmedia.co.za Business Manager: Taryn Fowler taryn@filmeventmedia.co.za

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Advertising Sales: Taryn Fowler taryn@filmeventmedia.co.za Sales and Marketing Assistant: Robyn-Lee Malan robynlee@filmeventmedia.co.za Head of Design: Jess Novotna jess@filmeventmedia.co.za Editorial Assistant: Danielle Illman danielle@filmeventmedia.co.za Proudbly Published by

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DISCLAIMER: Opinions expressed in The Event 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 Event 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.

4. Wesgro Assumes Film Mandate 6. Charley Boorman’s South Africa Adventure 8. Profile: Giaco Angellini 9. Spitfire Films 10. Jameson First Shot: Expert Tips 12. Skyfall Takes Off in Africa 14. NFVF Conducts An Economic Impact Survey 15. WGSA Becomes Associate Member of IAWG 16. Sony Camera Debut 17. Oscars: 15 Documentaries Advance in the Oscars 2012 Race 18. DHL Global Connectedness Index 20. Cairo International Film Festival Winners 22. Colours of The Nile International Film Festival Winners 24. SA Delegation: Strategic Hollywood Mission 26. SA Judges for International Emmy Awards 27. In Production: January 2013 28 Country Spotlight: Kenya On The Move 30. Upcoming Events 32. Shooting in Sub-Saharan Africa in 2013 36. Telling “Africa’s Story” in 2013 38. Challenges of Season 40. Trends: If A Picture Is Worth A Thousand Words 42. Trends: Location, Location, Location www.th ecal l sh eet.co m T H E C A L L SH EE T

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NEWS Statement by Western Cape Minister of Finance, Economic Development & Tourism Alan Winde 5 December 2012 “Wesgro now the Western Cape’s film destination marketing agency

Wesgro Assumes Film Mandate

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ecently, Alan Winde, the Western Cape Minister of Finance, Economic Development & Tourism in South Africa announced that Wesgro, the official destination marketing, investment and trade promotion agency for the Western Cape will be the region’s film destination marketing agency. This was previously done by the Cape Town Film Commission. A public debate has ensued over the roles of the organisations in this new environment. Denis Lillie, CEO/ Commissioner of the Cape Film Commission has stated “We remain intact and continue to support the industry as best we can. The industry continues to service the local and international market.” Wesgro has published a “Film Sector Fact Sheet” (www.wesgro.co.za/publications/publication-directory) providing data that shows a sharp drop in high-value foreign direct investment projects since 2011 that may have played a role in the change. The Callsheet will bring you more on this story as it continues to develop. The following is the statement of Minister Winde.

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Today, Western Cape Minister of Finance, Economic Development and Tourism, Alan Winde, announced that promoting Cape Town and the Western Cape as a film destination is part of Wesgro’s mandate.

Wesgro is the official Destination Marketing, Investment and Trade Promotion Agency for the Western Cape.

Addressing stakeholders in the Western Cape’s film industry today, Minister Winde said: “Our tax envelope is shrinking and our government has to do more with less. Wesgro already has the responsibility of marketing the Western Cape as tourism, investment and trade destination, adding the marketing of the Western Cape’s entire film industry to the portfolio will mean that we have a streamlined and co-ordinated marketing strategy with which to approach local and international markets. Wesgro has already started implementing plans to ensure that in the 2012/13 financial year, film trade and investment to the value of at least R1 billion will be leveraged.”

For the 2013/2014 financial year, marketing of Cape Town and the Western Cape as a film destination by Wesgro will include: • Aggressively marketing the Western Cape as a film destination, with a focus on film trade promotion strategy to encourage as many international block-busters and commercials to be filmed in the Western Cape.

• Facilitating access to national film rebates.

• Supporting commercial orientation of existing film makers.

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• Exploring potential of developing local content film making.

• Developing local film audiences.

• Trade and investment missions in collaboration with the Department of Trade and Industry.

• Development of a film market within the provincial film festivals.

• Focused engagement with Cape Town Film Studios for investment purposes in the long film and TV productions.

• Hosting regular engagements with industry on key issues for the Western Cape in collaboration with the City of Cape Town, the Media, Information and Communications Technology SETA (MICT SETA), the National Film and Video Foundation (NFVF) and the Department of Trade and Industry.

“South Africa’s entertainment industry is valued at around R7.4-billion, with film and television generating more than R5.8-billion in economic activity each year. In the Western Cape, the estimated turnover contributed to the tourism industry is over R23.2 million per annum. I am confident that Wesgro will draw even more investment and grow the economic and jobs creation potential of the sector.” Minister Winde added.

Since 2010, various film production have created thousands of jobs opportunities in the Western Cape: • • • • • • • • • • •

Judge Dredd – 592 Chronicles – 1153 Safehouse – 5274 Labyrinth – 1780 Great British Story - 931 The Borrowers – 428 History of the World – 1161 Flight of the Stocks – 1071 Young Leonardo – 669 Strike Back 11 – 1161 How we invented the world - 198

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NEWS

South African Adventure “

S

- By Jim Freeman

unday night in Cape Town’s Westin Grand Hotel and the drinks have been flowing for a couple of hours. It’s the wrap party for Charley Boorman- and Russ Malkin’s latest motorcycling adventure and the two are revelling in being reunited with their families, whom they’ve not seen for over two months.

There’s a lot of hilarity – most of the male crew-members and some of the invited guests have trimmed their beards to mirror Charley’s piratical bokbaardjie – but there’s a sombre undertone: after living in each other’s’ pockets for the past seven weeks, they’re upset the adventure is over.

Charley Boorman’s Extreme Frontiers: South Africa flights in the United Kingdom as a four-part series in early 2013. In each of the hour-long episodes, says Malkin, Charley “gets under the skin of South Africa”.

Malkin describes himself as “primarily an adventurer”. He also wears the hats of series producer and director. He has made his mark in the reality adventure genre with Boorman

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and actor Ewan McGregor in The Long Way Round and The Long Way Down, the latter featuring the two riding from the northern tip of the UK to Cape Town.

The series will be recut – “probably to about seven episodes”, says Malkin – for international flighting (including in South Africa) next year.

This is anything but a big-budget production with a crew and cast of thousands. In fact, the team numbers just seven…none of whom have worked with Boorman and Malkin before.

With McGregor increasingly in demand in Hollywood, Malkin and Boorman have maintained their adventuring momentum with the Extreme Frontiers series, of which South Africa is the second after 2011’s Canada programmes.

“An adventure starts with an idea, which you then have to sell. In this case, our track record allowed us to sell the South Africa series to BBC’s Channel Five. It’s the same channel that showed the Canada programmes in prime time.”

Malkin insists that having a broadcast

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This is anything but a big-budget production with a crew and cast of thousands. In fact, the team numbers just seven … none of whom have worked with Boorman and Malkin before.

“

Charley Boorman’s

NEWS

The crew

“

I like mixing things up. If you go away with the same people time after time, you’re unlikely to achieve any kind of breakout dynamic.

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partner is no longer an essential requirement for planning and conducting an overland expedition.

“There are very many ways that Internet branding can be an extremely exciting trigger point for generating funding and sponsorships. All it needs is a bit of entrepreneurism, passion and drive.

“You also don’t need a celebrity if you have a great idea and format.”

Once he’d obtained the green light from Channel Five, Malkin – once quoted as saying “I’ve never met anyone who’s had an adventure and regretted it” – approached perennial sponsors BMW and sought other partners.

Among those that came on board were South African Airways, Nissan SA, national and regional tourism authorities, the Mantis Collection of privately owned boutique hotels and Intrepid Travel.

BMW was a cinch: the team was singlehandedly responsible for a 45 percent world-

Charley Boorman’s South African Adventure will begin airing in the United Kingdom on Channel 5, early 2013.

- Charley Boorman

wide jump in the marque’s bike sales after the two Long Way series became international hits.

“The point was to travel South Africa side to side, top to bottom, and everything in between. We started off with Charley abseiling down Table Mountain, visiting Robben Island and going shark-diving in Gansbaai all in the space of 48 hours.

“We ended, as has become a bit of tradition with us, by leading a convoy of bikes to our final destination.”

In this case, the team was astounded when more than 300 bikes arrived at the Meerlust wine estate outside Stellenbosch on one of the grimmest winter weekends in the Western Cape and followed Boorman to the top of Signal Hill. Such is Boorman’s personality that he greeted each biker with a handshake and word as they arrived.

One of the highlights, he recalls, was lighting a blasting fuse in a goldmine near Barberton in Mpumalanga. “I turned round to tell the cameraman to make sure he got the fuse sparking … but he was gone! We had to do it all again.”

Malkin says an adventure journey cannot be planned in the finest detail. “Things change.

Things go wrong. Unexpected opportunities arise. You have to include a huge measure of spontaneity in the production.”

And working with an unknown team? “I like mixing things up. If you go away with the same people time after time, you’re unlikely to achieve any kind of breakout dynamic.

“I love working with people who are vital and who don’t only do what you, as director, tell them to do. If a cameraperson decides he has to run up a mountain to get a better shot, then let him get on with it but make sure he gets down again with himself and his equipment in one piece!

“That’s a professional.”

www.th ecal l sh eet.co .za T H E C A L L SH EET

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ADVERTORIAL

PROFILE

GIACO ANGELINI

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“No matter where you go or what you do, a beautiful image will always be king. You can follow the fashion, follow the music but nothing evokes emotion like an amazing image.”

With this philosophy Giaco believes that his best work is still to come and will always tackle each new project with the same passion and intensity as when he first began.

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“

If I’m wearing a tie, then I screwed up.”

- Giaco Angelini

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F

or Giaco Angelini life is about the simpler things; a good cup of coffee, adventure travel and spending time with people he cares for. It is not about suits, not about CROCS, not about weather days and most definitely not about boring, complicated, grainy and unfocused film. It’s the reason he is the head of The Vision Corporation (TVC). It’s why he has a bookshelf made out of Loeries, received a number of Clios and taken 5 Cannes Lions.

Giaco was born in Rome and moved to South Africa at an early age. As a young man he served time on an abundance of film sets, working on over 30 feature films as an assistant in the camera department. During the shooting of Zulu Dawn, in which he lived in a caravan in the middle of Zululand for 3 months, it became obvious to him his passion lay in commercials, so he made a decision that would guide the rest of his career. After years as a DOP he began shooting and directing his own television commercials, becoming one of the industry’s most sought after and respected creatives.

Being lauded for his work on local and international brands such as Castle, Mercedes Benz, Volkswagen, Castrol, Pepsi, Coca-Cola and American Airlines, Giaco was selected to shoot Metropolitan Republic’s new Castle Milk Stout TV campaign. For Giaco the campaign meant finding a new way of telling an age-old story and by utilising a combination of freeze frame action shots inspired by time slice techniques, along with innovative grading, the commercial leaves the viewer in awe.

NEWS

Spitfire films New Creative Content Studio in SA

A

new creative content studio has opened its doors in Johannesburg, South Africa.

Spitfire Films opened during the month of October. The company was founded by the Director AK, a Johannesburg native.

With accolades which include being a finalist at both DA&D as well as Cannes in the past, AK has worked on brands such as Coca-Cola, Adidas, BMW and National Geographic, to mention but a few. “At Spitfire Films we are passionate about all formats of filmmaking and look forward to taking on innovative and engaging visual projects that will result in marvellous content,” he says.

Spitfire Films’ first project was shooting on location in the Amazon for Investec’s new

television commercial. In the Amazon, they shot the Pororoca tidal wave which appears no more than twice per year and lasts mere minutes. “It was a challenging assignment because we had only one chance to get the shot we are looking for,” explains AK. “What made it all the more challenging was that our visit coincided with the rainy season and we had to deal with language barriers from the local community.”

Together with director Nic Hester and producer Liesl Karpinski, AK hopes to take Spitfire Films to new heights. “Our team is motivated, has a savvy, a can-do attitude as well as a balanced skill-set.”

Spitfire Films is currently working on a documentary film called Fracking The Karoo.

Founder and Director AK

Director Nic Hester

www.th ecal l sh eet.co .za T H E C A L L SH EE T

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NEWS

Jameson

First Shot Expert Tips

“

Dana also says that competitors should “pay attention to the budget.” “I look at will it fit within the confines that we have to produce this, it gets two days to shoot and then a very limited post-schedule and a limited budget and crew.

“

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Dana Brunetti and Kevin Spacey

The rules are simple: • You must be at least 25 years old to enter.

• You must write a script based on one of the three following themes: ‘legend ary’, ‘humorous’, or ‘very tall tale’.

• Your script must be at least 5 pages and no longer than 7 pages on A4 paper in size 12 point Courier font.

• Only entrants living in South Africa, Rus sia, and the U.S. (not California) are eligible to enter.

• Do not depict anyone under the age of 25 in your script.

• Your script should include a maximum of 7 cast.

• Scripts must be submitted in English.

• One submission per person – no writing teams – multiple submissions will be void.

Trigger Street Productions has noted a few scripts have a strong theme of violence and murder. They cannot feature excessive scenes of violence or excessive use of weaponry – keep that in mind!

Dana also says that competitors should “pay attention to the budget.” “I look at will it fit within the confines that we have to produce this, it gets two days to shoot and then a very limited post-schedule and a limited budget and crew. If it has large car explosions and car chases and things that are not possible to do in those confines it’s going to get eliminated,” says Dana.

Kevin advises entrants to tell a story, not write a script for Willem Defoe. “Most scripts are written as stories,” says Kevin, “and I think it might actually be a little bit of a hindrance if you’re writing for a specific actor and you’re

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“

This year, winners will shoot another legendary actor in Los Angeles – Willem Defoe.

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H

ow can you improve your chances of being the next winner of the Jameson First Shot competition?

Follow expert advice!

Jameson First Shot, the international short film competition designed to uncover up-andcoming film talent from South Africa, Russia, and the U.S. was launched last year. The three winners, from South Africa, the U.S. and Russia, beat over 700 other aspiring screenwriters for the opportunity to fly to Los Angeles to shoot their script and direct Kevin Spacey, all with the backing of his award-winning Production Company, Trigger Street Productions.

This year, winners will shoot another legendary actor in Los Angeles – Willem Defoe. And they are being offered advice from the experts, Kevin and Dana Brunetti, President of Trigger Street Productions. First, both say entrants should follow the rules. “Pay attention to the budget and stick to the theme of legendary, humorous, or tall tale,” says Dana.

thinking ‘Oh what would that actor do?’ as opposed to ‘What is my character going to do?’

‘What should this character be about?’ ‘How should I bring this character to life?’ And then knowing it will be interpreted by an actor that has done everything. He has done comedy, drama, he’s done everything.”

Trigger Street Productions says that this year, they’ve already received “loads of great scripts” but many (nearly 50%) will have to be rejected since they are not sticking with the rules of the competition. Some have editorial and formatting issues that can be easily fixed before the closing date of December 31st. For instance, a high number of scripts are over 7 pages. They advise, “please review your submitted scripts!”

Once scripts are in, Trigger Street, with their judging panel of industry experts, will produce a shortlist of 20 entries. After completing a rigorous second stage selection process to showcase their creativity and directing skills, the winners will be chosen. That’s when the real adventure begins!

Find out more about Jameson First Shot at http://www.jamesonfirstshot.com/.

NEWS

SKYFALL Takes Off in Africa

S

KYFALL, the 23rd film in the Bond franchise, has recorded the biggest African opening for a Bond film of all time.

The film released on over 120 screens in South Africa and took in over R7 million at the box office over the weekend. SKYFALL is now the biggest non-3D opening for a SPRI (Sony Pictures Releasing International) film in South Africa.

The extraordinary local opening follows the phenomenal international success of the film, which has now taken over USD $850 million worldwide, making it one of the biggest grossing movies of all time.

Says Isabel Rao, CEO Ster Kinekor Distribution, “The Bond franchise has always been a favourite of South African audiences and we are thrilled that they came out to support SKYFALL in this special anniversary year for Bond. It is a fitting tribute to such an iconic cinema legend.”

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The extraordinary local opening follows the phenomenal international success of the film, which has now taken over $850 million worldwide, making it one of the biggest grossing movies of all time.

“

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“

The Bond franchise has always been a favourite of South African audiences...

- Isabel Rao, CEO Ster Kinekor Distribution

“

Berenice Marlohe at SA Skyfall premiere

Marketing Manager for SPRI in South Africa, Bashan Govindarajulu, said, “The numerous local and global promotional partners associated with the film contributed significantly towards the theatrical release.

Thanks especially to the fans who once again did not disappoint when they turned up in their thousands across the country throughout the weekend.”

Starring Daniel Craig as 007, SKYFALL is directed by British Director Sam Mendes and stars Judi Dench as “M”, Javier Bardem, Ralph Fiennes and Naomie Harris. The film also stars Bond actress Bérénice Marlohe.

Ticket sales in South Africa may have received a boost by the high-profile première in Johannesburg in November that was attended by Bérénice and the British High Commissioner to South Africa, Dame Nicola Brewer, who hosted the première. The ‘invitation only’ event was held in conjunction with Sony Pictures Releasing International and Ster-Kinekor Theatres.

“We are delighted to be working with the creative industries and partners in hosting the South African “Skyfall” première and welcoming Bérénice to the event. UK creativity

NEWS

plays a key role in the global film industry. Ten of the top 20 global box-office successes of the last 11 years are based on novels by UK writers and London is now the third busiest film production city in the world after New York and Los Angeles,” Dame Nicola said.

SKYFALL, starring Daniel Craig, who is back as James Bond 007, is the longest-running film franchise in history. The film is from Albert R. Broccoli’s EON Productions, MetroGoldwyn-Mayer Studios, and Sony Pictures Entertainment and also stars Judi Dench, Ralph Fiennes, Javier Bardem, Bérénice Marlohe and Naomie Harris.

www.th ecal l sh eet.co .za T H E C A L L SH E E T

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NEWS

The National Film and Video Foundation Conducts an

Economic Impact Study conducted in collaboration with the Tshwane University of Technology in 2010, which revealed some milestones and challenges the industry faced in the past 10 years, we are now looking at gathering data that will help us develop appropriate strategies for facilitating steady development of the film sector. This is to enhance the audiovisual sector’s contributions to the GDP and show it as an important player in the economy, we therefore request all relevant industry players to cooperate,” says Zama Mkosi, NFVF CEO. The study is conducted in line with the

“

...we are now looking at gathering data that will help us develop appropriate strategies for facilitating steady development of the film sector.

- Zama Mkosi, NFVF CEO

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terms of reference as outlined by the NFVF which includes the following: •

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T

he National Film and Video Foundation (NFVF) has commissioned a baseline study of the economic impact of the film industry in South Africa. The study is being conducted by Deloitte & Touche and is scheduled to be completed by the end of March 2013.

The NFVF’s objective is to develop and promote the South African film industry. In order to achieve this objective, one of the Foundation’s functions is to conduct research in any area of the film and video industry as provided in section 4(1) (d) of the NFVF Act 73 of 1997.

The NFVF is asking for industry support and cooperation for the study. That will enable Deloitte & Touche to access, gather and collect information that is critical to the researching various stakeholders across the film value chain.

“Following the 10 year review of the South African Film and Video industry that the NFVF

•

Full value chain analysis of the film industry – development, production, post production and distribution.

Turnover of the industry in terms of the following indicators: • Size of the industry; • Number of companies that are doing business in the industry; • Number of individuals employed in the industry (per manent employees and free lancers); • Direct and indirect taxes that the industry pays; and • Economic multiplier effect.

The detailed terms of reference of the study are available from the NFVF on request.

For more information about the study, contact Tsietsi Themane on tsietsit@nfvf.co.za or 011 483 0880.

NEWS

Writers Guild of South Africa

WGSA becomes associate member of The International Affiliation of Writers Guilds

Katleho Ramaphakela, co-vice chair of WGSA

O

n 12 November 2012, the Writers’ Guild of South Africa (WGSA) became an Associate Member of the International Affiliation of Writers Guilds (IAWG).

The IAWG includes representatives from the Australian Writers Guild, the Irish Playwrights and Screenwriters Guild, the New Zealand Writers Guild, the Scriptwriters Guild of Israel, the Société des auteurs de radio, télévision et cinéma (Québec), the Writers Guild of America, East, the Writers Guild of America, West, the Writers Guild of Canada, the Writers Guild of Great Britain and the La Guilde Francaise des Scénaristes (France). Associate members include the Film Writers Association, Mumbai, Sección de Autores y Adaptadores de

pursue membership.

The following are exerpts from the Charter of the International Affiliation of Writers Guilds:

The writer is a primary creator of works of imagination, entertainment and enlightenment; a significant initiator of cultural, social and economic processes. These are of basic importance in all societies.

To fulfil effectively these social responsibilities, the writer must have the following rights:

1

Trabajadores de la Producción Cinematográfica (Mexico) and now the WGSA (Writers’ Guild of South Africa).

WGSA says membership in the IAWG adds the collective power of IAWG to the WGSA’s negotiations for rates, contracts and IP rights with local broadcasters and producers. The IAWG is an international body representing guilds of professional screenwriters that works to further the cause of screenwriters worldwide by lobbying governments to adopt writer-friendly legislation and through collective action, mutual support and common representation internationally.

Katleho Ramaphakela and Jacqui Pickering, the co-vice chairs of WGSA, attended the IAWG Annual General Meeting in Barcelona, Spain to

The right to be acknowledged, legally, morally and contractually, as the author of one’s work.

2 The right to complete freedom of expression and communication, and freedom from any form of censorship.

3 The right to maintain the integrity of a work and to protect it from any distortion or misuse.

4 The right to fair payment for all uses of a work.

5 The right to have the work published or produced solely on the basis of its merit, without regard to any form of invidious discrimination which shall include but not be limited to age, colour, gender, marital status, national origin, physical or emotional instability, race, religion, sexual orientation, social or political affiliation or belief of the writer.

www.th ecal l sh eet.co .za T H E C A L L SH E E T

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NEWS

Sony presents the

Sony F5 and Sony F55

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outh Africa has gotten a look at Sony’s new cameras, including their flagships: the Sony F5 and Sony F55.

Collective Dream Studios hosted the debut.

The F5, with its new 4K imager, boasts vivid HD and delivers superior, super-sampled pictures with higher contrast, richer colour reproduction and greater clarity. The F5 is the next generation of the popular F3 and offers built-in recording modes, all with 4:2:2 colour. Additional options include the precision of 16-bit linear RAW 2K/4K recording and high speed shooting at up to 120 fps, without cropping.

South Africa also got its first close look at the F55 camera, engineered to withstand obsolescence – it has various hardware upgrades and software updates planned for the future.

The Sony 4K image sensor incorporates an electronic global shutter. It delivers dynamic range, the widest colour gamut, and high image quality in both HD, 2K and 4K. With the optional AXS-R5 recorder, the camera will delivers 16-bit Linear RAW in both 2K and 4K.

Sony F5 CineAlta 4K

The presentation also demonstrated Sony’s real-time, slow-motion capture that enables filmmakers to see an object in slowmotion without the need of additional effects being added in post-production. Another test showcased Sony’s new “True-Black” feature that delivers the purest black ever seen on camera. The camera viewing screens have also improved, with in-camera-colour-grading now a possibility.

“

The presentation... demonstrated Sony’s real-time, slow-motion capture that enables filmmakers to see an object in slowmotion without the need of additional effects being added in post-production.

“

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Sony F55 CineAlta 4K

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Sony presentation at Collective Dream Studios

NEWS

OSCARS 15 Documentary Features Advance in 2012 Oscar® Race

T

he Academy of Motion Picture Arts and Sciences has announced that 15 films in the Documentary Feature category will advance in the voting process for the 85th Academy Awards®. One hundred twenty-six pictures had originally qualified in the category.

The 15 films are listed below in alphabetical order by title, with their production companies: “Ai Weiwei: Never Sorry,” Never Sorry LLC “Bully,” The Bully Project LLC “Chasing Ice,” Exposure “Detropia,” Loki Films “Ethel,” Moxie Firecracker Films “5 Broken Cameras,” Guy DVD Films “The Gatekeepers,” Les Films du Poisson, Dror Moreh Productions, Cinephil “The House I Live In,” Charlotte Street Films, LLC “How to Survive a Plague,” How to Survive a Plague LLC “The Imposter,” Imposter Pictures Ltd. “The Invisible War,” Chain Camera Pictures “Mea Maxima Culpa: Silence in the House of God,” Jigsaw Productions in association with Wider Film Projects and Below the Radar Films “Searching for Sugar Man,” Red Box Films “This Is Not a Film,” Wide Management “The Waiting Room,” Open’hood, Inc. The Documentary Branch viewed the eligible documentaries for the preliminary round of voting. Documentary Branch members will now select the five nominees from among the 15 titles on the shortlist.

“Searching for Sugarman” by Red Box Films

The 85th Academy Awards nominations will be announced live on Thursday, 10 January 2013, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2012 will be presented on Oscar Sunday, 24 February 2013, at the Dolby Theatre at Hollywood & Highland Center, and televised live on the ABC Television Network in the United States.

“The House I Live In” by Charlotte Street Films, LLC

“Ethel” by Moxie Firecracker Films

“Bully” by The Bully Project LLC www.th ecal l sh eet.co .za T H E C A L L SH E E T

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NEWS

African Countries Show the Largest Increases in...

Global Connectedness

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“

The GCI grew robustly from the report’s baseline year of 2005 to 2007, and then dropped sharply at the onset of the financial crisis. Despite modest gains since 2009, global connectedness has yet to recapture its pre-crisis peak.

“

S

ub-Saharan Africa (SSA) has seen the largest increase in global connectedness according to the DHL Global Connectedness Index (GCI), a comprehensive analysis of the state of globalization around the world. The report, drawing on over one million data points from 2005 to 2011, concludes that the world today is less globally connected than it was in 2007 but that SSA has bucked that trend.

The DHL Global Connectedness Index documents global connectedness, measured by international flows of trade, capital, information and people. DHL is the global market leader in the logistics industry including international express, air and ocean freight, and road and rail transportation services. It has a global network of more than 220 countries and territories and about 275,000 employees worldwide.

The GCI grew robustly from the report’s baseline year of 2005 to 2007, and then dropped sharply at the onset of the financial crisis. Despite modest gains since 2009, global connectedness has yet to recapture its precrisis peak.

However, while the world as a whole experienced only a very modest increase in global connectedness from 2010 to 2011, some individual countries had large gains. These included Mozambique, Togo, Ghana, Guinea and Zambia – all of which are located in Sub-

Saharan Africa. While this region remains the world’s least connected, it averaged the largest connectedness increases from 2010 to 2011.

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The Netherlands retained its 2010 position as the world’s most connected country. Of the top ten most connected countries in 2011, nine of them are located in Europe. This is the world’s most connected region.

Charles Brewer, Managing Director for DHL Express in Sub-Saharan Africa says that the GCI also reveals that in 2011, intra-Africa trade continued to lag far behind its European and Asian counterparts. “If we want to improve this interconnectivity, we need to look at the ease of doing business across borders in the region and work towards regional trade agreements, customs improvements and border efficiencies, to name just a few.”

Brewer says that from a global perspective, the GCI 2012 indicates that today’s volatile and uncertain business environment bears the lasting impact of the financial crisis. “In this period of slow growth, it’s important to remember the tremendous gains that globalization has brought to the world and recognise it as an engine of economic progress. It is crucial that governments around the globe resist protectionist measures that hinder cross-border interactions.”

Ten Key Take-Aways from the GCI 2012: The world today is less globally connected than it was in 2007. Global connectedness was hit hard at the onset of the financial crisis and despite modest gains since 2009 has yet to recapture its pre-crisis peak.

2 Capital markets are fragmenting and services trade is stagnant. While merchandise trade has recovered robustly since 2009 and information flows continue growing, capital connectedness is on a declining trend and the intensity of services trade has not risen since 2009.

3 Global connectedness is also weaker than is commonly perceived, which softens and even reverses some widespread fears about globalization.

4 Distance and borders still matter – even online. Most international flows take place within rather than between regions. Even online connections are mainly domestic and decline with distance.

5 Europe is the world’s most globally connected region: a reminder of what EU integration has managed to achieve – and what its fragmentation might put at risk. The Netherlands retains the top rank on this year’s DHL Global Connectedness Index, and 9 of the 10 most connected countries are in Europe.

6 Sub-Saharan African countries averaged the largest connectedness increases. Sub-Saharan Africa remains the least connected region, but the top 5 countries in terms of connectedness increases over the past year were all in this region.

7 Potential gains from boosting global connectedness can reach trillions of dollars. As global growth slows and much of the world struggles with its debts, increasing global connectedness can accelerate growth.

8 Every country has untapped possibilities to benefit from more connectedness. Even in the most connected countries, most activities that could take place either within or across borders are domestic, not international.

9 Countries’ domestic and international policies can help them connect more. This report identifies a broad array of policy levers that have been shown to deepen connectedness.

10 The world’s shifting economic center of gravity reshapes industry connectedness, with significant business implications as shown in this report’s analyses of the mobile phone, passenger car, and pharmaceutical industries.

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NEWS

•

Along most dimensions, the world is less than 20% globalized – often even less than 10%

•

Of the international flows that do take place, 50-60% occur within regions

•

The world’s center of economic gravity shifted thousands of kilometers to the east in the past decade, and continues to do so

• The most connected country, the

Netherlands, is hundreds of times more connected than the least, Burundi

Ghana, a country with an increase in connectedness

Netherlands, the most connected country

Zambia, a country with an increase in connectedness

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NEWS

Cairo International Film Festival

Winners

T

he Cairo International Film Festival was held despite a climate of political upheaval in Egypt during December.

Organizers noted that the festival took place in “the midst of all the tragic events overshadowing our beloved country” and thanked committees and ministries whose efforts “gave this year’s festival a chance to exist.” A disputed constitution sparked Egypt’s worst political crisis in two years, drawing crowds of protesters back into the streets.

The organizers thanked attendees from 66 countries for coming to the festival, “adamant on being here with us in this exceptional edition,” despite warnings from some foreign governments that travel to Egypt was unsafe.

All scheduled programmes of the festival took place with no disruptions.

“Full Circle” (China), directed by Zhang Yang

Arab films Competition (Special Mention)

Cairo Film Connection Prize Presented to the Feature Documentary

“Prize of the 35th edition of the Cairo International Film Festival, The exceptional edition held in exceptional circumstances, The Prize goes to a film with a high cinematographic language that detects the results of the 25th of January revolution.”

“El-sheta elli-fat” (“Winter of Discontent”) Directed by: Ibrahim El Batout Produced by: Zad Communication and Production LLC Country: (Egypt)

“Little” Directed by: Nagham Osman Produced by: Karim Amer Country: (Egypt)

Congratulations to all of the winners:

Cairo Film Connection Prize Presented to the Feature Film

The International Critics Prize (FIPRESCI Prize)

“Two Rooms and a Parlor” Directed by: Sherif El Bendari Produced by: Racha Najdi Country: (Egypt- Lebanon)

Luis Alejandro & Andres Eduardo Rodriguez (Directors) For their film: Breach in the Silence Produced by: The Motion Illusion Project Country: (Venezuela)

Human Rights Competition (Special Mention) “Full Circle” Directed by: Zhang Yang Produced by: Dasen International Media CO, LTD. Country: (China)

Human Rights Competition (The Tahrir Square Prize) “Rose” Directed by: Wojciech Smarzowski Produced by: WFDIF Country: (Poland)

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“Rose” (Poland), directed by Wojciech Smarzowski

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International Competition for Feature Films The Isis Prize for Best Actress: Vanessa Di Quattro For her role in Film: Breach in the Silence Directed by: Luis Alejandro & Andres Eduardo Rodriguez Produced by: The Motion Illusion Project Country: ( Venezuela )

NEWS The Isis Prize for Best Actor Marian Dziedziel For his role in Film: The Fifth Season of the Year Directed by: Jerzy Domaradzki Produced by: WFDIF Country: ( Poland )

“Shadi Abdel Salam” Award Luis Alejandro & Andres Eduardo Rodriguez (Directors) Film: Breach in the Silence Produced by: The Motion Illusion Project Country: (Venezuela)

“Rendez-Vous in Kiruna” (France), directed by Anna Novion

The Silver Pyramid, Special Jury Prize Guiliano Montaldo (Director) Film: L’industriale Produced by: Bibi Film Country: (Italy)

The Golden Pyramid for Best Film Anna Novion Film: Rendez-Vous in Kiruna Produced by: La Mouche du Coche Country: (France)

“Rendez-Vous in Kiruna” (France), directed by Anna Novion

“L’Industriale” (Italy), directed by Guiliano Montaldo

“L’Industriale” (Italy), directed by Guiliano Montaldo

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NEWS

Winners

at Debut Colours of the Nile Film Festival

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rganizers of the inaugural Colours of The Nile International Film Festival (CNIFF) 2012, say the event was, “a compelling and visually inspiring cinematic feast, from every corner of the African continent, - east, west, north and south.” The winners certainly display that wide scope. However, the jury was “struck by a common thread that weaved its way through the majority of the competition films in the fiction and documentary genres – that of migrant and immigrant lifestyles and displacement through immigration.” Filmmakers used a wide range of styles from traditional film/cinema language to more current innovative and modern ways of storytelling, incorporating a mixture of traditional and new media formats.

Congratulations to the following winners! (Commentary from CNIFF follows listed winners)

Andre Dosunmo, Director of “Restless City” (2011)

Best Long Feature Film

Best Short Film

– RESTLESS CITY (2011) by Andrew Dosunmo, Nigeria “The winning film shows a very high level of originality, high artistic merit, an innovative approach to storytelling and profound cinematographic flair. A rarely touched upon subject of a journey about the struggles of African migration to the USA, told with care and attention to detail.”

– HISAB (2011) by Ezra Wube, Ethiopia “The Jury was struck by the highly original, innovative and creative way of depicting the hustle and bustle of life in a capital city, by mixing live sound with artistic animation techniques using animals that are a distinct part of life in the city, to portray in a humourous way, the behaviour of humans.”

Best Documentary Film – VOYAGE OF HOPE by Michel K. Zongo, Burkina Faso “The Jury was unanimously moved by the soberness and love with which the director goes on the journey from one country to another to trace the trail of his brother, who left the country for economical reasons 17 years ago and is rumoured to be dead.”

Best Cinematography – RESTLESS CITY (2011) by Andrew Dosunmu, Nigeria “The Jury has decided to award the best cinematography to a film that shows a creative and innovative visual approach to storytelling, thereby achieving a high level of photographic artistry and cinematic design that stands by itself in telling a gripping story.”

“Restless City” (2011)

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Filmmakers used a wide range of styles from traditional film/cinema language to more current innovative and modern ways of storytelling, incorporating a mixture of traditional and new media formats. www. t hec allsheet . c o. z a

NEWS

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...the jury was struck by a common thread that weaved its way through the majority of the competition films in the fiction and documentary genres – that of migrant and immigrant lifestyles and displacement through immigration.

“

Best Screen Play

– THE REPENTANT (2012) by Nerzak Allouachi, Algeria “The winning film epitomizes what a good film is about, a great story well told. The Jury was impressed with how this story about a very dramatic issue in contemporary Africa without the introduction of drama effects.”

Best Sound Track -- Otelo Burning (2011), by Sara Blecher, South Africa.

“The award of best Sound Track goes to the film that the Jury felt, deserved recognition for its superior and original sound track that adds to the visual appreciation of the film and firmly sets the story in the South African context.”

Best Actor – Kenneth Nkosi in Otelo Burning (2011) by Sara Blecher “The Jury has decided to award the best actor to a character who, although seems to have a minor part in the film, conveys with tremendous strength and humility, his emotional frustrations and sadness about the dramatic course the lives of his beloved ones has taken.”

Best Actress –Elizabeth Melaku in SCENT OF A LEMON (2012) by Abraham Gezahagne “The Jury has decided to award Best Actress for the role of wife and mother that sees her transformation from a cheerful loving woman and caring wife to an introverted, bitter and struggling woman following unjustified societal pressure. Her performance shows highly remarkable and convincing screen acting.”

“Otelo Burning” (2011)

Best Sound – ½ A REVOLUTION (2011) by Karim El Hakim Omar Shargawi, Egypt “This award goes to an outstanding documentary work with live sound recorded and adapted during a dramatic turn of events, while maintaining the original tension of the environment as the action occurred.”

“Otelo Burning” (2011)

“SCENT OF A LEMON” (2012)

“SCENT OF A LEMON” (2012)

“SCENT OF A LEMON” (2012)

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NEWS

SA Delegation Strategic Hollywood Mission

“Dredd” (2012) began filming in Cape Town, South Africa in November 2010

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...in Hollywood the South African film industry has earned an outstanding reputation for its highly skilled crews, excellent infrastructure and renown for delivering.

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A

delegation of senior government officials, funding agencies and executives in the South African entertainment industry attended a week-long program of strategic meetings in Hollywood in November. Some of most influential players in the global film industry, including senior executives in physical production, co-production, finance and development at the major studios, independents and networks, as well as packaging agents participated.

The delegation says that in Hollywood the South African film industry has earned an outstanding reputation for its highly skilled crews, excellent infrastructure and renown for delivering. “If they say it can get done in South Africa, it gets done,” said Steve Papazian, President, Worldwide Physical Production at Warner Bros. The studio has been one of the most prolific foreign producers in South Africa, injecting substantial contribution to the growth of the industry. Attendees reported that there is continued interest in South African projects and viewing South Africa as a meaningful partner, not just a facilitator.

This mission to promote the South African entertainment industry in Hollywood comes

through the annual South Africa/Hollywood Exchange; a strategic program produced by the LA and London the based MediaXchange, a media consultancy run by Katrina Wood, in association with Metal Moon, a South African specialist marketing firm, run by Dezi Rorich

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– who have collaborated on such Programs positioning South Africa in international markets since 1998.

The South African delegation included government officials from the DTI (Department of Trade & Industry) including Francois Truter, Chief Director: Services Incentive Cluster, and Nelly Molokoane and Thembakazi Maziko, respectively Director and Administrator of the Incentive Scheme. Also included was Mawande Seti, Legal & Policy Officer at the National Film & Video Foundation, which signs International Co-Production Treaties and administers the Scheme.

Also participating were private sector film executives including David Wicht, CEO and Founder of Film Afrika, Tracey Williams, Director of Post-Production at Refinery, Marvin Saven, Financial Director at Moonlighting Filmmakers, and independent producers Junaid Ahmed and Lynne Widgerow. The group was joined by Gwen Swart of Namib Film in Namibia - which attracts mainstream Hollywood productions supported by crew and gear from neighbouring South Africa.

Tracey has participated in the mission for several years. She says that this year she no-

NEWS

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...what emerged for me through these dynamic exchanges is the South African film industry is making a strong impression on a global level.

“

ticed that the reception was particularly warm.

“Hollywood is a big powerhouse,” she says, “they haven’t really had to look to the rest of the world about how they make their movies.

What is different this year is how they are interested in co-productions. What it does change is how you pull together funding from different countries and the skills from different areas.

What I think has really changed is the economic downturn, it is changing how they do business.” She also noted a difference in the budgets of films. “From the feature film market it feels like they are doing 100 million dollar films and the 25 and below films and I think it has to do with distribution. You’ve got big blockbusters and then the smaller films and they must be less of a gamble.”

Tracey said the mission provided rare access to key industry leaders in Hollywood.

That creates an opportunity to grow South Africa’s entertainment industry through personal interaction with Hollywood’s decision makers.

Meetings were held with senior executives at Sony Pictures Entertainment, Warner Bros., Paramount Pictures, MGM, Legendary Entertainment, Scott Free Productions, William Morris Endeavour, eOne Entertainment, New Regency, Exclusive Media Group, Good Universe, Universal Cable Productions, Global Produce and Film Engine. Many of the companies already have projects headed to South Africa for shooting next year. For others, with projects in the pipeline, the personal contact and information about Government’s latest revision of financial production incentives served

“Chronicle” (2012) was also filmed in Cape Town

“Chronicle” (2012) was also filmed in Cape Town

as catalyst.

Added to the program this year was a Finance Forum. Topics included packaging projects, development money, soft money and pre-sales with Robbie Little, Co-President of The Little Film Co., and Roy Ashton, Head of TV literary at Gersh Agency. The Co-Production and Finance Session was moderated by Larry Ulman, Partner at the Media Entertainment and Technology Group, Gibson, Dunn & Crutcher, with speakers including Paytre Topp, and Zev Foreman, Director, Development at Voltage Pictures.

“This opportunity was invaluable as it allowed for meaningful discussions between South African and Hollywood producers for charting the way forward regarding joint collaborations in films. The NFVF supports this forum and would like to be part of it in the future.” says Mawande.

Says Junaid, “what emerged for me through these dynamic exchanges is the South African film industry is making a strong impression on a global level. This was evident in nearly all the meetings we attended; the Americans made a point of impressing on us their respect for our production services companies, our talented crew pool, our locations, our government film incentives. What excited me most were the possibilities of engaging with North American producers at the creative content level. These exchanges affirmed that co-productions/ partnerships with American studios and independents are seriously possible if our stories/ screenplays are strong and resonate at a global level. I believe that we are at the cusp of something great and we have to seize this moment to forge partnerships with the global community of filmmakers to usher in an exciting and dynamic phase in our evolving film industry.”

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NEWS

South African Judges

for International Emmy Awards

“

...(the judging) puts us on the international television radar, it allows people to understand that we have a thriving industry and that we have industry professionals that have international standing.

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- Denis Lille, CEO of the Cape Film Commission

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T

he Cape Film Commission has received a letter from the International Academy of Television Arts and Sciences confirming that the Cape Film Commission will be hosting the judging of two semi-final categories of the 41st International Emmy Awards in 2013. “It puts us on the international television radar, it allows people to understand that we have a thriving industry and that we have industry professionals that have international standing,” says Denis Lille, CEO of the Cape Film Commission.

The International Academy of Television Arts & Sciences is a membership based organization comprised of leading media and entertainment figures from over 50 countries and 500 companies from all sectors of television including internet, mobile and technology. The Academy’s yearly schedule of events includes the International Emmy Awards Ceremony held in New York, The International Digital Emmy Awards at MIPTV and a series of industry events such as Academy Day, The International Emmy World Television Festival and Panels.

Every November the Academy produces The International Emmys World Television Festival and the International Emmy Awards Gala in New York City. The Festival screens

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the current year’s International Emmy-nominated programs and features the world-class producers and directors who speak about their work. The International Emmy Awards Gala takes place the day after the Festival, awarding the International Emmy. This blacktie event attracts over 1,000 major figures in broadcast, entertainment and media from around the world.

The Academy was founded in 1969 to promote excellence in international television programming and is the organization that presents the International Emmy Award to the best television programs produced, and initially aired, outside the U.S. There are twenty program categories for the International Emmy Awards: Arts Programming; Best Performance by an Actor; Best Performance by an Actress; Comedy; Current Affairs; Digital Program: Children & Young People; Digital Program: Fiction; Digital Program: Non-Fiction; Documentary; Drama Series; Kids: Preschool; Kids: Animation; Kids: Factual; Kids: Non-Scripted Entertainment; Kids: Series; Kids: TV Movie/ Mini-Series; News; Non-Scripted Entertainment; Telenovela; and TV Movie/Mini-Series.

The categories that the South Africans will be judging will be confirmed next month. The Cape Film Commission will then put out a call for the nominations of the judges. “Any suitable industry professional is eligible to be a judge,” says Denis, “clearly they must have some experience and we have found the majority of people judging the English language documentary category were from the documentary filmmakers association. One of the judges, Richard Matthews of Wild Images, has won five International Emmys already so he is very well qualified.”

This is not the first time South Africans have judged the International Emmy Awards. Denis says the past experiences were good ones.

“During the judging of the English language kids animation we realized that the quality of work that we are producing locally is as good as or better than the international content that we were judging. And our local animators also noted, from what they were seeing, about how important the script is,” says Denis.

The President of the International Emmy Awards, Mr. Bruce Paisner, will be joining the Emmy Judging Director, Mr. Nathaniel Brendel, in Cape Town for the judging, which will take place next June. Discussions with the City of Cape Town are underway regarding support for showcasing Cape Town and talent in South Africa.

IN PRODUCTION

JANUARY 2013 Thanks to ever-present confidentiality clauses, there is very little official talk about what’s in production in South Africa, but in this new monthly section The Callsheet provides an unofficial overview of the industry’s worst-kept secrets.

Strike Back

BLACK SAILS In January, Film Afrika takes over all four stages at the Cape Town Film Studios (CTFS) with the series Black Sails, a Treasure Island prequel set 20 years earlier than Robert Louis Stevenson’s classic novel. It’s expected to shoot until around May 2013.

Most of the hype is because, according to The Hollywood Reporter, Transformers director Michael Bay is one of the executive producers.

IMDB says Toby Stephens (the son of Dame Maggie Smith) stars as Captain Flint, Luke Arnold (The Pacific) plays John Silver, and Tom Hopper (Merlin) is Billy Bones. Other faces you might recognize include Zach McGowan (Shameless) and Nigerian/South African star Hakeem Kae Kazim.

Deadline says Neil Marshall (The Descent, Game of Thrones) will be directing the pilot. Neil previously shot Doomsday in South Africa.

Deadline also says that integrated entertainment company Starz is planning an early 2014 launch, “possibly inheriting the Spartacus slot.” Hopes are high for a five-year run.

For the local industry, the biggest longterm benefit may be the addition to CTFS of a 75x50m water tank. Vlokkie Gordon told Karen van Schalkwyk, writing for The National Film and Video Foundation, that the tank is 1.20m deep, with an inner pool that is 20x10m and 4.8m deep. There are five huge water filters attached, which will also be used for the beach area that’s been constructed next to the tank.

There will also be a 40m pirate ship with a 70m sail span.

STRIKE BACK 4 Out of Africa will be filming the fourth season of Strike Back in January 2013. A collaboration between Sky and Cinemax HBO, Strike Back follows Section 20, a secretive unit of the British Secret Intelligence Service, on their high-risk missions throughout the globe.

The popular show, which has an 8.1 rating on IMBD, was nominated for an Emmy for Outstanding Main Title Design in 2012 and earned South African company Big Bang Stunts and Effects a Royal Television Society Award for Best Special Effects in 2011.

The cast members have yet to be announced, but Sky has confirmed that director Michael Bassett (Silent Hill: Revelation 3D) and writers Simon Burke (Persuasion), James Dormer (MI-5) and Richard Zajdlic (EastEnders) will be returning for season four, which will also shoot in Hungary.

Strike Back

ROLLERBALL In 2012, Rollaball became the most successful Kickstarter movie project from an African production company when it crowdsourced $38 577 from 294 funders across the planet. This put Big World Cinema’s documentary in the top 3% of all funded projects on Kickstarter.

In January 2013, this funding will enable Eddie to continue filming The Rolling Rockets in Ghana, where this inspiring team of polio survivors are pioneering an extreme sport hybrid of handball, skating and soccer. During the Kickstarter campaign, The Huffington Post called them “the world’s most bad-ass extreme athletes.”

Khaya Mthethwa, winner of Idols SA 8, performing at DICC 15th Anniversary

IDOLS AND MASTERCHEF The search for the new Khaya will be underway in January 2013, when the ninth season of Idols South Africa will start filming. The second season of Masterchef South Africa will also be underway, after auditions were held in October and November 2012.

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COUNTRY

SPOTLIGHT

Kenya

On The Move

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hat is a Kenyan Film? The best answer may be “not what it used to be.” Like much of the rest of the continent, gone are the days when Kenya’s locations were featured in films and nothing else. Now there is a robust industry backed by government efforts to develop Kenyan cinema as an industry.

Kenya has produced a number of documentary films related to poverty in the main cities like Nairobi, but since 2000 feature films on a variety of topics have increased in the country.

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The Riverwood Industry takes its name from River road where music tapes and electronics are sold.

Its content now has a much wider reach, capturing the attention of the mainstream TV stations and panAfrican broadcasters.

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Recent popular films from Kenya include “Nairobi Half Life”, “The First Grader”, and “To Walk With Lions”.

The filmmakers making these films have recently been joined by other low-budget independent filmmakers who use digital technology to shoot their films and sell them locally on DVD and VCD format -- The Riverwood Industry. The Riverwood Industry takes its name from River road where music tapes and electronics are sold. Its content now has a much wider reach, capturing the attention of the mainstream TV stations and pan-African broadcasters. That is a wise strategy for current success in Kenya since, according to a recent audience consumer trends survey, for the majority of Kenyans TV viewership is higher than cinema and video. The top programs being watched on Kenya’s leading stations are local productions, and of the foreign programmes being watched, a significant number are programmes which can be placed in the Kenyan context. These are specifically movies from Nigeria. Other notable foreign productions watched are the Mexican soap operas.

When it comes to movies, a significant percentage of Kenyans are watching them, but it is clear that not all of them are watching locally produced movies. According to the survey, “this has been attributed to poor quality of locally produced movies; their unavailability

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in the market and the high pricing. Differentiation between different categories/genre of films is largely lacking, majority of the respondents generally referred to the different categories of films as movies. This is an indication that the market has not differentiated in terms of consumer segmentation by film genres, hence making it difficult for producers to try and come up with products that will satisfy the market adequately.”

The Kenyan government has made an effort to develop Kenyan cinema as an industry, and in 2005 the government helped establish the Kenya Film Commission (KFC) which came into operation in mid-2006. The Kenya Film Commission aims to promote the industry not only within the country but to raise international awareness and interest from potential investors. The commission falls under the Ministry of Information and Communication. It supports the Kenyan film industry by providing facilities for screenings and filming and organising various workshops to educate local film-makers seeking to enter film production. It is also responsible for advising on licensing and immigration; as well as facilitating the filming process for film makers.

n Kenya

Film Festivals

Kenya International Film Festival 2012 was the seventh year of the Kenya International Film Festival. The goal of the festival is to create a cinema-going culture and to make the film business profitable for local filmmakers. Due to a funding shortage this year the festival’s programme was significantly reduced.

Lola Kenya Screen Film Forum Lola Kenya Screen Film Forum began in 2006 and focuses on films by, for and with children and youth. Children are given the opportunity to participate in the film selection, programme presentation, film jury, and in the making of short films. The festival gives aspiring children the opportunity to collaborate with international partners and to also educate them in film production, screenplay writing, cinematography, and in the art department and sound production. The festival has attracted participants from outside Kenya.

COUNTRY SPOTLIGHT ed You ne w to kno about

The Kenya Film Commission

The Kenya Film Commission is a state corporation under the Ministry of Information and Communication with the mission of “creating a gateway to economic growth through excellence in film.”

Mandate and core functions The Commission is mandated to perform the following functions: • To advise the government and other relevant stakeholders on matters pertaining to development, co-ordination, regulation and promotion of the film industry in Kenya; • To facilitate the provision of content development, funding and investment for film projects; • To market Kenya as a centre for excellence in film production; • To facilitate proper keeping of Film Archives in Kenya; • To facilitate investment in the development of film industry infrastructure;

“The First Grader”. 2010

“Nairobi Half Life”, 2012

What’s ning In Kenyan happe now Filmmaking

“

When it comes to movies, a significant percentage of Kenyans are watching movies, but it is clear that not all of them are watching locally produced movies.

Department of Film Services

New Appointment Christopher Kiprop Aubrey Foot was selected to be Chairman of the Board of Directors, Kenya Film Commission, for a period of three years.

Kalasha Film & Television Awards 2012 Kalasha is a Swahili word that means “small elephant tusks” and stands for the Kenya Film and Television Awards (KFTA).

The KFTA was created by the Kenya Film Commission, a government body that was constituted to spearhead growth in the film industry. 2012 is the fourth season of KFTAs, which are meant to acknowledge Kenya’s film and television industry leaders. The awards ceremony was held in December.

View the winners at: http://kenyafilmcommission.com/

The Department of Film Services (DFS) used to be called the ‘Film Production Department’ (FPD) which then focused on film production aspects. Since 2003, the department re-packaged its services and changed the name to ‘Department of Film Services’ mainly due to the broadened scope of services and products encompassed in film industry. The name reorients DFS in its efforts to be customer focused and indeed a one stop-shop service for all.

Department services include: • Licensing of local and international film makers • Providing liaison services • Production of newsreels, documentaries, features, TV ads and inserts.

• Provision of dissemination & Mobile cinema services

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“

EVENTS Jozi Film Festival 15-17 February Johannesburg, South Africa Kenya International Film Festival TBC Narobi, Kenya Lola Kenya Screen Film Forum TBC Nairobi, Kenya London Film Festival 11-22 April London, England Eva Longoria - 2012 Cannes Film Festival

Film Festivals

Cape Winelands Film Festival 13-23 March Cape Town/Stellenbosch, South Africa

Abuja International Film Festival 22-25 October (Tentative) Abuja City, Nigeria AFDA Annual Film Festival TBC (Dates To Be Confirmed) Cape Town/Johannesburg, South Africa Africa in Motion TBC Glasgow, Scotland American Film Institute Festival 7-14 November Los Angeles, California, U.S.A. Annecy International Animated Film Festival 10-15 June Annecy, France Berlin Film Festival 7-17 February Berlin, Germany Cairo International Film Festival 26 November- 5 December (Tentative) Cairo, Egypt Cannes Film Festival 15-26 May Cannes, France

Dockanema 13-22 September Maputo, Mozambique

Out In Africa Gay and Lesbian Film Festival Johannesburg 19-28 October Johannesburg, South Africa

Durban International Film Festival 18 - 28 July Durban, South Africa

Panafrican Film and Television Festival of Ouagadougou (FESPACO) 23 Feb-2 March Ouagadougou, Burkina Faso

Edinburgh International Film Festival 18-29 June Edinburgh, Scotland

SWSX South by Southwest (Film) 8 - 16 March Austin, Texas, U.S.A.

Encounters Documentary Festival 6-23 June Johannesburg/Cape Town, South Africa

Sundance Film Festival 17-27 January Park City, Utah, U.S.A.

Hot Docs 25 April – 5 May Toronto, Canada

Tribeca Film Festival 17-28 April New York, New York, U.S.A.

IBC 12-17 September Amsterdam, Netherlands

Toronto International Film Festival 5-15 September Toronto, Canada

International Film Festival of Marrakech 6-14 December Marrakech, Morocco

Tri Continental Film Festival TBC Johannesburg/Cape Town, South Africa

International Film Festival Rotterdam 23 Jan – 3 Feb Rotterdam, Netherlands

Zanzibar International Film Festival 29 June-7 July Zanzibar City, Tanzania

Colours of the Nile International Film Festival TBC Addis Ababa, Ethiopia

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Out In Africa Gay and Lesbian Film Festival Cape Town 17-18 May Cape Town/Johannesburg, South Africa

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EVENTS

Film Markets and Awards AFCI Location Expo 28-29 June Los Angeles, U.S.A. American Film Market 6-13 November Santa Monica, California, U.S.A. Cannes Film Market (Marché Du Film) 15-24 May Cannes, France CineMart 23 Jan-3 Feb Rotterdam, Netherlands European Film Market 7-15 February Berlin, Germany Marché International Du Film d’Animation (MIFA) 12-14 June Annecy, France MIPCom 7-10 October Cannes, France MipTV 8-11 April Cannes France

Advertising and Creative Events ADC 92nd Annual Awards 2-4 April Miami, Florida, U.S.A. AdFest 2013 17-19 March Pattaya, Thailand Advertising Creative Circle 14 March London, England Cannes Lions International Festival of Creativity 16-22 June Cannes, France

The Loeriwe Awards 2012

Euro Effies 19 September Brussels, Belgium Golden Award of Montreux 22-23 April Montreux, Switzerland International Advertising Cup 8 March Istambul, Turkey Loerie Awards TBC Cape Town, South Africa One Show Design 7 May New York, New York, U.S.A. One Show Interactive 11 May New York, New York, U.S.A.

Stills Events LeBook Connections Tour 2013 29 November Chicago, Illinois, U.S.A. 31 January Los Angeles, California, U.S.A. TBC (April) Paris, France TBC (May) Hamburg, Germany 5-6 June New York, New York, U.S.A. October (TBC) Berlin, Germany Winter (TBC) London, England

The One Show 8 May New York, New York, U.S.A. www.th ecal l sh eet.co .za T H E C A L L SH EE T

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FEATURE

Shooting

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“Access was easy and safe. The transitions from city to very rural were also easy as 10 minutes out of Gaborone you can find the most beautiful rural villages.”

BOTSWANA Film Afrika shot the Emmy-nominated No. 1 Ladies Detective Agency in Botswana in 2007.

There is no film commission in Botswana, so co-producer Vlokkie Gordon says Film Afrika worked closely with The Botswana Export Development and Investment Authority.

While Botswana didn’t offer any bona fide servicing companies, Film Afrika tapped into the local knowledge through Tin Roof’s “wonderful” producer Ndipo Mokoka.

Film Afrika shot in Botswana because the country is a lead character in the Alexander

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- By Kevin Kriedemann

- Vlokkie Gordon

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conomic growth is the biggest driver of the film industry. That’s good news for Sub-Saharan Africa (SSA) as a whole, which the International Monetary Fund expects to grow at 5.7% in 2013. However there are differences in the rate of growth across SSA and in what different countries have to offer when it comes to film. For instance, South Africa’s reputation as the “Gateway to Africa” is well established, while others are less well known. The following is a closer look at the countries you’ll want to know more about shooting in in 2013.

in Sub-Saharan Africa in 2013

McCall-Smith novels the series was based on.

No. 1 Ladies Detective Agency was set in the present, so the country came “pretty much dressed,” according to Vlokkie.

However, she admits shooting the pilot was “very hard. There were no real crew, no profes-

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sional equipment companies, and no support infrastructure specializing in the film industry,” she says. “I tried to set up everything as much as possible in line with the South African industry standards and conditions, as Botswana would be an extension of South Africa’s industry. During the pilot we trained 180 locals.

When we returned for the series, we employed 60 of them as official crew members. The vision was to employ more Botswana and less South Africans each series.”

“Shooting in and around Gaborone was great as it is like a big backlot,” says Vlokkie.

“Access was easy and safe. The transitions from city to very rural were also easy as 10 minutes out of Gaborone you can find the most beautiful rural villages. On the pilot, we also shot in the swamps and on the Makgadigadi pans, which were the most unbelievable experiences.”

She says Botswana’s business district felt very familiar, with the shops looking distinctly South African.

She also praised the people. “The main business language is English and the people are very friendly, open, willing to help and hardworking,” she said. “Five years later, we still work with some of the Botswana crew we trained.”

FEATURE GHANA

Photo by Philippa Ndisi, One Fine Day Films. on the set of “Something Necessary” . Camera Operator Allan Gichigi

KENYA Kenya has an impressive filmography going back to the 80s, when seven-time Oscar winner Out of Africa, Golden Globe winner The Colour Purple, and Oscar-nominee Gorillas in the Mist were all shot there.

More recently, Kenya was the location of the Oscar-winning The Constant Gardener, as well as the 2011 and 2003 Best Foreign Film Oscar winners: In a Better World and Nowhere in Africa.

The country has also hosted box office hits like Tomb Raider: The Cradle of Life, Love Actually and Independence Day, among other impressive projects.

Ginger Ink is currently finishing production on Fishing Without Nets, the feature film extension of Cutter Hodierne’s Sundance Grand Jury winning Somali pirate short film.

Ginger Ink and Blue Sky are the two main service companies, but there are a variety of other production company options available.

This year, for the first time, Kenya has en-

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...Kenya was the location of the Oscar-winning The Constant Gardener, as well as the 2011 and 2003 Best Foreign Film Oscar winners: In a Better World and Nowhere in Africa.

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STAGE5FILMS’ founder and producer Dylan Voogt shot all over Africa while working for Moonlighting Films on documentary projects like Samsara and The Beautiful Game, but he calls Ghana “the one everyone should go to. They speak the language of film, have a large infrastructure, and are friendly, open and understanding. English is the official language, so there’s less of a language barrier, and security concerns are relatively low.”

Ghana doesn’t have a service filmography to speak of, although ‘Ghollywood’ is producing an increasing number of local films, like Leila Djansi’s Sinking Sands and Ties That Bind.

A number of South African companies are shooting adverts for Ghanaian agencies, but these still tend to be filmed in South Africa rather than Ghana.

Dylan says that, while there are no bona fide service companies in Ghana, he worked with fixers like Teddy Sabautey and Victor Odonko while shooting The Beautiful Game there. Prior to shooting in Ghana, you will need permits or press passes, as well as letters of invitation.

“Ghana is primarily set up for TV, not high-end features,” says Dylan. “There’s limited gear available: mostly lower-end Sony products and news gathering cameras. We used local sound recordists but otherwise brought in the key crew and equipment.”

Ghana is just 238skm, so about 1/6th of the size of South Africa. “This means there are limitations to the number of locations one can find,” says Dylan. “You go there to shoot the jungle, or cocoa farms, or the coastline, which has grey sand and is more like Durban than Cape Town; there’s nothing uniquely distinct city-wise, apart from the plantation-house-style architecture they share with Nigeria and the clash of rural and city sprawl.”

Hotel chains are found mostly along the coast. Ghana’s internet speeds were rated the fastest in Africa earlier this year by Speedtest.net but are best in urban areas, according to Dylan.

He says Ghana has a culture of ‘talk now, eat later,’ so small talk is important before you get down to business. Dylan also warns that Ghanaians often dislike being photographed by tourists, so it’s polite to ask for permission before pointing your camera.

Kenyan Landscape

tered its own film into the Best Foreign Film Oscar race: David ‘Tosh’ Gitonga’s Nairobi Half Life. This is the second film after the acclaimed Soul Boy to emerge from the One Fine Day Film Workshop, acollaboration between Tom Twyker’s One Fine Day Films and Ginger Ink, supported by The Deutsche Welle Academy. The third, Something Necessary, will be out in February 2013, and they are already in production on the fourth, Veve.

The Ministry of Information and Communications and The Department of Film Services oversee the film industry, which has a film commission and a professional association.

Ginger Wilson of Ginger Ink says, “Kenya offers fresh locations that are still very underexposed. There’s a very diverse landscape close to Nairobi, so you don’t have to go far to get savannah, jungle, mountains, or un-spoilt, pristine beaches.”

According to Ginger, there are some quality heads of departments (HODs) in Kenya, including a world-class production designer and a strong base of second-tier film crew, including great sound guys, lighting and grip crews, and focus pullers. For complex projects, she generally recommends bringing in HODs such as DOPs, first assistant directors and production accountants from South Africa.

She says that one area of real growth is acting, where the rise of local TV has turned screen acting into a viable career option for the first time.

At present, there are no incentives or film financing options available. It can be hard to obtain international insurance when shooting there due to the recent unrest, which South Africans should know not to over-estimate.

Ginger says there are a number of misconceptions about Kenya at the moment. “I’ve been working here for 18 years and I’ve never paid a bribe,” she says.

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FEATURE NAMIBIA

Namib Landscape

Moonlighting Films has shot a number of commercials and films in Mozambique, including Ali, with Will Smith; The Interpreter, with Nicole Kidman; and Blood Diamond, with Leonardo di Caprio.

“The most attractive thing about Mozambique is its proximity to Joburg,” says Moonlighting’s Philip Key. “It’s a 45-minute flight or a six hour drive, so you can make a decision at 10pm and call Joburg and your equipment will be at the airport at 6am and on set by 8am.

There’s nowhere else in Africa that you can support so well and so economically. That’s why on so many of these projects, we scout the whole of Africa and end up in Mozambique or Namibia.”

You don’t require a visa to travel between South Africa and Mozambique, which further simplifies shooting there.

There’s no film commission, but working on high-profile studio films helped Moonlighting deal with the Mozambican government at a ministerial level. Philip says Moonlighting always employs a local fixer, generally Mickey Fonseca from Mala Films; Joao Ribeiro, a founding member of AMOCINE (The Mozambican Association of Filmmakers); or Melissa Thorne, if she’s there.

Philip has noticed a marked improvement since Ali, where he felt Moonlighting was charged “extortionate” fees. However he says filming in Mozambique can still be fairly anarchic. “The biggest asset we have in South Africa is certainty, whereas when you shoot in Africa you’re not always in control

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of the end result.”

He says the infrastructure has improved remarkably, especially in terms of roads. The city has been cleaned up, although this means Maputo has lost some of its appeal as a decaying colonial environment.

For commercials, Moonlighting generally shoot in Mozambique for its turquoise water and exotic islands. The growing tourism infrastructure, like flights and accommodation, has made this “quite easy,” according to Philip.

“It’s always very nice to be there and buy fresh prawns,” he says.

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There’s nowhere else in Africa that you can support so well and so economically.

That’s why on so many of these projects, we scout the whole of Africa and end up in Mozambique or Namibia.

- Philip Key

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MOZAMBIQUE

Namibia has a filmography almost as impressive as South Africa’s, including blockbusters like 10 000 BC, Oscar nominees like The Cell, Emmy nominees like The Prisoner, and Emmy winners like Generation Kill.

In 2012, Namibia hosted the feature films Mad Max: Fury Road, with Tom Hardy and Charlize Theron; Zulu, with Orlando Bloom and Forest Whitaker; Blue Frontier and Mariyaan, as well as TV series like MTV’s reality program The Challenge: Battle of the Seasons; NBC’s The Today Show: Where in the World is Matt Lauer?; ITV’s World Wide Cookout; and Feeding Frenzy and Around The World in 80 Ways, both for Icon Film.

The Namibian industry is regulated by The Namibia Film Commission and supported by The Filmmakers Association of Namibia.

Namibia offers experienced service companies like Namib Film, Media Logistics Namibia, and Power and Glory Films. There’s enough crew for one independent-size feature or several commercials at a time, but if a studio film shoots in Namibia, additional crew will need to be sourced from South Africa. Namibian equipment rental houses only stock lighting and grips equipment, so film and HD camera equipment should also be brought in from South Africa.

Namib Film’s Gwen Swart says, “Namibia’s strength is its unique locations.

Namibia is located in the oldest desert in the world: the Namib Desert. With a bigger surface area than the whole of the United Kingdom, and a population of less than 2.5 million people, Namibia proves to be the perfect location if you are looking for that 360˚ of beautiful seclusion. Namibia has 300 days of sunshine and also natural light that is loved by DOPs worldwide.”

Among others, Namibia has doubled as Iraq (Generation Kill), Ethiopia (Beyond Borders), Sudan (Mariyaan) and even countries such as Afghanistan, Israel and Mongolia (Flight of the Phoenix).

Namibia is the first country in the world that has added the environment to its constitutions, so all locations in Namibia are well protected to give that sense of being untouched.

FEATURE

Chris Briggs of Red Dot Productions has shot around 70 commercials in Nigeria over the past ten years. He’s also filmed extensively in South Africa for Nigerian agencies and says Nigerian budgets are increasingly similar to South African ones.

“There’s a lot of negativity about Nigeria in South Africa but I’ve enjoyed it immensely,” says Chris.

He describes a well-educated, well-traveled culture that is very religious, whether Christian or Muslim. “There’s a perception of Nigerians as scam artists and drug dealers, but you can’t find drugs in Nigeria,” he says. “Nigeria has a population of 160m; it’s half the size of America. 2-3% of Nigeria is still bigger than the whole of New Zealand. So you only need a tiny percentage of the population to be drops outs to create a reputation.”

According to Chris, there’s no film office or film commission in Nigeria, but it’s essential to work with a local production company like Jungle Film Works or Six Sense. “They’re excellent collaborators and make it impossible to have a problem. They’ll make the necessary arrangements with customs and with the local area boys or gangs.”

He says Nigeria isn’t geared up for highend filmmaking yet. “They don’t have specialists. You can rent a camera there, but you can’t rely on it being properly maintained. We generally bring in the key equipment and crew, like the AD and DOP.” But he praises the Nigerian support crew, including their grips and digital imaging technicians (DITs). “The best thing about Nigeria is the people,” he says. “They are helpful, work hard, and are chirpy and cheerful.”

While Nigerian prices are cheaper per day, he warns you need to budget more time than you would in South Africa.

He adds that the roads are bad, traffic jams happen, and driving can be like a computer game, while the weather is overcast in summer and overcast with rain in winter.

“You don’t get that beautiful South African light there,” he says.

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The best thing about Nigeria is the people... they are helpful, work hard and are chirpy and cheerful.

- Chris Briggs

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NIGERIA

“Something Necessary”, by One Fine Day Films shooting in Kenya, image by Allan Gichigi

Namibia

Mozambique

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FEATURE

“PRO”SPECTIVE Telling “Africa’s Story” in 2013 - By Nicola Rauch

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hen faced with the question of “What stories are African Filmmakers telling?” my first reaction would be to question the endless homogenizing of the 54 distinct countries with their own histories, cultures and languages into one ‘Africa’ with the expectation of arriving at a single identity or filmic voice.

Abraham Haile Biru, President of the Colours of the Nile International Film Festival in Ethiopia said earlier this year: “I don’t think African film is attempting to establish any specific identity. Every filmmaker has his/her own identity expressing African realities in their own way and from their point of view”.

The themes in ‘African Films’ of the pursuit of love, enlightenment and/or economic success are universal rather than African. The extended economic meltdown across Europe and the U.S. means that the penniless man in a low-budget movie may as likely be Greek as Ghanaian, the unruly protester seeking the downfall of capitalism in New York rather than Nairobi and the economic migrant Spanish, not Sudanese.

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I don’t think African film is attempting to establish any specific identity.

Every filmmaker has his/her own identity expressing African realities in their own way...

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“Man on Ground” (2011) (South Africa)

“Phone Swap” (2012) (Nigeria)

International box office figures for ‘African films’ offer no answers. But there are few independent films of any type on those lists.

The collapse of traditional cinema structures across Africa means that the ‘Straight to DVD’ and ‘Made for TV’ sectors are the mainstay of the African film industries.

Says Peter Rorvik, the Director of the Durban International Film Festival, “Low budget filmmaking opens up possibilities to filmmakers who previously had little hope of entering the elite domain of high-end cinema. Filmmakers turned inward and began to produce low budget videos for an enthusiastic home viewing audience.”

The freshest of ‘African Film’ is thus not able to be interrogated according to traditional parameters. With video on-demand (VOD) and the Internet penetrating the most remote communities in the world, almost every film ever made becomes accessible to anyone with the ability to make an electronic transfer and a download. African filmmakers of all ages and descriptions will direct you to their YouTube link.

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Wikipedia, that source of all wisdom, tells us that “African cinema focuses on social and political themes rather than any commercial interests, and is an exploration of the conflicts between the traditional past and modern times.” I think that may have been written sometime in the last century.

If we analyse the substance of the countless films being made in Africa, we see the massive influence of the Nigerian model of ‘story first’ filmmaking -- roughly made but engaging stories of family drama, crime, moral choices, love and loss. As amateurish as these films may seem to a “discerning filmophile”, they resonate strongly with the audiences they reach, with re-broadcasts being watched almost as widely as premiers and DVDs passed from hand to hand. Bums on couches at home rather than a cinema seat are bums nevertheless.

Broadcasters and funders across Africa have run numerous programs for entry-level filmmakers to make no/low budget films and these films find massive support in their home markets. South Africa’s eTV draws around 2.5million viewers to its weekly ‘eKasi stories’

FEATURE

“Otelo Burning” (2011) (South Africa)

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This is the cutting edge of ‘African Film’, where the brave take a ‘just do it’ approach and cross boundaries of language and statehood.

productions. These one-off hour-long films are commissioned from young African filmmakers with shoe-string budgets. The filmmakers are mentored to tell their own stories.

The DVDs are available in chain stores across the Southern Africa Development Community (SADC) region.

This is the cutting edge of ‘African Film’, where the brave take a ‘just do it’ approach and cross boundaries of language and statehood.

Adding economic participation for the filmmaker into the equation of such films has created a massive industry for Nigeria, the third most prolific producer after Bollywood and Hollywood. And markets like Ghana, Kenya, Egypt and South Africa are quickly adopting the model – make it on a shoe-string, take it to DVD and just sell it yourself. Do it quickly to avoid the pirates and tell a good story. Then repeat, making some profit along the way.

Nicola Rauch is a Creative Producer and Script Consultant. She is currently in ‘Prepre’ on two feature films and in 2013 will be running a feature film incubator with “The Griot”.

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FEATURE

Challenges of Season

- By Kevin Kriedemann

Season is underway! But what does that mean?

Neil du Toit, Managing Director of Media Film Service and Tony Eddy, Managing Director of Panavision, both say “season” started in November, while Visual Impact director Marius van Straaten says it kicked off hard in October. Neil and Tony expect it to last till about April, while Marius expects a dip in activity in May. Take 2 Films’ Brenn Marais expects June and July to remain the quietest months, he says, “as an equipment supplier, season is all year round. It just changes shape.”

This is what people are saying in Cape Town, South Africa. But the concept of “season” doesn’t really apply outside Cape Town: Tony says Johannesburg, if anything, has converse seasons with summer being slightly slower than mid-year, while both Namib Film in Namibia and Ginger Ink in Kenya report a steady flow of productions throughout the year. Still, “season” – whichever you follow – offers a time to take stock of the year and what indicators say about the year ahead. Here is what The Callsheet is hearing…

POSITIVE SIGNS

WARNING SIGNS

The exchange rate

The political & economic climate

“The exchange rate is definitely in our favour and should attract more commercial and long form work into the country,” says Neil, referring to the South African rand sitting at over 8.6 to the dollar, 11.2 to the euro and nearly R14 to the pound. “We have seen a substantial increase in workload since the middle of last month and the quoting tempo has certainly escalated. We have seen a number of big commercials already being shot, which hopefully is an indication of a good season to come.”

“The recent unrest in the Western Cape may have an impact on foreign clients wanting to come to the country,” says Neil. Similarly, the twin specters of Marikana and Mangaung have created an atmosphere of political uncertainty and haven’t helped the local South African economy, which is also at the mercy of the sense of impending doom emanating from Europe.

“The stagnation of the South African economy has definitely impacted negatively on our business, with a slow start in supply to local commercials and features,” says Tony. “Although the outlook in this area remains guarded, there are signs that the new year ahead carries with it more promise.”

Similarly, Marius says, “Our sales division has seen a big shrinkage this year. People are keeping their kit two years longer at the moment. But the phase of consolidation we’ve been on means we’re leaner and meaner than we have ever been before and sales in the last two months have been phenomenal.”

The fluctuating rand is another spinoff from the political and economic climate that’s hurt those aspects of the film industry that rely on imports rather than service. “The rand has really taken a dip: 25% in the last two-anda-half months,” says Marius. “On the one hand it’s great for rentals, but on the other

Growth in feature films and long-term TV shows “This has been our busiest season with this kind of work yet and there are even more shows pending for next year,” says Brenn. “More studios could not come any quicker...”

Having just finished Fear Factor: Malaysia, Marius says Visual Impact has also seen a growth in reality TV series shooting in South Africa, which has extended the rental season for them.

Commercials still strong “We enjoyed substantial upturn in our rentals activity in the commercials sector for both local and international work,” says Tony. “This sector continues to surprise us and definitely forms the mainstay revenue stream for Panavision.”

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it’s crap for sales. We’re really battling to offer consistent pricing.”

Shorter redundancy periods “The redundancy period for equipment is a real challenge for any rental facility in today’s digital era,” says Neil. “The time period to retrieve the return on one’s investment has become exceptionally small prior to a new release appearing on the market and requiring further investment.”

At a time when there are more professional cameras than ever before, it doesn’t help that margins are ever-shrinking. “We are finding it much more challenging to maintain a competitive edge as the overall pricing on rental of equipment is forced downwards constantly by productions, while the expectation to supply the newest high definition (HD) cameras and lenses is increasing,” says Tony.

Digital teething problems “Through the year we have all experienced immense learning curves, as we – as an industry – have had to adapt to handling HD workflows,” says Tony. “This is a worldwide phenomena and we see major manufacturers constantly launching new products or tweaking existing products to streamline the handling of the new electronic HD capture formats.”

One digital flop this year was the much-hyped, much-delayed and now much-maligned Blackmagic Cinema Camera.

FEATURE It’s typical of how gear houses always have a new camera to research, invest in, and then support through its initial glitches. “It is one thing providing hardware to your client,” says Brenn, “it is another understanding that gear and providing support for it.”

According to Tony, the biggest challenges of shooting HD have been “safe storage and duplication of image data – and resultant complications, unlike celluloid, which stores such information ad-infinitum.”

Of course, this is also an opportunity for businesses. For instance, Marius says Visual Impact’s data recovery business has “exploded.” He also points to the strong demand for Visual Impact’s on-set transcoding, data wrangling services, digital imaging technicians (DITs), and THX-accredited viewing room, especially for rushes.

TRENDS The Arri Alexa has arrived “The Arri Alexa is the most used camera both locally and within Europe,” says Brenn, the only company to supply all five versions (Standard; Plus; Studio; Plus 4:3; and M) in South Africa. Neil similarly says the Arri Alexa has been Media’s “most requested digital camera,” while Tony says there’s been a “strong demand” for the Alexa, Alexa-Plus and Alexa 4x3 at Panavision.

“The recently released 4x3 Alexa Plus camera, which utilises a larger censor accommodating a true anamorphic 2:1 squeeze, has now become a very popular long-form format choice,” says Neil, who adds that the 4x3 is also being used for commercial shoots.

Tony says Panavision’s Red Epic cameras have continued to, “work well on jobs requiring heavy post work.”

“Winnie” (2011) shot in South Africa in April 2010

“Perhaps the most obvious equipment trend is the rapid and spectacular decline in film/celluloid capture as the worldwide swop to HD capture takes traction locally,” he adds.

The resurgence of Sony For Visual Impact, the Sony EX1 was their top rental camera for the television market. Marius says the F3 also came into its own in 2012, while there was massive demand for the Gemini external recorder that allows a recording rate above 50mb/s.

Marius expects 2013 to be the year of Sony. “Sony is coming out with the F5 and F55, which are both finally above 50mbps and 4K upgradable. Sony’s backup and service in South Africa have always been really good, but they’ve been lagging behind Panasonic at 35mbps. Now they’re at the 50mbps BBC bitrate capture standard, the response has been hugely positive.”

Great, affordable cameras At around R30 000 to buy, Marius calls the Canon 5D Mark III, “the cheapest large sensor camera out there.” He heard one gear rental house say they’d lost 30% of their camera rentals to the 5D. At $399 on pre-order, the new Go Pro Hero 3 is even cheaper. Marius says it’s increasingly popular. “It’s an amazing camera and has less of a rolling shutter issue, which used to create a jello effect at certain panning speeds on earlier models,” he says, adding that Visual Impact is focusing on offering the most comprehensive accessorized kit for this, with mounts for wrists, helmets, surfboards and more.

Recording RAW “There is a huge push on top-end commercials and features to record RAW footage,” says Brenn, who invested in the CODEX brand and systems about three years ago. “It is costly but delivers unparalleled image quality.”

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“PRO”SPECTIVE ANIMATION

“Zambezia” (South Africa) (2012)

If A Picture is Worth a Thousand Words…

- By Glenn Gillis

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e’ve all heard the saying, and if it’s true then surely moving pictures (especially animation) can convey so much more, and not only to children.

From games to apps, and now Augmented Reality (AR), animation is uniquely placed to cut across cultures, literacy levels and language barriers in a way that few other mediums can. In this article we will briefly explore how animation is breaking new ground in three keys areas - brand communication, entertainment, and learning.

There is a fundamental shift happening in the way brands communicate with their audiences. Traditional, above-the-line advertising is increasingly expensive to produce and many companies are finding it harder to reach their audiences using traditional media. With consumers using PVR, watching movies online (or from hard drives), and navigating the proliferation of channels available, media planners and creatives have their hands full driving home brand messages.

Animation has long played a part in traditional advertising, but animation offers flexibility that live-action alone sometimes doesn’t.

Animation inherently requires the suspension of disbelief to be effective, and this means viewers have to engage their imaginations.

This is true of course of all media (from books,

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to films), but animation seems to cut through the clutter to get the essence of the story across, in a fun and entertaining way.

An example of this is animated explainer videos. Instead of trawling through endless information on a web site looking for the essence of what a company does, many sites now offer users a short explainer that traps the core company message or brand’s stories in just 90 seconds.

Explainers can be used in other ways too.

For example, helping customers navigate through complex choices or driving home key sales messages at every level of engagement.

Think, for example, of the challenge of choosing a cell phone contract from drop-down menus on a web site, or going into a store where the sales staff are often not as well-trained as they should be.

Now imagine an interactive animated app, or even a game where, by making a few key choices, customers can interact with the information in a far more intuitive, rewarding (and dare we say fun) way. It’s like having your best sales-person at work all the time, asking the right questions, guiding customers to make an informed decision. This is the power of game thinking, and animation lends itself to these interactive communications that would be far too expensive or time consuming to produce in other ways.

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Another advantage of animation is that it is cross-platform ready. Once the digital assets (characters and so on) have been created they can relatively easily be used in games, apps and other forms of digital communication.

Brands increasingly want a so-called 360degree approach to engage their customers, and we’d argue that animation is well placed to take advantage of this trend. Clearly animation is not just for kids.

With regards to entertainment, animation is very much at the forefront of changes taking place everywhere. At Sea Monster our core business is 2D animated TV series and film, but essentially what we offer is powerful story telling that can keep 4 to 6 years engaged for up to 11 minutes at a time, and we can do this 52 times in a row (this being a typical TV series). Our belief is that if we can keep this most unforgiving of all audiences engaged, then this skill should surely translate into other forms of entertainment and communication for other audiences too.

As is the case with branded communication, broadcasters are also looking to engage their audiences in multiple ways. Once again if we understand the essence of the story being told or what the emotional relationship is between the story-teller and their audience, and have the digital assets, our ability to produce games and apps is significantly enhanced.

“PRO”SPECTIVE ANIMATION

“

With regards to entertainment, animation is very much at the forefront of changes taking place everywhere.

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Many TV shows now launch with associated games and apps, and are increasingly trying to take advantage of the interactive capabilities of new media platforms. Some shows or brands ask customers to like their Facebook pages, and our question is always “What’s in it for the customer?” We can create apps, games and bite size forms of entertainment to compliment shows and films, as a way to drive awareness, reward customers, or to find news ways to get feedback.

One of the other challenges facing entertainment companies everywhere are the socalled new media platforms. From watching content on mobiles, to tablet devices, animation lends itself well to these third screens.

Critically, in an African context, we’re not only talking about the higher LSMs and thankfully, after years and years (and years), it seems that affordable broadband is much closer. Yes, some of us might be thinking iPhones and Galaxy Tablets. And of course, these powerful devices offer many opportunities for animation to communicate your message. But we’re

equally excited about Mxit, Bozza and Android tablets coming onto the market for $100 and other similar initiatives aimed at making content accessible to many more.

The final aspect we want to touch on in this article is the power of animation in a learning and training context. For many companies training is more vital today than ever, but the costs of employees taking time off work and gathering from across the country into a single venue have made this a luxury many can’t afford. And it comes with a considerable environmental cost too.

Imagine that even before the employee steps into a training room, they have already watched and interacted with the actual content that needs to be conveyed. They can watch this at their own pace and several times over to get difficult concepts, either on their PC’s, phones, or on in-store TVs before the customers come in. When the group training happens, the experience can be that much richer and far more cost effective. Animated clips and games can also be used to follow up with the employees for in the days and weeks after training to lock in key learnings, give people tips, and extend ideas.

What really excites us at Sea Monster is the role that we can play in improving the effectiveness of learning at all levels, including schools, specifically within an African context where so much needs to be done. We always say that if Mythbusters got married to the Simpsons we’d want to have their children.

We believe that South Africa is well placed to take advantage of our years of film service experience to deliver projects on time and on budget, and the rich store of stories and creative talent. As Zambezia is proving there is a ready market for our animated films, and there is no reason this shouldn’t apply to TV series, games and apps.

Glenn Gillis is the Managing Director of Sea Monster Entertainment, one of South Africa’s pre-eminent animation, gaming and app development companies.

He has a Business Science degree from UCT and has been an entrepreneur, general manager and consultant to growing, knowledge-intensive businesses around the world for over 25 years.

Glenn was the General Manager of Clockwork Zoo, one of the largest 2D and Live TV production companies in the country, and before that he was the General Manager at Moonlighting Film Services which is South Africa’s leading film and commercials company for around 2 years.

He has also provided consulting, advisory and facilitation services to leading public sector agencies, such as the Cape Film Commission, the Department of Trade & Industry, amongst other government bodies. His area of expertise is the film, media and the creative industries.

He has also provided management consulting services to a number of growing private sector businesses and is a sought-after speaker, facilitator, researcher and strategist.

Glenn is also the co-founder of Relate, a social trust that provides employment opportunities and connects organisations to good causes by making branded bracelets. Relate has sold about 750 000 bracelets since 2009, and has created income producing opportunities for around 150 people in the townships around Cape Town.

The Plastics by Sea Monster Productions

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TRENDS

LOCATION! LOCATION! LOCATION! - By Kevin Kriedemann

Living on Location

O

ver the past couple of years, there’s been much talk of the “locations crisis” in Cape Town, South Africa but The Commercials Producers Association (CPA) is sounding refreshingly upbeat about the current situation.

Bobby Amm, the CPA’s executive officer, says the locations crisis turned a corner after

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the CPA and the South African Association of Stills Producers (SAASP) hired Rudi Riek as a fulltime locations trouble-shooter. “Rudi’s done a fantastic job,” Bobby says. “He staged over 100 interventions last year and has been meeting with the City and Province on a regular basis. The Cape Town Film & Permitting Office is now working better than it ever has,

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although there are still some niggling issues that need to be addressed.”

Challenges remain with public locations.

For example, The Civic Centre and the Wale Street arches are no longer available now that they’re national key points (locations that have been designated strategic installations or places of importance by the government), access to the railway stations remains fickle, and SANPARKS shuts down key locations like Cape Point Nature Reserve completely over the festive season, a peak time for the local film industry.

“Public locations are still a work in progress and there’s no quick fix, but we feel that we’re making real progress for the first time,” says Bobby.

She’s also noticed an improvement with private locations.

“Cape Town has seen a definite change in attitude,” says Bobby. “Where once there were just a couple of location agents, the last few years have seen many new entrants in

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“

Public locations are still a work in progress and there’s no quick fix

“

- Bobby Amm

this arena. It’s made the market much more competitive, so everyone is trying to negotiate reasonable rates and is working harder to get their share.”

Julia Finnis-Bedford, founder and managing director of Amazing Spaces, says, “Our prices have held steady for three years now.

Due to the recession, we have communicated to our location owners the pressures being placed on the industry, and what we need to do to play our part in sustaining it. 95% of our locations come to the party on this.”

Similarly, Jackie Dobrin of Living on Location says, “We haven’t had any major location

increases in two years.”

Contrary to popular belief, locations’ agents don’t dictate pricing: owners do. As Lisa H Martin from 021 Locations says, “The location fee is 100% based on the location and the location owners’ experience.”

While the locations agencies have worked hard to create realistic expectations in their location’s owners’ minds, they often find this undermined by the very people they’re trying to bring costs down for.

“One of biggest challenges with locations pricing is, ironically, that producers often pay way too much for a location that they have scouted without an agent,” says Julia. “ Countless times I have been approached by a location that has had one shoot directly with a production company, had a positive experience, earned good money, and would like to indulge in more shoots. When I tell them what we can pay them, they often have received as much as double to three times as much. I implore all producers to offer less, much less. My worst case was a location in Bishops Court: I offered R15 000 per day and he laughed at me, saying, ‘Last shoot I had, I got R100 000!’”

Shoot My House

021 Locations

Shoot My House

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Lisa adds, “There is a dangerous perception that one can make hundreds of thousands of rands off one’s home from the film industry.

When I ask potential locations where they received their information, it’s generally come from the film commission or producers they know. Surely, to protect the longevity of the location industry in Cape Town, this perception should be squashed? The only way this is going to happen is if the industry stands together in the talk around fair and reasonable location prices.”

The worse the experience a location has had with the film industry, the more they are likely to charge, if they make their location available at all. “My frustration every now and then is with a lack of respect that crew or cast sometimes have for locations,” says Jeanne ‘Red’ Watson from Shoot My House. “This leaves a bad taste in location owner’s mouths and makes our position in trying for better rates very difficult.”

She adds, “Last season, we lost our most fantastic office location - a top-end investment bank – because a scout marched into the building and demanded to speak to the office manager immediately, when we had told him that under no circumstances was he allowed to go there without us having made firm arrangements. That rudeness lost the industry a top location that was actually very reasonably priced.”

She says that incidents like this are the exception rather than the rule though. “On the whole though, the film industry is a lot more respectful of locations than they were a few years ago; we all appreciate that we need to hold onto them.”

But even when everyone is well-behaved, film shoots can be too invasive and disruptive for some locations. Rudi says one of the biggest losses to the film industry this year was when Eris Properties informed the CPA that it didn’t make financial sense for them to allow filming at any of the properties they manage, which include the Pinnacle and Wesbank buildings, as well as many popular rooftop locations.

Rudi says, “Eris told me they rent out a parking bay for R1100 a month, which is R13 200 a year. They just have to draw one white line for the year and they’ve done their maintenance.

According to Eris it just doesn’t make sense for them to allow film shoots, for a similar amount of money, to bring in 60 people, do possible damage, make noise and disrupt things.”

Rudi tried to explain the broader economic and cultural importance of the film industry to the Western Cape, but Eris locations remain

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“

We prefer communication before the shoot, and during the shoot if the time is running over, which empowers us to inform our location owners and thereby circumvent any issues...

“

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unavailable at present.

There are no set prices for locations, which can be confusing at first.

Different productions wanting to shoot at the same location may find they receive wildly different quotes, with 50-60% differences depending on their requirements. For example, a 10-15 person stills shoot will generally be charged less than a 45-60 person commercial shoot, which will be charged less than a feature film with an even larger crew.

This pricing difference is generally less about whether you’re shootings stills, commercials or feature films than it is about factors like “impact” and “inconvenience,” so your quote will be shaped by factors like the size of the crew, the vehicles and machinery required, the timing, the hours on set, the area of the shoot, and the props involved, especially since Julia points out that these have been known to include cows in the garden and cars being

Amazing Spaces

Shoot My House

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Living on Location

Living on Location

TRENDS dropped into swimming pools.

The more these factors can be contained, the better your price may be. For example, exterior-only shoots often cost less than interior shoots. But there are no hard and fast rules.

As Maja Heynecke from Permitz says, “I like the idea of much less for small-scale exterior shoots, but it’s not always up to us to decide that. Quite often we come across owners who have spoken to others who have hosted shoots and they name a figure they have received. Not knowing the industry, people expect to receive the same, even though the shoot might have a completely different budget or set of logistics.”

Similarly, Jackie says, “There is not a difference between shooting interior and exterior at private residences - they have one rate for use of the whole property, be it inside or out. Even if you only use one room in the house, rates are set.”

The more days you spend at a location, the better your day rate should be.

If you go into overtime, expect to pay extra for it, with the exception of Permitz. “We do not charge overtime as a company policy, unless our location owner specifically requests us to do so,” says Maja.

Julia says the worst-case scenario for overtime is usually 10% of the day fee, per hour over the standard 14 hours they allow on set.

Jackie warns that stills overtime can reach 20% of the day fee, per hour over.

“We prefer communication before the shoot, and during the shoot if the time is running over, which empowers us to inform our location owners and thereby circumvent any issues,” says Julia. “It’s very different warning someone upfront and offering to pay for their dinner, than having them experience a crew leaving at 1am when they were expecting to be

in bed by 10pm!”

The one downside of the increased competition is that some properties are now listing with more than one agency, which has resulted in an increase in the number of double-bookings. While SAASP has asked agents to not list locations already represented elsewhere, this is yet to change and remains an issue.

rs Numbe R1500 - R2500/hour: the average hourly rate in a commercial location from Living On Location R5 000: the lowest price from 021 Locations for a six-hour, exterior-only film shoot R8 000-R20 000/day: the average price range for private homes R6 000–R17 000: the price range for offices from Living On Location R20 000/day: an average commercial location like a restaurant or nightclub from 021 Locations R40 000/day: as expensive as private locations normally get 5%: the lowest once-off markup I heard of from 021 Locations 20%-30%: the average markup range 50-60%: the potential difference in price for the same location depending on the size and impact of your shoot *These figures come from 021 Locations, Amazing Spaces, Living on Location and Shoot My House only and are for overview purposes only.

Keep in Mind Additional location costs to keep in mind: • Base camps in red flag areas • Prep and wrap fees at locations; Shoot My House usually charges these at 50% of the shoot day rate) • Some locations request that they have a location manager on set for the duration of the shoot. This can cost between R300R1000 extra per day.

• Cleaning • Damages/repairs • Electricity • Loss of trade at commercial locations

Amazing Spaces

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DIRECTORY

Featured Government Film Contacts COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Embassy Of The Republic of Namibia Namibia

+264 202 986 0540

consular@namibiaembassyusa.org

www.namibianembassyusa.org

Ghana Embassy

Ghana

+233 202 686 4520

consular@ghanaembassy.org

www.ghanaembassy.org

Kenya Film Commisson

Kenya

+254 020 271 4073/4

Not Available

www.kenyafilmcommission.com

Ministry of Labour & Home Aairs

Botswana

+267 00 267 361 1255 Not Available

www.gov.bw

Nigerian Film Corporation

Nigeria

Not Available

contact@nfc.gov.ng

www.nfc.gov.ng

COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

7 Films

Cape Town

+27 21 447 4523

jason@7films.co.za

www.7films.co.za

Aquila Private Game

Western Cape

+27 21 430 87260

pa@aquilasafari.co.za

www.aquilasafari.co.za

Bidvest Premier Lounge

Nationwide

+27 86 124 3247

Capital Medical Services

Cape Town

+27 82 864 4982

capitalmedical@mweb.co.za

Jameson First Shot

Nationwide

+27 21 405 8800

clair.vandermescht@pernod-ricard.com www.jamesonfirstshot.com

Lindbergh Lodge

Johannesburg

+27 72 765 7201

lindbergh@iafrica.com

www.lindberghlocations.co.za

Media Film Service

Nationwide

+27 21 511 3300

info@mediafilmservice.com

www.mediafilmservice.co.za

Pioneer Frieght

Nationwide

+27 21 386 5946

info@pioneerfreight.co.za

www.pioneerfreight.co.za

Protea Hotel Victoria Junction

Cape Town

+27 21 418 1234

reservations@victoriajunction.com

www.proteahotels.com/victoriajunction

Roodebloem Studios

Cape Town

+27 21 447 6326

info@roodebloemstudios.co.za

www.roodebloemstudios.co.za

Rosco

UK

+44 020 8659 2300

contact@rosco.com

www.rosco.com

Sitewise

Cape Town

+27 21 447 3151

action@sitwise.co.za

www.sitewise.co.za

Sunshine Company

Cape Town

+27 21 465 8262

info@sunshinecompany.co.za

www.sunshinecompany.co.za

TVC

Cape Town

+27 82 444 4181

tvcsa@iafrica.com

www.tvcsa.com

UVS

Nationwide

+27 21 686 2404

cape@uvsrent.co.za

www.uvsrent.co.za

Wizardz

Cape Town

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

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