The Callsheet June 2012

R22.80 June 2012 www.thecallsheet.co.za

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AUDIENCE DEVELOPMENT STILL A CHALLENGE GENERAL INDUSTRY

soweto Theatre © Tony de Oliveira

This month has seen two international publications (Variety in the Us and The Guardian in the UK) bemoaning the dearth of black audiences in south Africa. in the same week a group of passionate filmmakers launched a mobile cinema solution in one of sA’s largest townships - soweto.

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he article in The Guardian was concerned with the fact that local cinema content follows the West, and therefore does not appeal to black audiences. The article in Variety is concerned with getting more screens into the previously disadvantaged communities. The team behind Kasi Movie Nights (KMN) has stopped talking and started taking cinema trucks into townships.

Co-founder Jamie Ramsay says: “Ultimately, the aim of Kasi Movie Nights is to re-ignite the culture of cinema to the masses by, quite literally, bringing our cinema trucks to their doorsteps. Our mobile theatres will move from township to township, from rural area to rural area, until the thirst for media is quenched.”

Jamie added: ”Our audiences, averaging 1000 per screening, get to see a double bill of two quality South African feature films, as well as commentary and Question and Answer sessions with the stars of the screened movies.”

The first Kasi Movie Night will take place on 22 June 2012 at the Jabulani Amphitheatre in Soweto. The features are Skyf and Jozi

Kings, afterwards viewers will be offered the opportunity to meet the cast and crew of the featured films. The project appears to offer a viable solution to concerns, from at home and abroad, about the local industry and the development of larger South African film audiences.

The National Film and Video Foundation (NFVF) has been vocal about their ambitions for ‘audience development’. In their 10 Year Review Document, released in March this year, the NFVF noted: “Film exhibition and audience development have not received adequate attention over the years.

Audiences’ attendance has been falling consistently over the past 10 years and this could partly be due to the closing down of township and some suburban cinema sites.”

The document also mentions a

Department of Communications grant from 2009, it says: “The NFVF was granted R10 million by the DAC in 2009. The aim of the grant is for the development of digital screens in townships and rural areas. This initiative is meant to address the lack of screening/exhibition facilities in underserviced areas.”

The Guardian article asserts that South Africa needs to have more cinemas for black audiences, and points an accusatory finger at NuMetro and SterKinekor for failing to develop this. The piece stated: “Further off the hollywooddrawn roadmap, there are conspicuous blank tracts in South African mainstream cinema: like the fact there’s little provision for the black population, which counts for about 80%.”

The Variety piece indicates that this is a missed business op-

portunity, stating: “As the rapidly growing black middle-class continues to flex its commercial muscle, it’s become an especially attractive demographic for local businesses. But while both SterKinekor and Nu Metro have looked at ways to increase their presence in black townships, concrete plans have failed to get off the ground.”

The Kasi Movie Nights project was founded by three young filmmakers - Jamie, Thapelo Mokoena and Matshepo Maja. The three are all former AFDA students who are working in the industry. They knew of each other and came together over their shared vision to build a local industry.

Jamie has worked on several high-profile local movies including Triomf, Shirley Adams, District 9 and the award-winning Skoonheid. he was the producer

behind Jozi Kings.

Thapelo is a well known actor, having starred in Skyf and DRUM, as well as several local television series. he is currently shooting the Nelson Mandela biopic Long Walk to Freedom. Matshepo has worked as production manager on travel documentary Rough or Smooth/Rof of Spog and currently works as a director at Cape Townbased commercial company Silver Lining Pictures.

Jamie says Kasi Distribution was started after observing the Nigerian film industry and concluding that South Africa needed a similar model of informal distribution. Kasi Distribution will see to it that in addition to movies being screened in townships, spaza shops and informal entrepreneurs will also be supplying DVDs to the audiences.

Jamie revealed that the Kasi Movie Night Project is an independent initiative, but hopes for support in rolling it out to the rest of the country. he said: “We are interested in taking it nationwide. We have invited all the interested parties i.e.: the NFVF, the financiers, the DTI and we want to show them our abilities and the fact that this is going to work. hopefully from there they’re going to be interested in financing and letting us roll it out properly. If they don’t we do have private financiers who are interested in helping us roll it out, as well advertisers. So yes, nothing is going to stop us from rolling this out countrywide.”

Kate Hodges

PAGE 2 PIN-UP: DorEttE PotGIEtEr (LtD EDItIoN)

ACTING Dorette Potgieter started working at the age of four and the actress, currently starring in the Kyknet series Vloeksteen, shows no signs of slowing down.

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oreTTe plays undercover agent Sandra Cilliers in the procedural drama about the organised crime unit who go undercover in the hunt for diamond smugglers. Directed by regardt van den Berg, the series was shot in Cape Town and up the West Coast.

She did her first full length play as a five-year-old, appearing as Marietjie in the Afrikaans

production 300-Plus. The play celebrated the tercentenary of Jan van riebeeck’s landing. This was followed by roles in Gigi with late director David Matheson, Die Joiner directed by Pieter Fourie and then the role of Briggitta in David Matheson’s The Sound of Music.

She made her film debut in 1985, in the film adaptation of the Dalene Mathee’s Circles in the Forest. Dorette played the char-

acter of Jane in the regardt van den Bergh directed feature. In 1989 she was the iconic Timotei girl in the ubiquitous commercials.

Dorette went on to attend Drama at the University of Stellenbosch, Musical Theatre at Pretoria Technikon, the UCT Ballet School, and a Film Acting Masters Course at AFDA in Cape Town.

Dorette feels this early start reflects her destiny to be an actress, saying: “Looking back at my career I realise you are probably born to be something. Based on what life offers you - you get to choose to do things that make you who you are. Life offered me opportunities to become the actor I am today, but I’m nowhere close to the actor I want to be.

Hopefully I will receive offers that will satisfy my hunger for being a great actor.”

When asked whether starting so young shaped her acting, she responded: “Starting at such a young age with very little reading skill, forces one to experience given scenarios as yourself and taught me to explore my imagination. Fear is often what holds us back and as we know, kids have no fear. I enjoyed being an Alice in Wonderland based character exploring all given avenues within various context, but as I grew up I realised that there’s so much more to acting and my ethereal world had to often take a back seat to reality.”

She has starred in numerous commercials for local and international brands including: Activia Danone, Persil, Pick n’ Pay, Debonairs, Latta Margarine, Molsens Beer, ola Magnum and many others. She has also done production work on several international commercials acting as a chaperone

and cast co-ordinator.

Dorette has starred in several high profile local soap operas, including playing lead roles in Egoli and Villa Rosa. In addition to her many roles in commercials and on television, Dorette has also acted in many films including Sinbad, The Piano Player, Lotto Madness and Citizen Verdict opposite Armand Assante. Dorette also has extensive theatre experience, having appeared in over 15 stage productions including two one-woman shows.

When asked about which genre is her favourite to work in, Dorette says: “As long as I’m working and able to live the dream as an actor on stage, television or film I am content, but if I had the luxury of choice I’d be part of the film industry till the day the film industry has no more parts for me to portray.”

With regards to her future, Dorette has several irons in the fire including co-writing a book. She hopes to secure commercials and theatre work this winter.

Dorette can be seen in Vloeksteen on Kyknet every Tuesday night at 20:30pm.

The Callsheet | 03

THE CHALLENGE OF BUYING TO RENT

Pieter Badehorst

EQUIPMENT RENTALS Gear houses are being forced to find creative ways to compete in a market that sees new technology being released with ever-more frequency.

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amera manufacturers, as with any other tech-based industry, have been at war since the beginning of their time.

But since the digital wave first hit, and the need to slim down productions costs arose, the pace at which these companies compete has escalated monumentally. every year trade shows, such as NaB showcase the next generation of video and cinema equipment. Sadly these days manufacturers can’t afford to wait even one year to announce or release new products.

Over the past year this has become more apparent as new camera announcements are made almost bi-monthly. The announcements and releases are not small measures as we’ve seen manufacturers now offering higher resolutions at lower cost. Panasonic (Varicam 4K aVC Ultra), JVC (GY-HmQ10) and Canon (C500/1DC) have already released, or plan to release, a prosumer cameras/ HD DSLr with 4K resolu-

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tion capabilities. That’s just 4K, never mind the plethora of new high-speed cameras (Phantom miro, mega Speed X7, Olympus High Speed III), accessories and upgrades that all follow suit.

On a prosumer level it’s a nightmare to keep up with the rapid evolution, but how is this affecting the companies who buy this gear to rent? Pieter Badenhorst (owner – Photo Hire) says, “I’ve been stocking the HD DSLr cameras and the attachments for 2.5 years. In that time the market, and product offering, has changed dramatically. everyone has their own camera these days, so I’m almost competing against them.

But, I still have the buying power to get the gear first and in numbers.”

On the lower end DSLr cameras have proven a formidable force in modern content creation. “Due to the fusion of photo and video in the DLSr range, and them now compet-

ing somewhat with the professional video cameras, it puts us in a similar playing field as Visual Impact, unintentionally of course. and with the way things are going in terms of budgets, soon we will be unintentionally competing with media Film Services cinema offering as well.”

Visual Impact has always maintained a firm grasp over the broadcast rental market, as well as expanding their sales and postproduction facilities. Visual Impact, headed by marius van Straaten, makes every attempt at broadening their service offering in order to remain competitive and up to date. “We will continue to invest in the newer models of the brands we’ve always supported such as Sony, Panasonic and even arri. We are even looking at the Black magic Cinema Camera as a solution for low budget projects as well as the Canon DSLr range that is also expanding with the recent release of the 5D Mark III and 1DX.” The company shows no signs of remaining a traditional broadcast rental house as they continue to invest in higher quality broad based products that can service web, TV and of course the growing 3D market. media Film Services, who have always supported arri and reD, however, pride themselves on being

methodical in their approach to purchasing new high-end equipment to ensure their dominance in that market. Neil Du Toit (managing director – media Film Services CT) says that, “much effort, time and money is spent investigating new camera high end releases, we attend most of the major trade shows in an attempt to stay abreast with not only the new technical innovations but also to establish worldwide trends.” Trends that are changing so dramatically that the new comers to the camera manufacturing industry may well compete with the previous cinema market leaders.

But can mFS afford to be so traditional in their decision making when new camera manufacturers such as Black magic, and new cinema competitors such as Canon, continue to stimulate the industry with cheaper equipment capable of producing “cinema” picture quality? “We have already seen a major move from film to digital, although with this new and evolving medium, comes many technical challenges. Lower cost of equipment and improved workflows is providing an ease of use making it more accessible to everyone.

Truly great results, however, depend largely on skills, knowledge and experience, which all come at a price.”

Neil shows no sign of concern with the current state of the camera market reaffirming that, “you have to spend wisely as the redundancy period is now exceptionally small. To ensure your return on investment it is imperative that when purchasing new digital equipment that the correct choice is made and that it encompasses the correct criteria and service standards of your business offering.” This may point to reliability and support issues that smaller gear houses could face when dealing with

Neil Du Toit

higher resolutions, data wrangling and back end support.

Pieter’s attitude, though similar to Neil’s, suggests his desire to meet the changing market head on. “Sometimes it’s better to sit and wait, because ultimately we need to rent the stuff. We have six months of good, and six months of bad so there’s no way we can afford to stock all the latest stuff as it comes out. But, these days’ cameras are literally boxes with sensors, and I’ve had the lenses for years. So I’d invest in something like the Black magic 2.5K cinema camera. The price and output is something worth offering to my market.

The Canon C500 4K is worth looking at as well.”

The race shows no sign of ending as consumer demand, and manufacturer supremacy continues to grow and evolve. For the local gear houses it seems inevitable that, although initially hesitant, they will have to adapt and embrace the constant changes to remain competitive and up to date. Smart choices and a keen sense of their individual markets seems the only way forward. In the end, it’s not just what they have on offer but, more so, what they can back it up with.

Jasyn Howes

POST PRODUCTION REBATE

POST PRODUCTION The Department of Trade and Industry (DTI) has restructured their Rebates and Incentives to include post production.

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his means that local postproduction companies will be able to attract work that has been filmed elsewhere.

Trade and Industry Minister Rob Davies announced the changes, aimed at helping sustain and grow the local film industry, in May 2012.

In a statement, the minister said: “The South African government takes cognisance of the contribution the film industry potentially has in stimulating the country’s economic growth, strengthening the

country’s profile in the global creative environment, and in the facilitation of employment creation.”

“This is one of the best platforms … to promote and showcase the country’s creative skills.”

The new incentive specifies: • Minimum post-production expenditure of R1.5 million • Rebate level of 22.5% for Postproduction expenditure of R1,5 million – R3 million.

• Rebate level of 25% for Postproduction expenditure above R3 million.

Tracey Williams, the director of post production at Refinery, believes the rebate will help them motivate for more post production work to stay in South Africa. She believes Refinery will be able to grow their VFX departments and service more feature films.

With regards to the effects of the rebate announcement on business, Tracey said: “We have already completed two applications on possible projects that are incorporating a large scope of post-production into their budgets. We are only now able to take it out to market place, so I anticipate the real increase to be in 3-6 months. The amendment of the rebate from 15% to 20/22.5 or 25% is really significant to increase the volume of work coming to SA.” With a minimum spend of R1.5 million; there is a feeling that the incentive will not have an effect on the smaller and medium postproduction companies, where it is unlikely they will be dealing with projects with budgets of that scale. Optimistic predictions include the supposition that the bigger post production companies

will focus on features and many of their smaller jobs will trickle down to the smaller edit houses. If the rebate lures lots of work to South Africa, there is a chance that in years to come the post production industry will become more competitive, featuring many more large companies.

Tracey addressed concerns that the R1.5 million minimum is too high, emphatically stating: “It is a fair amount on post. The thing to keep in mind that it isn’t just post-production facility spend, it is all aspects of post-production, which includes musicians, vfx/post supervisors, costs while foreign decision makers are in SA etc. The rebate only really makes sense from an admin point of view on slightly larger projects. There needs to be a SPV, DTI applications, audit and claim process. It is a lot of admin if

the projects are too small.”

Managing director at Post Office Post, Nic Turton doesn’t believe the rebate will improve business for smaller facilities.

Nic said: “We geared ourselves to be a boutique facility that offered the best quality in the face of ever-decreasing budgets in the industry. A rebate like this means nothing to us due to our philosophy of trying to offer good service at a good price. This rebate might end up broadening the gap between the big companies and the smaller edit houses. It’s going to put more power in the bigger companies’ hands and justify them charging in excess of R 25 000 a day for online.”

Kate Hodges

The Callsheet | 05

Strong AfricAn PreSence At DurbAn internAtionAl film feStivAl Adventures in Zambezia

DIFF The successes of the burgeoning film industry on the African continent stand centre stage within the eleven intense days of the 33rd edition of the Durban International Film Festival (DIFF).

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aking place from the 19- 29 July 2012, with support by the national Lottery Distribution Trust Fund (principal funder), national Film and Video Foundation (nFVF), kwaZulu-natal Department of Economic Development and Tourism and other funders and partners, DiFF will present over 290 screenings of high quality cinema from across the globe at venues across the city of Durban and in surrounding communities.

DiFF 2012 presents an expansive insight into the modern african condition in all its diversity, through both the imaginative lens of fiction features and short films, and the beautiful and stark realities that are presented in the documentary section. The range of subjects and approaches present in this year’s african programme is compelling evidence that film on the continent is coming into its own.

South African film in particular will be in the spotlight with 16 South African feature films (more than any previous year), as well as 19 documentaries, 27 short films, and four films in the Wavescape section –a total of 66 South African films – most of which will see their world premieres on Durban screens. in the spirit of this emerging african distinctiveness, opening the festival this year is the arresting Elelwani by Ntshavheni wa Luruli. With Florence Masebe in the lead role, this densely spiritual piece addresses the convergence of modernity and traditional culture, and is the first film in the Venda language.

Celebrating local achievement in animation, the festival closing film

by Wayne Thornley and the Triggerfish team is the delightful story of animal kingdom ubuntu in the Elelwani

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Accession

pioneering 3D animation adventures in Zambezia - it includes alist voice talent such as Samuel L. Jackson and Richard E. grant and is set to make waves on the international circuit.

The South african offerings are rich this year for those with a sense of humour, with the side-splitting Blitz Patrollie, written by comedian kagiso Lediga, directed by Andrew Wessels and starring the cream of South african comedy (including David kau, Joey Rasdien), and Oliver Rodger’s hilarious identity-switch shenanigans of Copposites, starring Rob van Vuuren and Siv ngesi. The starstudded Gog’ Helen (directed by adze Ugah, with a cast including Lillian Dube, kagiso Rakosa, Patrick Shai, Winnie Modise and more), is an unlikely buddy film about a tough-as-nails gogo and granddaughter on the trail of a mattress, and is sure to make you smile.

On the darker side of the spectrum, many of this year’s films peer into the shadowy corners of the soul. The harrowing and directorially sure-footed Accession by Michael Rix tells the story of a man driven to unfathomable lengths to save himself, and Harry Patramanis’ psychological thriller Fynbos explores the ways in which we only begin to understand the value of those for whom we care once they’ve gone. Vickus Strijdom’s riveting Zama Zama (with Lindani nkosi and Presley Chweneyagae) goes deep underground to show us the underbelly of mining in the City of gold. Uhlanga– The Mark by promising kZn filmmaker Ngwane Ndaba looks at a boy living with the stigma of witchcraft, while Barry Berk’s sexual thriller Sleeper’s Wake, shot on the lush kZn south coast, is terrifyingly gripping from the very first moments. also for the fear-junkies is slasher film One Last Look by Philip Roberts, one of the most shudderworthy african horrors to date.

Many of the local films in the programme are finding fresh, sophisticated and mature ways of

looking at South african issues.

Inside Story by Rolie nikiwe is a landmark in making relevant, accessible and resonant the story of a soccer star with HiV, while Richard Pakleppa’s Taste of Rain relates a tale of a marriage as dry as the drought-ridden namibian desert in which the film is set. Documentaries Healers (directed by Thomas Barry) and Me, You, Mankosi (by Linda Hughes) get to the heart of surviving against the odds in rural South africa. Roadmap to Apartheid (by the israeli-South african duo of Eron Davidson and ana nogueira) picks apart the analogy of South africa to israel and looks at the lessons we can teach the world. Durban-born Riason naidoo and Damon Heatlie’s Legends of the Casbah: Indian Rebels of the 1950s transports us back in time to reanimate the colourful indian community of Durban in the mid twentieth century. On the other side of the country, Gangster Project by Teboho Edkins treads the line between fact and fiction to throw light on the underworld of Cape Flats gangsters. akin Omotoso’s Man on Ground, starring Hakeem kae-kazim and Fana Mokoena interrogates South african xenophobia, while Cry of Love (directed by Faith isiakpere and starring Leleti khumalo, Victor Masondo and Yvonne Chaka Chaka) is a serenade to the unifying capacities of art in a divided country.

The power of music and the performing arts is a recurring theme in 2012 with films like Cassette: Who Do You Trust? (directed by John Barker) and Rockstardom (by Michael Cross) detailing the pursuit of success by two local acts. Bryan Little’s new film, The African Cypher, shows us the redemptive potential of using one’s body to express oneself and Delphine de Blic’s Bigger than Life presents a puppeteering project that is large not just in literal scale, but in heart and soul. another equally soulful story about family ties rather than art, is Sarah Ping nie Jones’ Umbilical Cords, which looks at the bonds between moth-

ers and their daughters.

Three films look at some of the more majestic and impressive members of Southern african fauna: Diony kempen’s Snare lays bare the dirty and disturbing realities of rhino poaching, while All the President’s Elephants (directed

by Richard Slater Jones) shows us the story of a woman desperately working to protect a 400-strong herd of the giant mammals in Zimbabwe. Dragon’s Feast 3D, by brothers Damon and Craig Foster, goes underwater to show you the mysterious life of crocodiles in three thrilling dimensions.

South africa also has a robust representation in the short film section, with some truly innovative work, particularly by young filmmakers – an encouraging indication of the vital energy and talent that characterizes the next generation of South African filmmakers.

The Wavescape Surf Film Festival at DiFF also contains a number of South African films including The Africa Project, Rebel Sessions and Surfing & Sharks.

The programme is rich with inspiring work from further afield on the continent, including many films that have picked up major awards. kivu Ruhorahoza, director of the stunning account of lingering trauma, Grey Matter, won two big awards at Tribeca, while

the compelling tale of survival from Senegal, Moussa Touré’s The Pirogue, comes to us straight from the Un Certain Regard competition at Cannes. The Zimbabwean Playing Warriors by Rumbi katedza sees african cinema experiment with the levity of the chick flick while still constructing notions of the empowered woman, while the ghostly and profound Tey, starring poet Saul Williams and directed by Alain Gomis, was nominated for the golden Bear in Berlin. Leila kilani’s On the Edge, the Moroccan story of a tough girl gang making their way in the world has scooped a handful of awards in Europe. Nairobi Half Life (directed by Tosh gitonga), a kenyan tale of dreams gone awry will see its world premiere at DiFF, while the beautiful Eyptian Asmaa (by amr Salama) is a personal, sufficiently complex account of the stigma of aiDS. Apart from the film that is being created by africans, it is clear that global film community is turning its attention to the unmined depth of stories on the continent. Films like The Ambassador, Beware of Mr Baker, Call Me Kuchu, The Education of Auma Obama, The River Usedto Be a Man, United States of Africa: Beyond Hip Hop, and War Witch, see filmmakers from afar venturing to african soil to tell african stories to the wider world.

To further stimulate the ever accelerating growth of african film, the festival hosts two major industry development initiatives: the 5th Talent Campus Durban brings together 50 selected filmmakers from across the continent for an intensive five day programme of workshops, connection and inspiration. Durban FilmMart, a partnership with the Durban Film Office, facilitates opportunities for 23 selected african projects to meet with international financiers and potential co-producers, and for DFM delegates to participate in a series of master classes and seminars.

For film synopses, screening schedules and programme details on the 33rd Durban international Film Festival visit www.durbanfilmfest.co.za

The Callsheet | 07

How leisure can benefit from film Makkie Slamong, Sally Fink and Taryn Fowler

FILM TOURISM On 7 June 2012, Film & Event Media were invited to engage Western Cape Chapter members of The Southern Africa Tourism Association (SATSA) about how leisure companies can benefit from the film industry.

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he panel consisted of Film & event Media’s Taryn Fowler, The Callsheet’s Makkie Slamong and The Event Newspaper’s Sally Fink, who each represented one of the

company’s brands.

Film productions can benefit the leisure tourism industry in many ways, from venue and car hire, to hotel room and restaurant bookings. Commercials crew need to be housed and fed for weeks, while TV series or Film crew might spend many months in South Africa (or commute in and out over the course of many months) while shooting.

The spend from the feature film Safe House, starring Ryan Reynolds and Denzel Washington, was estimated to be around 350 million.

Taryn opened up proceed-

ings by explaining the value of the South African film industry.

“According to 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,” she explained.

She also mentioned an economic impact assessment study conducted by the Cape Film Commission which revealed that the industry has a direct annual turnover of more than R2.65-billion and contributes an indirect annual turnover of more than R3.5-billion

to the country’s gross domestic product (GDP).

“The commercials sector grew to R1.26m turnover in 2010/2011.

There were 54% more local commercials than service jobs, but service commercials generated more shoot days and turnover.”

One of the burning questions was how the tourism industry can benefit from productions being filmed in South Africa.

Makkie explained that leisure companies can become more involved with film by developing relationships with the industry bodies as well as individual production

companies. “Do your research, build relationships with the associations (CPA; CFC; GFC; NFVF; DFA etc) and let them feed you information about upcoming productions and projects.”

Sally echoed these sentiments by driving home the message that networking is key. She said: “Don’t underestimate the value of the phrase, ‘It’s who you know that counts’.

Taryn also introduced Film & event Media’s range of products, such as The Filmmaker’s Guide to South Africa and The Callsheet Newspaper, which is distributed to more than 5000 film and production companies in South Africa, and has an international reach via distribution at Cannes. The group also holds monthly networking wrap parties where producers and suppliers have the opportunity to mingle with interested parties.

Charmaine Beukes of White Shark Projects, who heads the SATSA Western Cape Committee, used the opportunity to introduce the new committee members for 2012, comprising Alvin Kushner, Alida erasmus, howard Johnson, Gerhard Louw, J.P. Quickleberg, Deon Cox, helen Baker, Ince Maree, Theresa Towers and Mark Finglenurg.

The event was held at Mandela Rhodes Place in Cape Town.

GM Desmond O’ Connor spoke about how despite recent negative press surrounding the liquidation of West Cities, one of the owners of the venue, its business as usual. “We’ve seen 41% revenue growth so we’re doing very well,” says Desmond.

Staff Writer

soaPies to be affecteD bY sabc fire LOCAL TELEVISION SABC Studio 6 in Auckland Park, the home of popular soap opera Isidingo has been razed in a fire.

Equipment worth millions of Rand has been destroyed in the fire.

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he cause of the blaze, which broke out at about 8pm on Wednesday 13 June 2012, is still unknown . The fire broke out at about eight o’ clock in the evening, but no-one was injured as staff had already left for the day.

Among the destroyed equipment was a sound control room, vision control booth, vision mixing bed and video wall and a recording light control desk. The destroyed sets will have to be rebuilt, however Studio 7 remains intact and the show will not be affected as episodes are shot many months in advance.

Acting chief operations officer hlaudi Motsoeneng said: “We still don’t know the cause of the fire.

We will only know once an investigation is complete.”

Show creator Gray hofmeyer told Eyewitness News: “It’s a massive, massive shock. I got a call in the middle of the night and was told that the production is burning.

It has huge implications.”

According to the SABC, fire fighters remained on the scene the following morning although the blaze took only three hours to extinguish.

The SABC board met on 14 June 2012, just one day after the blaze broke out. According to a statement from SABC management Sully Motsweni, the meeting was called by chairman of the SABC board Ben Ngubane to assess the damage. Sully will head the internal inquiry into the cause of the blaze, and is in charge of contingency plans. As yet no cause has been determined. henley Studios manager Tseliso

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Ralitabo said: “It will be a question of re-building sets quicker. he adds that there are still some sets in studio seven and other sets that were not in the building.”

The day after the blaze SABC spokesperson Kaizer Kganyago told media: “A thorough investigation will start in the morning as to the cause of the fire and the damage to the SABC, the studio and Isidingo.” he added: “We don’t suspect foul play but serious investigations will start first thing in the morning.”

In a statement from the broadcaster hlaudi assured fans that production would go on at the facilities: “We have five studios that are used to produce drama and only one of them has burned down. This means production will continue and the public need not panic thinking the production of their favourite soapies might be affected. We are doing our outmost as management to ensure that things return to normal and the recording sets are rebuilt speedily.”

Clive Shelver, managing director of film and entertainment underwriters, said: “When a set burns down or there is a loss of major facilities during a production, the production company can be restricted with regard to future shooting on that production and, this can result in a financial loss.

This could also include amongst other things, the need to pay crew and cast for an interim period.

There is film production insurance available in the local market to cover this type of loss.” he added: “It is therefore absolutely critical for production companies to ensure they have proper insurance cover that will protect them in such an eventuality.

The SABC might have contingency plans in place to cover such a loss but, an independent production company would most likely be left in a financially dire position if they did not have the appropriate cover in place.”

Staff Writer

AL JAZEERA PITCHING FORUM AT ENCOUNTERS the Forum

DOCUMENTARIES Broadcaster al Jazeera played a large role in this year’s encounters Film Festival as a sponsor and a participant. their involvement included a full-day public pitching workshop for local filmmakers.

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his pitching forum was a revelation to all involved; the filmmakers, the audience and the Al Jazeera’s commissioning editors on the panel.

Encounters issued a call for entries for this forum, which resulted in over 70 proposals. These were whittled down to 20 by a selection panel consisting the Encounters team and independent industry veterans. They were very impressed by the standard of submissions, which came from both experienced award-winners and emerging talent.

The following 20 projects were selected to pitch: Africans in Africa

by Gugu sibandze; All The King’s Horses & All The King’s Men by Warren Wilensky, Leli Maki; Asihambi - We Will Not Move by Mariza Matshaya; Tki Tik Tik by Johan Abrahams; The Village Under the Forest by Mark Kaplan , heidi Grunebaum; Business

For Good by Lloyd Ross; Children Of Mathekwana by Debbie Matthee, Coetzee Zietsman; Chocolate City by sarah Ping-Nie Jones; Deep Field

by Carey McKenzie; Incarcerated Knowledge by Dylan Valley; Ndiyindoda (I Am A Man) by Mayenzeke Baza; Of Trousers And Little Skirts by ingeborg Lichtenberg; Piece Of Ground

by Karabo Lediga; Staging Protest by Vinayak Bhardwaj & Imran Jeeva; Stars And Stones by Catherine Muller; The Reservist by Matthew Brown; The Revolution Ate Her Children by sipho singiswa, Gillian schutte; Beyond The Barricades: Corrective Rape in SA by Zanele Muholi, Peter Goldsmid; The Voice by Tamsyn Reynolds. Brian Tilley; Trail Of Crumbs by Tristram Atkins.

These filmmakers were then invited to a full-day pitching workshop on sunday, 10 June 2012, facilitated by award-winning, Egyptian-born, French filmmaker, author and news correspondent Jihan el-Tahri.

They then had the opportunity to pitch at the all-day pitching forum on Monday, 11 June 2012, held at The Forum at The V&A Waterfront. Each filmmaker had seven minutes to pitch, followed by eight minutes of feedback and discussion with the Al Jazeera English panel of Dominique Young (senior pro-

ducer commissioning African and Middle Eastern subject matter for broadcast in the channel’s flagship observational documentary strand “Witness”); Diarmuid Jeffreys (editor and executive producer responsible for People & Power investigative current affairs programmes); and Jon Blair (acting commissioning editor for Major Series, Specials and Discussion Programmes).

Diarmuid Jeffreys said: “it was a daunting but very rewarding day for all the filmmakers. The level of pitching was very strong – “on a level with the pitching forums i’ve attended in Europe”.

Jon Blair agreed, adding, “What’s interesting is the number of projects that we’ve said, ‘Let’s talk further.’ it would have been unrealistic to expect any of us to actually get the cheque out – that’s not how our industry works. But there are some that are pretty close to getting to that next stage. None of the projects were a non-starter.” having three different Al Jazeera representatives on the panel effectively showcased the diversity of Al Jazeera, with most of the stories from Africa fitting well with Al Jazeera English’s programming ethos.

This was the first time South African documentary filmmakers were able to pitch to an international broadcaster in this way, receiving direct feedback and constructive criticism.

The comments from all the filmmakers involved were overwhelmingly positive.

Carey Mckenzie, the director of Deep Field, said: “Filmmakers tend to work in isolation so it is interesting to hear about ideas which other people are developing. The three commissioning editors asked tough questions and made incisive comments. i

learned almost as much from their response to other pitches as from what they said about my own. i came away with a clearer sense of how a channel chooses films to fit into their existing strands and a better understanding of the Al Jazeera English approach to programming.”

Vinayak Bhardwaj, the director of Staging Protest, added: “We found the discussion with the panel of commissioning editors very meaningful.

They gave us very important feedback on issues we had only summarily considered.”

Gugu sibandze, director of Africans in Africa, said: “I found the workshop extremely useful. As someone who had never pitched before, the workshop was very much needed. i found Jihan direct and clear and i understood her notes and concerns in terms of my story but also as she was commenting on other stories, it helped me formulate a plan around my own story. it was also great to have it just before the pitch as it helped not only to calm my already shot nerves but added to the preparation. The pitch itself was comfortable. The commissioning editors were not intimidating (people always warn you that they are!). It felt like a relaxed conversation. Because i was more prepared, having done the workshop the day before, i didn’t feel so overwhelmed.

Also, listening to their comments on the other films, I got a broader sense of how to tell my stories and what kinds of things I should look out for.

Thank you again for the opportunity. i feel more focused and inspired to do more.”

Peter Goldsmid, who directed Beyond the Barricades, had positive feedback: “The pitching session with Al Jazeera was a good experience. The panel was recep-

DTT ON THE AGENDA AT ICT INDABA Ict Indaba

Ict Indaba

ICT INDABA the Ict Indaba conference and exhibition was held in cape town from 4-7 June 2012 at the cape town convention centre.

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hE event saw several highprofile speakers and attendees, including President Jacob Zuma, Deputy President Kgalema Motlanthe and Minister

of Communications Dina Pule, addressing the delegates about the future of information and Communication Technologies. The event is expected to take place annually for the next five years. This year’s edition was sponsored by MTN, Vodacom, Telkom, SABC, Multichoice and others.

The government decided to hold the conference in a move to position south Africa as an iCT hub on the continent, and to help local iCT businesses to identify opportunities and solutions to challenges facing the sector.

According to DA shadow communications minister of communications Marian Shinn registration on the first day was abandoned and conference programmes and delegate bags were unavailable until the second day of the programme being the chief complaints. Most interesting for readers of The Callsheet was the announcement by Minister Pule that the standards for the launch of the set-Top Box (sTB) for the crossover to Digital Terrestrial Television (DTT) had been set.

The sTB decoder standard (sANs862:2012) was set by the south African Bureau of standards (sABs) in conjunction with the Department of Trade and industry.

The department hopes that by producing the boxes locally we can drive the local technology sector and grow the small, medium and micro enterprises (SMME) sector. sANs862:2012 outlines the minimum performance requirements for the sTBs ahead of the switchover which is projected to take place in september 2012.

According to a statement released by the department, “The sTB decoder operates in conjunction with an analogue television receiver minimising additional expense for the public whilst providing good quality video and sound.

Furthermore, the standard ensures that the final STB decoder low maintenance and includes an access control mechanism to prevent decoders from being used outside south Africa.”

Bahle sibisi, chairman of the sABs, said: “The sABs is in the process of establishing a laboratory to allow manufacturers to test the efficacy of STBs produced in the local market and it’s expected to open in October 2012.” in her opening address at iCT indaba minister Pule said: “The local manufacturing of the set Top Boxes, as part of the rollout of Digital Terrestrial Television, will enhance this leadership position through the greater investment in innovation.

We expect that this strategy will result in the creation of many jobs across the continent as factories go up to manufacture the boxes.”

David hemingway, a senior spectrum manager at the BBC, also addressed delegates about their own experiences of Digital Migration in the UK. His presentation, Efficient Migration to Digital Broadcasting and Maximising the Benefit to Citizens of the Associated Value Chain, was of great interest to locals. His talk addressed

making sure the audience knew what to expect each step of the way by marketing to them clearly so they understood their choices and knew what technical help was available. he also mentioned help for those who could not afford the sTBs - an issue we are well aware of in south Africa where many sTBs will be subsidised by the government. David addressed some of the recommendations that came out of the Kampala Summit, which took place in April this year. Recommendations included: “Bilateral discussions regarding frequency coordination in the band 470-694 MHz; adoption of a single standard (DVB-T2, MPEG4); agreement on a transition timetable and infrastructure sharing.” in mid-April, minister Pule announced that plans to switch on the digital signal in september 2012 are on track. She revealed that sentech, the organisation responsible for rolling out the digital broadcasting network around the country, had rolled out the digital network to 61% of the population.

The Department of Trade and industry sees the need for sTBs as an opportunity for the manufacturing industry, saying in their industrial Policy Action Plan 2012/13 - 2014/15: “The approval by Cabinet of the DVBT-2 standard as the applicable standard for south Africa, in line with most sADC countries, creates and opportunity for industry to gear itself for participation in this sector. A new road map with updated deadlines is being developed and consulted with the stakeholders by the DOC, and a new ‘switch-off date of December 2013 creates a level of certainty for the Digital Migration process.”

Kate Hodges

tive and sympathetic and asked insightful questions.” sarah Ping Nie Jones, director of Chocolate City, said: “The actual pitch boosted my confidence in terms of presenting my ideas, but also made me realise how thoroughly thought-through a project has to be before one will get any support. The ideas stage isn’t enough - commissions actually require a large amount of development, access and indeed footage before anything can move forward, which i had not been aware of before. The response to all the pitches made me realise how much work has to be taken on before a commission, and so i feel better prepared for any further opportunities.”

Matthew Brown, who directed The Reservist, concluded: “You knew that they were good filmmakers in their own right. They were very experienced but focused on their own niche as broadcasters.”

The pitching session was open to the public, so members of industry, film students and media all streamed in to listen and take notes, with around 40 people in the audience at any time.

Following the pitching forum, Al Jazeera hosted an industry presentation on Monday 11 June 2012 at The Forum at The V&A Waterfront from 5-7pm. The function was filled to capacity, packed with members of the South African film industry and media. The commissioning editors explained the workings of the broadcaster and screened examples of the range and content of programs.

They took questions from the audience and were able to have one-toone discussions afterwards with those who needed extra information. All in all the event was a huge success for all concerned.

INDABA TO BE INVESTIGATED ICT INDABA accordIng to reports two weeks after the event, the auditor general will be investigating the Ict Indaba, after allegations of a misappropriation of funds.

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EDiA reports allege that millions of Rands found their way into the account of a man said to be romantically involved with the minister. The man, Phosane Mngqibisa, reportedly withdrew millions from the sponsorship fees put forward by MTN, Vodacom and Telkom among others from the account of the event organiser. Carol Bouwer Productions was appointed by the DOC to put the event together. Bouwer confirmed to media that Mngqibisa was a second signatory to her company bank account.

This comes after the minister lobbied telecommunications companies to sponsor the event to the tune of R25.7 million.

DA shadow communications minister of communications Marian shinn believes the minister needs to answer questions about how the event was funded in parliament. she believes the event was poorly organised and a waste of the public and the investors’ money.

A short statement released by the minister following these reports stated: “The Minister of Communications, Ms Dina Pule, has taken note of the rumours contained in The sunday Times about the application of Departmental funds by the organisers of the inaugural iCT indaba.

“She has already spoken to the Auditor General to request that he looks into the matter. After this engagement, she is convinced that the matter will receive the necessary attention.

“Minister Pule expects to receive a report in a month’s time.”

Kate Hodges The Callsheet | 09

CTPPA TAKES ON PERMITS ISSUES © Robert Miller

Robert Miller

Denis Lillie

PHOTOGRAPHY Cape Town photographer Robert Miller is well known for his stunning panoramic photos, but now he’s gaining attention of a different kind after launching the Cape Town professional photographers association (CTppa) in February 2012.

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he association, which is now more than 230 members strong, was formed as a response to the difficulties faced

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by individual photographers when they try to get permits for locations from the City of Cape Town.

The body’s main aim according to their literature is, “to engage, on behalf of Cape Town’s independent photographers, with The City of Cape Town regarding the current film permit system. The reason for this was that City Officials made it clear that they would not engage with individuals on any issue.”

Robert’s frustration with the City is clear after many months of fight-

ing them on this issue, he says: “The city’s permit implementation is going to have huge impact on freelance photography in the City and will result in a lot of lost work where the deadlines are too tight to facilitate a 48 hour turn around. We proposed a very workable blanket permit process for freelance shoots but I am not sure the City understands the issue they have created or is in fact interested in gaining an understanding of it.”

The main point of contention for the photographers is the city’s recent decision to implement ByLaw No30441 when issuing permits.

The By-Law, which addresses permits for large productions, is not entirely relevant to shoots by freelance photographers. The CTPPA cites several issues with the By-Law, including the turnaround time for the issuing of a permit and the requirement for Public Liability insurance for each shoot.

The City has reportedly consulted with the Commercial Producers Association (CPA), South African Association of Stills Producers (SAASP) and the Cape Film Commission (CFC), but not with freelance photographers when drawing up the regulations. According to Robert and the CTPPA, the city’s micro-shoot proposal is what rankles the most, as they feel several criteria and conditions will cripple their business. The points the CTPPA takes issue with include: • Micro-shoot permits are issued for the dates specified and will not exceed a seven day period.

• Only valid for locations and/or dates specified.

• No city-wide, open-ended permits.

• Not be issued for film-sensitive areas, blue flag beaches, etc.

• Impacted and affected businesses/residents to be notified prior to shoot – once permit has been issued.

• Notifications to impacted or affected parties must advise of date or entire “window period” for which a micro–shoot permit has been applied for.

• All micro- shoots must apply for a permit per job, detailing the shoot

days, and the proposed locations.

• The application must include details of Company, Job and production manager.

• The micro-shoot permit will be issued for the full period of a job.

• Micro-shoot permits will applicable only to outdoor spaces or locations free to public access.

• Micro-shoot permits will not be considered for film sensitive areas, e.g. Bo-Kaap, Constantia, or Blue Flag beaches at this stage.

• Micro-shoot permits will not apply to city buildings – these will require permits for access.

The CTPPA has launched a protest that has seen over 60 photographers taking photos of themselves holding a sign that reads: “I felt like shooting around the city today but I couldn’t because the City of Cape Town says I need a permit.

Mayor de Lille, City Officials Please stop ignoring this issue and do something about your unworkable film permit system and questionable application of ByLaw Relating to Filming, No. 30441” According to The CapeTowner, Anton Groenewald from the City has responded to the CTPPA’s claims by saying: “All entities engaging in activities for commercial purposes are bound by a duty of care for their clients, suppliers, neighbours and the environment to have some form of public liability insurance”.

CeO of the Cape Film Commission Denis Lillie believes they City is making it challenging for freelance photographers and the smaller independent film makers to gain access to locations and permits.

He believes there is a workable solution though, saying: “We at the CFC believe blanket permits for freelance photographers, documentary film makers and small crews would be a step in the right direction. We already offer low cost insurances for these types of productions, this addresses a clear requirement from the City. This is and should be a pre-requisite for

any filming of this kind.”

He added: “Many photo and film shoots do not impact on the free movement of citizens. The larger film and photographic shoots can impact, however, these are normally subject to stringent road closure and traffic management plans that need to be approved by the city. The majority do not have this type of impact. The Cape Film Commission has made various approaches to the City and Province whereby we could take the administrative load off the city by independently managing these blanket permits.

It is merely an issue of ensuring correct registration of individuals wishing to apply for a shoot, adhering to rules agreed with City and Province and ensuring they have the appropriate insurance cover. The management of the access to locations then becomes a more administrative function.

The block booking of locations and access to locations should then be addressed to allow, as it does in New York, the industry to book on a first come first served basis unless there are grounds for long term planning such as feature films or TV series. This appears by experience to be the position of the film commissions we have spoken to internationally. It also enables others to access the industry without any expensive restrictions or high cost memberships which prohibit some. Membership of the Cape Film Commission is a service offered for free as we are funded by the public purse to allow growth and development.”

Robert says the CTPPA will not give up on this issue, stressing: “As for what’s next, we will continue fighting this until we get the City to agree to a workable solution to this problem. Once we have achieved this, the plan is for the CTPPA to move into a role as a representative body for Cape Town photographers to make sure that nothing like this happens again.”

Kate Hodges

SA SHOWCASED AT AFCI LOCATIONS SHOW LA Convention Centre

AFCI president Mary Nelson and executive director martin Cuff

NFVF breakfast

David Wicht

AFCI Film commissions from around the world met with producers, studios and financiers in Los Angeles for the annual Association of Film Commissioners’ (AFCI) Locations Expo from 15-16 June 2012.

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outh Africa was well represented at the event, with the National Film and Video Foundation (NFVF), The Cape Film Commission (CFC), The Durban Film Office (DFO) and the Eastern Cape Development Corporation co-hosting a South African pavilion at the Los Angeles Convention Centre. In addition the executive director of the AFCI is a South African Martin Cuff.

NFVF CEO Zama Mkosi was enthusiastic about the opportunity for South Africa to showcase our film industry, saying: “The AFCI locations expo presents us with an-

other great opportunity to showcase what South Africa has to offer to the international film industry. The important aspect about AFCI is that it focuses primarily on film locations which gives commissions a unique opportunity to market and grow the international profile of their regions.”

She added: “Looking at South Africa’s incentive structure for foreign film production, combined with our diverse film locations across various regions of the country, we believe that we do have a competitive package to offer to the international film industry and platforms like the AFCI locations expo allow us to showcase that.”

South Africa also had presentation slots on topics comprising Partnering for the Future – Co-productions and Co-Financing with BRICS Nations at the co-located Variety BRIC Summit. The BRICS summit is an international relations event where representatives from the BRICS Nations explore how the

fast-growing film and TV economies of Brazil, Russia, India, China and South Africa are critical to the constant development of the entertainment industry.

There was ire that the S (South Africa) was left off the summit’s name, but Dominic Wilhelm, producer and film sector development specialist, explained that SA’s inclusion was controversial as the size of our economy is much smaller than the other BRICS nations, (trailing by $1,1 trillion behind Russia, the second smallest BRIC economy).

Dominic says: “The confidence of SA’s film industry in the Summit is no doubt in part grounded in the fact that comparing the size of entire BRICS economies is different to comparing the film sectors within those economies. Indeed, the latter comparison is where SA excels amongst all territories, BRICS or not.

“SA continues to attract global attention and spend on the world stage; its cost base, expertise, non-unionised crew, locations,

breadth of world-class expertise and substantial financial incentives make SA a near irresistible offering which is on the brink of showing further innovation thanks to the BRICS attention.”

As one of the summit’s sponsors, the NFVF CEO gave a 15 minute presentation about South Africa to the industry practitioners interested in working with the BRICS Nations.

After the event, Martin said: “When presented with the platform of the new AFCI Locations Show and Variety’s BRICs Summit, South Africa’s delegation - lead by the NFVF and the SA Consulate General in Los Angeles, and ably supported by both the country’s Film Commissions and by numerous high-level participants from the private sector - moved exceptionally effectively to grasp opportunities and insert South Africa into a range of dynamic discussions on multiple levels. Collectively the team considerably raised the bar on aware-

ness of South Africa’s offerings, and anecdotally I heard several mentions from other film commissioners about how well South Africa was performing both at the show as as a production destination.”

The Cape Film Commission joined local South African partners, including the DTI, in a lunchtime presentation to the USA industry highlighting the benefits of filming in our particular geographic Regions within South Africa. This event was organised in partnership with the South African Consulate in Los Angeles.

The consulate also arranged tours to major studios (including Sony and Fox) for the local delegation. On the evening of the 14th, the day was rounded off at a well-attended party, hosted by local companies Cape Town Film Studios, The Refinery and Film Afrika, at the Arclight movie theatre in Hollywood.

South Africa gave a good accounting of itself, with an article in Variety stating: “A narrow focus on the BRIC countries, however, doesn’t do justice to the growing impact of other booming economies around the world. South Africa, for example, has not only emerged as a popular location for shooting features (Chronicle, Safe House), but also has built a lot of economic muscle of its own.”

The article went on to quote Martin Cuff, who said: “We used to struggle, but South Africa is now a viable place to do business, especially when seen as a gateway to all of Africa.”

The list of speakers at the show was a veritable who’s who of the international film industry. They included: David Wicht of Film Afrika; Dileep Singh Rathore; president of Lionsgate international Helen Lee-Kim; Marion Edwards; John Schwartzman; Luis Reyes; Christopher McGurk; Andy Rosenblatt the chief executive officer of Metropolis Films; Deadline reporter Dominic Patten (whose talk on The Future of Crew was one of the most anticipated of the conference); Warner Bros VP Karen Fouts on production incentives; Steve Solot, the president of Rio de Janeiro Film Commission and many more.

Film and Event Media publisher Lance Gibbons was at the locations show and the NFVF breakfast.

Lance said: “The SA Consulate is extremely proactive and is looking for industry input to assist with business linkages and relationship building between SA and LA producers and studios bosses.”

He added: “international producers showed a great deal of interest in SA. Zama’s presentation at the BRIC’s summit was really well received and generated a lot of interest.”

The Callsheet | 11

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The Callsheet | 13

Film screenings

GENERAL INDUSTRY When an eventing company is planning a special promotion, having film star Kevin Spacey as the special guest is a major coup.

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hat was a key factor in ensuring that an event staged to celebrate a South African winning the chance to make his movie in Hollywood was a party night to remember. But you don’t need a star of Kevin’s calibre to make a success of an event where a movie is at the heart of the entertainment.

The Kevin Spacey evening was staged by Capacity Relations on behalf of Jameson Irish Whiskey.

Jameson had teamed up with the Hollywood actor to run The Jameson First Shot Competition, open to filmmakers in America, Russia and South Africa. A winner from each country was flown to Los Angeles to make a movie with Kevin taking the lead role, and South Africa’s winner was Alan Shelley, a 26-year-old from Cape Town.

To celebrate his victory, Capacity Relations staged a party at the unusual venue of Turbine Hall in Johannesburg’s Newtown district, where a celebrity-studded audience saw the premiere of Alan’s film, Spirit of a Denture.

Turbine Hall is in the heart of Joburg’s art and cultural precinct, and the 300 guests included Kevin and film producer Dana Brunetti, his partner in their production house Trigger Street Productions, along with Alan and his scriptwriter Thandi Brewer.

Local celebrities included actor John Kani, singer Yvonne Chaka Chaka, and TV presenter Tumisho Masha, the MC for the evening.

Sarit Tomlinson of Capacity Relations said there are several key things to focus on when planning an event where a film is the central feature. “It’s important to still keep the fundamentals of eventing in mind,” she said. “It is all about creating a memorable, positive “wow” experience. Location is critical, as it will ultimately affect the décor and the overall feel and experience of the event. Turbine Hall was most certainly aligned to the Jameson brand: premium, übertrendy and a little unexpected.

Hosting the event there allowed us to create an experience and

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a talk-ability factor that we would not have necessarily been able to achieve at a normal cinema.”

The upstairs section of the hall could also be transformed into an after-party location for the guests, she said.

It’s also crucial to have a good technical support team to help ensure the event runs smoothly, especially when a film is the central part, Sarit said.

Choosing an offbeat venue may generate the buzz, but the organisers must ensure it has the correct facilities to allow the event to run successfully. The location, its facilities, the parking arrangements and the people managing the establishment play a crucial role in that, Sarit said.

“It is important to remember that this is a people’s business, so trust in your venue and hosts is critical. You need to be careful on the location you choose, and the partners you decide to work with. It is critical that the initial concept and the packaging is done correctly.”

A strong guest list is, of course, essential. “You need to ensure you have the correct people on your guest list, from local celebrities, industry people and media. Having the correct people is vital as it becomes more of an ‘industry’ and networking event than a premier.”

Other key factors are messaging, branding and security, she added, especially since hosting an international star brings additional security headaches.

Sarit believes events based around a film screening can be massive hits in terms of the hype and publicity they generate. But if the event isn’t well organised, it will be no more memorable than an everyday trip to the cinema.

“You need to be engaging with all your guests from using the right wording and messaging on the invitation, to the RSVP process and throughout the event until people leave,” said Sarit.

Judging its success is relatively simple, she said. “We gauge off our guest and client reactions, if registration ran smoothly, how the food was, our media attendance, the “buzz” and ultimately the media exposure post the event.” Media coverage for the Jameson First Shot event went far beyond their expectations, she said. “The South African media were incredibly supportive of this event and campaign. But I do believe that the overall campaign, our client, Kevin Spacey, Dana Brunetti, Trigger Street Productions and our local filmmaker Alan Shelley had a lot to do with this. The initiative was an authentic one from Jameson and Trigger Street’s perspective, and the winner was a humble, very talented South African. It was the perfect mix.”

Lesley Stones

sTrOng sA Presence AT AFci

Thandeka Zwana, Zama Mkosi, Gugu Zungu, Denis Lillie, noxolo Mtana and nico Dekker

noxolo Mtana

NFVF panel

Denis, Hakeem Kae-Kazim, Gugu Zungu, Etienne Van Straaten, David Wicht, Zama Mkosi, Nico Dekker, Jannie van Wyk and Charl Van Der Merwe Lance and Zama

Denis Lillie and Trusty Mdhluli

Cannes - not just a film festival shows you her glory and her glamour and then exposes her scars.

The relationship with Cannes needs to be heeded like a marriage; years of wooing your sometimes frumpy best friend, it’s a love/ hate relationship that takes time to develop, and strength beyond measure to nurture.

The intimate knowledge of how to woo for business - not an abrasive affront or apparently nonchalant but desperate tug at a rich mans’ sleeve is a hard lesson learnt and well received.

Sa and ireland signing co-production treaty

CANNES FILM Filmmaker Samantha Gray on the Cannes Film Festival and the South african presence there.

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he South African Pavilion was the base for our SA filmmakers and witness to the constant ebb of daily news washing in and out with the rain.

We were a motley bunch of invariably drenched, eternally optimistic Saffa’s, clutching cups of coffee or tumblers of wine dependent on the time of day.

We were well received. The local daily rags had nothing but praise for South African Film and its makers. There seemed to be generous and sincere attention given to us and our offerings. It goes without saying that our skill set and infrastructure are renowned and recognised internationally but for a country whose film industry is still in the development bracket we seemed to crack respect and receive the credibility we deserve for our work. Steven Markovitz of Big World Cinema brokered a resounding production and distribution deal with 234 Media and Suka! Productions. Feature films produced

by Big World and Suka! will be distributed by 234 Media in Africa. This is a big deal.

Veteran Dan Jawitz’s dual Cannes purpose of finding distribution for his local horror, One Last Look and acquiring a record

number of films for local distribution deemed his visit a huge success.

The most noteworthy outcome of all was the signing of the long awaited and much anticipated Irish/SA co-production treaty. This treaty will facilitate fund-raising for film projects in the two countries. (and allow many a sexy Irish accent to land on our shores.)

It is apparent that our unanimously high production value is now supported by a strong, experienced and determined creative talent. There is an honest conviction and support from international festival curators and an investment in young talent. Rising director Jenna Bass and producer David Horler (fellow Cannes virgins but not of the scrambling kind) presented their sci-fi Tok Tokkie and had nothing but an overwhelming response to their offering.

More fellow virgins, director Oliver Rodger and producer Carla van Wyk who took their well-cast comedy Copposites to Cannes acknowledged the irony of travelling all the way to Cannes to be recognized by fellow industry peers. Their film is due for release in August in South Africa and here’s to hoping its local release is a fair, necessary and worthy contender to the Box Office greats.

I came back to South Africa both enlightened and thoroughly disillusioned. Questions that beg to be answered are: “Why do great films with huge integrity like Otelo Burning not do as well as they de-

serve to in our local cinemas? Why can’t our local films stand up and fight a decent fight against the latest international releases in our own country? Why don’t more South African’s support South African Film?

Will the government consider subsidising local cinematic releases? It seems that a mandatory and necessary incentive needs to be implemented in order for cinema owners to punt our own films above others.

Whilst all the arduous work of sales finds focus across the miles, our local film industry runs dry from lack of local support.

If anything, our South African filmmakers are brave. We stick to our gut. We work hard, tirelessly and well. We are resilient. We are damn smart and full of ideas. People enjoy our company. We don’t speak with a nasal twang and pretend we know everything. We are humble enough to acknowledge our shortfalls. And so we trudge, the gang of festival/market goers, festival to festival, country to country. Seeing, being seen, and hopefully somewhere along the line, being paid. We are no longer the poor kids without shoes in the dust.

We are just the kids on an uneven playing field.

The playing field in this instance is the beautiful Cannes. She is French, and therefore retains the right to be arrogant, sometimes rude, sensual and charming all at once. She seduces you and spits you out. She dangles a world so unfathomable in front of you. She

The Virgins and the Vets The South African contingency attending Cannes comprising of a record number of 130 delegates varied rather splendidly from virgins to veterans. The vets stepped onto the red carpet like it owed them something; years of slog and toil finally granted them the right to put that swagger in their step. The evasive light at the end of the tunnel peeked through, whether for the finance to make a movie or the savvy to have it distributed, or both, Cannes welcomed them back with fervour. Tried and tested they returned to arguably the largest film market in the world, ideas brewing on iPads, international connections set and ready to be brushed off like a favoured trusty coat.

The virgins (myself included) scrambled. With most likely three quarters of the delegation sponsored by some government organisation, specific outcomes needed to be measured and quantified in order to justify the spend. “Where’s the ladder?” we cried. And how the hell do you climb it without falling off and splitting your pants?

Praying for magic beans to sprout and ascend heavenward to where the film producers, financiers, distributors and sales agents and other big-boys make their golden nests, it was a slow but frenetic scramble to figure out the elusive Festival de Cannes.

On the one spray tanned hand, you have the Festival; a mostly elegant layout of delectable movie treats on which to sate your cinephilic palate if you rank high enough to acquire a ticket. On the other hand, you have the Market.

The Market is the place where the ordinary Joe Blog ventures to either flog his film, buy a film, represent a film. An apt description I clung to was “Cannes, the Las Vegas for film-makers”.

The Palais, where the majority of countries, distributors, sales agents et al line up row upon row upon row, reminded me of a massive flea market where every vendor tries to sell you the same product but in a different hue. Posters lined the walls on every block. In every conceivable way, it is absurdly tough to make your movie stand out amongst the masses.

Unless backed by massive production funding and heavy weight distributors, your little movie, dying for it’s own success (if you’ll pardon the pun) could find itself being called something along the lines of Lesbian Vampire Warriors. Or how about trying on You can’t kill Steven King for size. (The description underneath the title reading “it was a mistake to visit his lake”.)

Gruesome bludgeoning weapons like hammers and axes rise from the water. Blood streams from essential-hot-chick-in-bikini and a red eyed, bloodied killer dog bares its’ fangs. No doubt these little gems of films will be giant commercial successes.

By row seven I was thankfully desensitised to the countless horror, action, thriller, vampire, slasherflick posters all promising the same illusion: guts, blood, a thrill and maybe if you’re lucky a boob-flash.

This alarming array got me thinking about what it means to have success at Cannes. Bottom line: if your film (if not in the official selection or up for a Palme d’Or because of it’s artistry) needs to either be an action, a thriller or a horror.

Only then might you have successfully navigated the Cannes Marketsea and found what is deemed a commercial success. In the glaring light of day, dreams of making an exquisite piece loaded with artistic integrity are cast aside in favour of making a film in a genre that is universally acceptable. Comedy, unless a broad USA Blockbuster, does not travel well and just ruminating about transcoding a Russian Comedy for a Korean audience… well, you get my point.

And so, the market demands.

The clever, business savvy filmmakers supply.

This does not, however, extinguish the dreams of the hopeful. They are around every corner, young filmmakers plying their dreams. On the whole, the South African line-up was one that expressed hope in abundance. Solid, quality films were on the platform; but bearing in mind my diatribe about commercial genres, I hope that our unique and expressive talent found it’s way through the muddle. In our own line-up, and perhaps somewhat thankfully I can say there was a disconnect between “business” (recall Vampire Lesbian Warriors) and artistry.

The documentaries presented were all strong and admirable. The comedies were of true South African flavour. The drama’s were enviable.

That said, again, Cannes is a Market for commercially viable films. Sometimes you are lucky. Sometimes, not so lucky. And to some, the commercial aspect is irrelevant. An award cannot be spent.

Samantha Gray

The Callsheet | 15

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ONLINE NEWS HIGHLIGHTS GENERAL NEWS GENERAL news from the South African film and commercials industry. You can load your own stories to our website at www.thecallsheet.co.za GFC and FPB Sign MOU A MeMorAnduM of understanding (Mou) was signed on 14 of June 2012 in Johannesburg, between Gauteng Film Commission (GFC)’s Acting Chief executive, Mzwandile Masina, and the Chief Executive Officer, Yoliswa Makhasi of Film Publication Board (FPB) for the benefit of the film Industry.

This Mou supports the mutual objectives of both GFC and FPB to create distribution channels and to regulate distribution of films and publication with the aim of developing and growing the film Industry.

GFC is an agency of the provincial government tasked with the development and promotion of the audiovisual industries in Gauteng. Having such MOU in place will reduce the distribution and the consumption of unregulated content.

In 2011, at least 253 commercials were produced and shot in Gauteng. This figure Constituted 40% of commercials produced nationally. In the past financial year the Commission funded 23 short films, feature films, documentaries and television productions collectively worth R2.8 million. Through the GFC filming permit facilitation service, 192 films were shot in Gauteng in the last financial year. Overall, the GFC has contributed to 7091 permanent and temporary jobs through film project funding and filming permit facilitation.

Pursuant to the transformation agenda, the commission has provided skills development opportunities in the film and television sectors to 843 film makers.

The Commission will continue to implement its programmes as per its current mandate, including supporting emerging filmmakers, promoting the province both locally and internationally as a preferred film destination, conducting ongoing research and development initiatives, as well as delivering professional film commission services.

Platypus Digital & Groupon Grassroots partner to support education PlaTYPUs digital, Groupon Grassroots and the Heart Charitable Trust are partnering to support education through a fundraising drive for OGlE Education Kiosks, a groundbreaking digital content delivery system. “almost every day our newspapers report on a failing education system in south africa. We were horrified by last month’s headlines about schools in Limpopo not having textbooks yet, half-way through the school year,” says Platypus Digital founder stanley Edwards.

“Education is the primary challenge facing south africa and we believe that the OGlE Kiosks can play a key role in solving these sorts of learning material delivery problems.”

Platypus Digital has developed OGlE Kiosks as a national network of touch-screen content kiosks which allow both learners and educators to access and download quality, curriculum-based education and edutainment-rich content for free without the need for a computer, internet access or data costs. Platypus Digital is running an OGlE Kiosk fundraising drive in partnership with Groupon south africa, as part of their Groupon Grassroots initiative.

Groupon’s massive customer base will be asked to contribute R20, R50 or R200 via their Groupon account towards the OGlE Kiosks roll-out. Non-Groupon subscribers can register to contribute at www. groupon.co.za/register

“Collective action powers every campaign we feature and with enough supporters we can accomplish amazing things that couldn’t be done alone,” says Jessica stewart of Groupon south africa. “With a little effort, we can make a big difference. Education is high on our agenda and as we celebrate Youth Day on June 16 we encourage you to make a small contribution towards the youth of south africa.”

sebastian Matroos and Dumisani Malaza

TOP teams announced for Ultimate Braai Master sOUTH African gourmet bush cook and veteran presenter, Justin Bonello, has announced the 30 contestants to qualify to participate in south africa’s inaugural outdoor reality TV cooking competition entitled Ultimate Braai Master.

Proudly sponsored by Pick n Pay and supported by Coca-Cola and Renault sa, the TV series is set to launch on saBC3 on 13 september 2012 with the winner walking away with the prize of R500 000 cash; a new renault Koleos 4x4 valued at R325 000, a Cadac BraaiMaxx valued at R15 000, and the title of south africa’s Ultimate Braai Master in December.

From a total of 6400 aspirant braai master entrants, Justin and his production team at Cooked in africa Films short-listed 300 teams (of two contestants each) from around the country to take part in three regional auditions in Cape Town, durban and Johannesburg during May and the first weekend of June. auditions kicked off in Cape Town at Grand West Casino & Entertainment World on saturday, 19 May 2012, where 79 of the Western Cape’s hottest braai talents competed head to head, resulting in 15 finalists; the competition’s second audition took place at the Wild Coast sun Resort and Casino on saturday, 26 May in Kwa-Zulu Natal with 13 finalists making it through from the 35 competing teams; and the final audition at sun City Resort saw 15 out of 54 of Gauteng’s best braai teams make it through the regional audition on saturday 2 June 2012.

On 19 June 2012 Pick n Pay’s General Manager for Marketing, Malcolm Mycroft and Justin announced the final 14 teams and one Wild Card team live on saBC3’s Expresso Morning show. selected from a pool of 43 short listed national finalists, the country’s top 15 teams (of two contestants each) to make it into the “Ultimate Braai Master” reality TV cooking competition include:

• Team Which Way Braai Chicks: friends from Cape Town, Janie B smit and Maudie Bleach

• Team Fat Cow: friends from Durban, Warwick Thomas and Dayle dohne • Team Green Feet: friends from Cape, Town Tinus Els and leki Mokiti • Team Green Okes: friends from Johannesburg, Tshepo Nkosi and Modise Khoabane • Team Who Dares Wins: married from Cape Town, Tubby Melidonis and Elaine Ensor smith • Team Coal shoulder: partners from Johannesburg, Roger Harris and lee Jennery • Team Cooking soul: brothers from Gauteng, nqobani Mlagisi and Mbuso Mlagis • Team Umlilo: partners from Pretoria, annerie Burger and Martyn John schickerling • Team Rust & Dust: brothers-inlaw from Cape Town, Greg Gilowey and Karl Tessendorf • Team 2M: friends from Pretoria,

Yoliswa Makhasi

• Team Hout Cuisine: brothers from Cape Town, Oscar Faulkes and Chris Faulkes • Team Chi Town Braaister: dating from Durban, Frank Dunn and Claire Walker • Team The stoned Olives: partners from Hermanus, Cape Town, Ronel Theron and Billy stanley

• Team Popeye & Olive: father and daughter from durban, roxanne van Breda and Barry Davis The 14 teams are joined by Pick n Pay’s Wild Card team, represented by Johannesburg based sisters from Team Gal Power, Gladness sindi and lethukuthula Ncengwa.

Malcolm stated, “A large part of being south african is about being outdoors with friends and family enjoying a braai. as a brand that supports and celebrates the things that make us uniquely south african, we’ve been especially thrilled with the way south africans have responded to this competition and the incredible talent and originality that’s been on display at each audition. Pick n Pay has elected to play its Wild Card by selecting an all-girl semi-finalist team from soweto for their amazing spirit and determination. While the final teams to make it into the competition represent a rich and diverse group of aspirant braai masters, with Gal Power’s inclusion, we’re confident they’ll add their flair and talent to the mix and become real contenders in this hotly contested cooking competition.”

The final 15 Teams to take part in the “Ultimate Braai Master” reality TV competition will join host, Justin, on 13 July 2012 for the official start of the 52-day competition, which will see contestants travel 8000kms to compete in 13 location based challenges across south africa.

“The gees (spirit) on display at the auditions have taken us all by surprise. It’s been like watching south african culture on steroids,” commented Justin. “While our selection criteria included character and personality, we were always aiming to select teams that were above average cooks. Contestants need to be able to work together under pressure and create interesting dishes while being entertaining at the same time. This competition is all about turning the braai stereotype on its head, and if the audition rounds represent a taste of things to come, then the TV series is guaranteed to keep south africans glued to their TV sets.”

The winning team will be announced in the final episode, which will be screened on saBC3 on 6 December 2012. some of the most memorable recipes from the series will be packaged into a new braai cookbook from Justin, which will be published by Penguin and available in stores before Christmas 2012.

Adding cocktails to the reality TV mix For south africans who dream of one day being on television, Ciao, a Ready-To-serve (RTs) cocktail mix from KWV sa, is running a competition that will put a weekly winner in front of the camera for their very own three minutes of fame.

Each week during July, a winner will receive R5 000 cash and Ciao stock to put towards a party.

Ciao will then film the winners, and their party. These three-minute long films will be aired every Thursday on e.tv just before 18h30.

The television campaign will

launch on e.tv during Modern Family at 19h30 on sunday, 17 June 2012. The competition will run for six weeks on e.tv, saBC 2 and saBC 3. To enter, viewers will need to sMs their name and the word “Ciao”.

The campaign is aimed at females between the ages of 25 and 35, and will also be promoted on saBC 2 during Pasella and La Familiar, and on saBC 3 during a number of shows such as Ugly Betty and Gossip Girl.

Ciao cocktails are for people that want to entertain effortlessly without the hassle and without compromising on the quality of the brand while bringing out a touch of glamour. The viewers that watch these shows are perfectly aligned with Ciao cocktail drinkers who are confident and stylish.

Made with real fruit, Ciao is available in six mouth-watering flavours. “Ciao was only launched at the end of last year, and in the six months since it has grown more than 300%, having now reached its own celebrity status,” says anna-Marie Marks, Category Manager for KWV sa .

“With our new campaign we are giving consumers a chance to shine with their very own three minutes of fame on television,” says Marks.

The final winner broadcast for the new Ciao television campaign will be aired on 26 July 2012. If you miss the TV spots, you can keep an eye on the Ciao Facebook page for competition details, announcement of winners and the reality videos Michael Dearham joins ‘Cote Ouest Audiovisuel’ CoTe ouest Audiovisuel is proud and honoured to welcome aboard Mr. Michael Dearham as senior vice president of the group and general manager of the Mauritian Office.

Mike’s principal mandate is to oversee with full authority the English Programming part of the business and to shape the strategic growth and development of the Cote ouest Audiovisuel Group as a whole.

According to Bernard Azria, CEO of Cote Ouest, “Mike is a highly qualified professional who will undoubtedly take Cote Ouest one step further and who will contribute greatly to the expansion of our activity across English-speaking africa. We are proud to welcome such an outstanding professional of the african market”.

Michael dearham is the former

Justin Bonello

Head of M-Net’s sales and library acquisitions department and sole curator of the world’s largest African Film library owned by M-Net (Electronic Media Network), africa’s leading Pay TV broadcaster.

Mike is a film industry veteran, credited with a string of leadership positions within various media initiatives including south africa’s National Film and Video Foundation (NFVF), sithengi and Film Resource Unit.

“I am extremely excited about joining Cote ouest – a great company with a solid track-record and world-class potential. Cote Ouest offers a unique opportunity for me to apply my experience toward further growth and development of the african film and television sector. I look forward to working with and learning from the exceptionally talented management team and staff,’’ said Mike Dearham.

Cote ouest has sealed exclusive agreements with M-net in south africa, Globo TV in Brazil, Majors and independent producers in the Usa and many other producers worldwide, thus securing the distribution of thousands of hours of the best drama to its numerous clients. Cote Ouest distributes an annual average of over 20,000 hours of programmes to nearly 75 television stations spread across 42 markets.

The Callsheet | 17

ONLINE NEWS HIGHLIGHTS The Festival is not only a screening of the 3rd year students’ Experimental Live Action and Animation films and Documentaries filmed by the Honours Students, but also includes a live performance by the Honours acting students on Friday evening.

There is also live entertainment on both the Friday and Saturday evening as well as Musical Performance showcases by the first year students on Saturday. All tickets will be sold at R10 a ticket. This year there will be product stalls selling food, drinks and sweet treats. Along with this, there will be a Marketing Expo, educating the audiences about what the various films are about and who was involved, while the films are being showcased.

The Mid-Year Experimental Film Festival takes you away from the commercial cinema scene and into the world of some of South Africa’s most talented film buffs, who have not been discovered yet.

For more information about the AFDA Cape Town Experimental Film Festival 2012, please contact Jennifer Wither on 074 161 9949 or Gené Lombaard on 072 730 4882.

Amour Setter

GENERAL NEWS GENERAL news from the South African film and commercials industry. You can load your own stories to our website at www.thecallsheet.co.za SA FILM DIRECTOR SHOOTS IN BANGKOK AwArd-winning South African film director Amour Setter has recently gone into pre-production in Bangkok on her international short film, They Came. A mere five months after arriving in the city, this dynamic go-getter has managed to round up a team of highly talented and passionate filmmakers and actors to join her production.

Producer Selma Tamu is a Moroccan-born American who has been living in Bangkok for the past year.

She recently worked alongside the director of A Stranger in Paradise, starring Stuart Townsend and Colin Egglesfield which was filmed in Bangkok in late 2011. She joined Amour’s production in mid-May and has passionately taken the project to the next level.

Casting for this international short film was tough as there are a very limited number of experienced Western actors living permanently in Bangkok. After seeing dozens of local actors, Amour finally cast American actor Damian Mavis (The Hangover part 2, Vikingdom, The Protector, The Scorpion King 3), British actor Leigh Ellen Barwell (The Lost Medallion, The Prince & Me, Golmaal Returns) and British actor Chris Wegoda (The Krystal Palace). The lead character role has gone to a relatively unknown actor from the USA, Kirsten Kosmas.

The team has registered the project on Kickstarter – an international crowd-funding platform designed to assist filmmakers raise necessary funds for their projects.

Even a short film of 20 minutes can cost a considerable amount of money to produce, and the filmmakers are earnestly promoting their project through this platform in the hopes of raising the necessary funds. Producer, Selma Tamu has even arranged a lavish Moroccan Dinner Party, to which

1 8 | The Cal l sh eet

Bangkok high society members have been invited to pledge their support for the project. The Producer-director duo are working around the clock to bring the project to fruition and are pulling out all the stops. This is the first project of its kind in Bangkok and hopefully other filmmakers will be inspired to follow in their footsteps and create similar projects. Several Asian television channels have already been approached with a view to buying the short film.

Director Amour is no stranger to limelight. Her published book, The Bitch’s Guide to Dating has garnered a large global following as have her personal blogs (www. amoursetter.blogspot.com), which filter through to several international websites across the globe. With an average monthly hit rate of 200,000 to her website, she is making her mark as a writer.

She has also starred in two awardwinning short films and her on-line international film school (Auteur Film School) has won 9 film awards to date. To add the cherry on the top of her winning cake, she recently walked away with a prestigious international film award at the USA Superbowl for her Chevrolet television commercial in February this year. With a track record like that, it will be no surprise if Amour brings home an international award for this short film.

They Came is a psychological thriller and examines the subject of stalking and obsession. The short film is ear-marked for entry into all the major international film festivals and the filmmakers hope to draw the attention of financiers for Amour’s debut feature film scheduled for production in late 2013.

Check out the video on Kickstarter and pledge your support for a South African female filmmaker who hopes to make South Africa proud.

AFDA Cape Town Experimental Film Festival EvEry year AFDA, the South African School of Motion Picture Medium and Live Performance, hosts their Mid-Year Experimental Film Festival and this year it is taking place at the AFdA Cape Town campus from 22-23 June, 2012.

Airtel Africa and DSTV partner to launch Africa Football show AirTEl Africa has sealed a partnership agreement with DSTV that sees the two organizations working together to air a weekly TV football show. Grassroots football is part of Airtel Africa’s vision to develop and nurture young football talent and compliments Africa’s largest pan African youth football initiative, supported by Airtel and Manchester United, called the Airtel rising Stars.

DSTV will cover live football matches in various countries, leading towards a pan African inter-country final of the Airtel Rising Stars youth tournament being held in Nairobi later this year. The show will also trace the career paths of African footballers, demonstrating sporting journeys that have led to fame and success.

“We have always believed that football has the ability to develop and connect youth across the continent,” explained Andre Beyers, chief marketing officer, Airtel Africa. “This was the rationale behind our pan African football tournament and talent development program, Airtel Rising Stars, which is now into its second year.

The enthusiasm Africa has for the sport is undeniable. Our decision to be involved in this new show compliments our ongoing commitment to support the passions of our young adult consumers.”

‘Airtel Football’ focuses on different aspects of the sport across the continent and airs on Super Sport 9 (SS9) every Monday at 9:00 p.m. (CAT). Aside from profiling African footballers, the fast-paced half hour show explores a wide range of topics including insights on the sports fraternity, culture across various African countries and major tournaments/games being played on the continent.

“One of our goals during this second season of the Airtel rising Stars initiative was to take an already successful property to the next level of awareness and excitement across the continent.

We will showcase the various experiences of youth football across Africa in an interesting format. We are glad to partner with dSTv Africa and will use their expertise, contacts and knowledge of the sports world to bring youth experiences to life on television. Africa is rich in diversity, yet similar in so many ways.” added Mr. Beyers.

The show will run for 44 weeks and is also available to viewers in high definition (HD). Viewers who can’t catch the episodes when they air on Monday will be able to watch a re-run on Saturdays at 11:00 a.m. (CAT).

Undercover Bar

MOP5, The Cape Town Month of Photography Festival 2012 CAllS are open for the submission of still and moving images for Cape Town’s 5th edition Festival from 27th September – 31 October 2012, celebrating the photographic image as a unique space where the real and the metaphor engage and stimulate exploration, imagination and the expression of new ideas, within a diverse range of areas, from political and personal to aesthetic and conceptual.

A growing platform for communication between local communities, the festival also invites inter-regional and international exchange, circulation and dialogue, supporting the current positioning of South Africa as a world cultural site and hub of photographic vision and practice. 100 activities from exhibitions to master classes and a mini film festival will showcase within the inner and outer city.

September/October 2012 is the period to diarise. The festival, graduating to a Biennial event from 2012, has grown in its 13 years of triennial rhythm, aiming to present a peak of product this year and leading up to 2014, with Cape Town as design Centre of the World. The past 4 festivals have proved successful and inspiring to all, aiming for and achieving 100 exhibitions and projects played out in each festival, with very positive and encouraging results.

Presented by The South African Centre for Photography, as a program of exhibitions, social events, seminars, workshops and master classes in photography and related themes, the month–long event creates a comprehensive network between diverse photographic communities, including documentary, commercial and fine art practitioners, amateur associations and learners, all of whom are given a forum for expression.

The showcase encourages and welcomes bodies of work proposed by photographers, historians and writers, galleries, museums and photographic entities nationally and globally. This year so far proposals have been accepted for work proposed by curators and image creators from China, Italy, Croatia, Australia, New Zealand and The U.K. The Grand opening, a principal MOP5 event, will take place at 6pm on Thursday 27 September, and preview the showcase at the Festival’s loyal ground venue, the Castle of Good Hope, which will hosts a number of solo and group exhibitions. Other events and exhibitions will open at a leading galleries, event centres and museums around the Cape on different occasions throughout the extended month, already building a memento from mid-September.

The 200 page festival catalogue, which is sent to museums, galleries, libraries and higher centres of learning around the globe after the festival, is also sold in top bookstores after the fact, and accessed for its comprehensive document of an evolving collective vision of our contemporary life. This collector’s item showcases not only the core exhibitions, but also the fringe and satellite items, becoming available with a launch and at the SA Centre before the festival, to

guide the visitor and the participator through the intriguing routes, physical and conceptual, on the schedule.

The added coverage of the range of activity and production, associated venues and businesses engaged with creators using the photographic context, presents a comprehensive snapshot of the medium in the current times.

MoP5 promotes opportunities for South African image makers to gain both local and global exposure. It will play a pivotal role in giving prominence to photography as a valuable language of expression and cultural resource promoting the sharing of individual and group stories of our world and the networking between these diverse experiences, understandings and expressions. The intention to create the interflow of cultural interest is a view to enter the already huge shift towards dynamic cultural tourism flowing between the online and physical entry of attracted and interested parties to our local worlds.

Contact sacentrphoto@iafrica.com or visit www.photocentre. org.za to download the application forms, theme and participation guidelines.

Slim Creates An Undercover Bar For Guinness Ghana EGG Film’s Slim directed the first ever advert for Armstrong, a new spirit beer from Guinness Ghana.

The seminar is a fantastic opportunity for agencies and marketers to hear about the latest trends in brand communication from international leaders.

Conceptualised by Saatchi & Saatchi Cape Town creative director Gavin Whitfield and art director Yvonne Hall, the spot revolves around an undercover bar that converts into a business when the men’s wives come to check in on them.

“Since the ad started flighting, people keep calling to ask who handled the post,” laughs Egg Films’ executive producer Nicci Cox. “But we did the whole thing in camera. Everything you see move is operated by hand.”

Nicci and Slim flew into Accra to cast the leads and research Ghanaian bars, office spaces, colours and textures, before shooting the commercial in an empty shop in Jeppestown, Johannesburg.

“The idea was all there,” says Slim. “So it was just a matter of executing it African-style, keeping it simple and not too high-tech. “ Art director Keenan McAdam and set builders Marcia and Raphael from Marcia’s Studio spent four weeks building the revolving sets.

“We spent a full day rehearsing, with all the sets working, so we could choreograph each shot,” says Slim. “During the actual shoot, we could have got it in one take – everything worked immaculately.”

The ad’s shot by Willie Nel, edited by Saki Bergh at Left, and scored by Markus Wormstorm.

“The shoot was a jol,” says Slim.

“Everything ran really smoothly, apart from the craft guy who disappeared into the strip club across the road never to be seen again.” True story.

The Callsheet | 19

DIARISE JULY

UPCOMING RELEASES Troye Sivan with the cast of Spud at the Cape Town premiere

Lucky 20 July cinemas East End Film Festival 3-8 July, 2012 London, UK Jerusalem Film Festival 5-14 July, 2012 Jerusalem, Israel Zanzibar International Film Festival 7 - 15 July 2012 Zanzibar, Tanzania National Arts Festival 28 June - 08 July, 2012 Grahamstown, Eastern Cape, South Africa The Galway Film Fleadh 10-15 July, 2012 Galway, Ireland Anima Mundia Animation Festival 13-22 July, 2012 Rio de Janeiro, Brazil Durban International Film Festival 19-29 July, 2012 Durban, Kwa-Zulu Natal, South Africa Durban Film Mart 20 - 23 July, 2012 Durban, Kwa-Zulu Natal, South Africa For more, visit www.thecallsheet.co.za/diarise

Copposites

Copposites

JOBS & OPPORTUNITIES IDFA Call for Entries THE 25th International Documentary Film Festival Amsterdam calls for entries of films completed after 1 April 2012. Programme sections include: Feature length documentary, Mid-length documentary, student documentary, Dutch documentary, Green Screen Documentary, Music Documentary, Panorama, Paradocs, Kids & Docs and others. IDFA must receive two DVDs and a completed IDFA entry form before 1 August 2012. To find out more view the rules and regulations on the IDFA 2012 Website at www.idfa.nl Due to an increase inadministrative costs IDFA has introduced a non refundable entry fee which the organisers say will cover the processing and viewing of the film that is submitted.

Call for entries for the 2012 PRODUIRE AU SUD NANTES THE call for entries for the next NANTES PRODUIRE AU SUD Workshop is now open. The workshop will take place from the 19-25 November 2012 in Nantes, France within the framework of the Festival of the 3 Continents.

PRODUIRE AU SUD is a workshop focusing on the outline and structure of film co-production within the industry.

The workshop aims to familiarise young producers based in the south: Asia, Africa, Latin America with a variety of important tools. Call for entries is open until the 3rd of August 2012. For more information email: guillaume. mainguet@3continents.com Entries for Jozi Film Festival open THE Jozi Film Festival (JFF) is a new

annual film festival that will showcase the latest films made by Jozi and Gauteng filmmakers and/or films made in Jozi or Gauteng. The festival’s mission is to create a platform for Jozi’s growing film community to screen their films, while simultaneously making the films accessible to all members of the community by keeping admission tickets reasonably priced. Films accepted include features - fiction and documentary; short - fiction and documentary; animation; mobile phone films and student films. Closing date for entries is 16 November 2012. To find out more visit the Jozi Film Festival website : http://www.jozifilmfestival.co.za/ Focus Features Africa First Call for entries FOCUS Features’ Africa First Program will accept entries until 20

August 2012. The uniquely conceived initiative, with funds earmarked exclusively for emerging filmmakers of African nationality and residence, is for the fifth consecutive year offering eligible and participating filmmakers the chance to be awarded $10,000 in financing for pre-production, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there. To apply visit: www. focusfeatures.com/africafirst Aluta Film Festival Call for Entries THE Aluta Film Festival is South Africa’s premier African and diaspora cinema event. Submissions must be from filmmakers who have produced films that embrace black experiences worldwide and/or experiences of marginalised com-

JULY ISSUE 2012

Booking deadline: 29 June 2012 Material deadline: 02 July 2012 Print deadline: 06 July 2012 • PUBLISHER: Film & Event Media • PHYSICAL ADDRESS: 57 2nd Ave, Harfield Village, Claremont, Cape Town • PHONE: +27 21 674 0646 • PRINTER: CTP • PUBLISHER: Lance Gibbons (lance@filmeventmedia.co.za) • ADVERTISING EXECUTIVE: Makkie Slamong (makkie@thecallsheet.co.za) • EDITOR: Kate Hodges (kate@thecallsheet.co.za) • COPY EDITOR: Sally Fink (sally@filmeventmedia.co.za) • HEAD OF DESIGN: Jess Novotná (jess@filmeventmedia.co.za) • HEAD OF PRODUCTION: Nadia Samsodien (nadia@filmeventmedia.co.za) • ONLINE CO-ORDINATOR: Fin Manjoo (manjoo@filmeventmedia.co.za) WWW.THECALLSHEET.CO.ZA DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved.

While every effort has been made to ensure the accuracy of the information contained in this publication, The Callsheet and/or its employees may not be held liable or responsible for any act or ommission committed by any person, including a juristic person, referred to in this publication. It and they furthermore accept(s) no responsibility for any liability arising out of any reliance that a reader of this publication places on the contents of this publication.

www.thecallsheet.co.za 20 | The Cal l sh eet

DIARISE AUGUST Copposites 3 August cinemas

SAFTAs red carpet

Zama Zama 24 August cinemas Out in Africa 2012 part 2 27 July - 5 August 2012 Cape Town and Johannesburg, South Africa Festival del Film Locarno 1 - 11 August 2012 Locarno, Switzerland

Copposites

Copposites

Melbourne International Film Festival 2 - 19 August 2012 Melbourne, Australia

munities from across the globe.

The emphasis of submissions must be on world cinema - films that explore history, social issues and highlight marginalised communities within the developing world.

The festival accepts features, documentaries and short films in the genres/sub-genres of drama, action, thriller, comedy, animation and factual. Filmmakers must also guarantee that, should their film/ video be selected, that permission from the rights holder is secured for a minimum of four screenings at the festival.

The deadline for entries is Friday 31 August 2012. The ninth edition of the festival takes place from 24 - 27 October 2012 in Kimberley, South Africa. For additional information contact the festival director at motheoseleke@yahoo.com or at motheoseleke@gmail.com.

16th LA Shorts Fest call for submissions LA Shorts Fest is Academy of Motion Picture Arts & Sciences accredited. We are the only film festival with SIX award categories recognized by the Academy. In the past, 41 films have received Oscar nominations with 12 winning the coveted Oscar statue.

The Festival annually attracts more than 7,000 moviegoers, filmmakers and entertainment professionals looking for the hottest new talent. You can submit online at www.LAshortsFest.com Hasselblad//Masters 2014 Call For Entries PHOTOGRAPHERS are invited to submit their images to be considered for the prestigious Masters Awards. The title of Master is awarded to one photographer in

each of 12 categories in recognition of his or her contribution to the art of photography.

Judging is based on photographic ability in the areas of creativity, composition, conceptual strength and technical skill.

“We’ve made some adjustments to the 2014 Masters Awards competition, which will allow more photographers to participate,” said Paul Waterworth, Hasselblad Global Photographer Relations Manager. “Since many photographers are using both medium format and 35mm-type DSLRs, image entries may be captured with either format – as well as film.” Explained Waterworth, adding that DSLRs must have a minimum resolution of 16 megapixels.

Other modifications include the addition of an underwater category for images captured using a

professional housing and the transition of the Up & Coming category to Project//21. The latter is open to amateurs, students, assistants and young professionals who are 21 years old or younger. Finalists will be announced in 2013, with winners revealed in January 2014.

Masters Awards winners will be provided with Hasselblad equipment to work on their projects for the Masters Book Volume 4. The Masters Book will be launched at photokina 2014 in Cologne, Germany.

Submissions are being accepted from now until 31 August 2012.

To submit your images, visit www. www.hasselblad.com/member/ masters/masters-registration

Hiroshima International Animation Festival 23 -27 August 2012 Hiroshima, Japan Montreal World Film Festival 23 August - 3 September 2012 Montreal, Quebec, Canada Edinburgh International Television Festival 24 - 26 August 2012 Edinburgh, Scotland Venice Film Festival 29 August - 8 September 2012 Venice, Italy For more, visit www.thecallsheet.co.za/diarise Compiled by Kate Hodges

The Callsheet | 21

WRAP PARTY AT VICTORIA JUNCTION HOTEL INDUSTRY EVENTS The May Film & Event Media networking function at the Protea Hotel Victoria Junction Hotel was a well-attended affair.

G

uests were treated to a delicious German themed spread and a variety of beers for tasting. Food included sausages, a boerewors station, a bread station, a bratwurst station, a French Cassoulet station and delicious desserts.

Networkers were entertained by the dulcet voiced Helene Henn, who provided live background music singing new and old pop favourites all evening.

We would like to thank our sponsors Visual Impact for helping make this such a memorable event. Congratulations to Visual Impact who announced on the night that they are now THX certified - an international monitoring standard.

Thanks also to Pieter Buitendag and the Protea Hotel Victoria Junction Hotel for hosting us.

The hotel, which is centrally located in Green Point, has a longstanding relationship with the film industry.

Guests won prizes throughout the evening, including: two weekend accommodation vouchers in a loft apartment as well as a men’s DKNY fragrance. Bruce from African Story Wine Tours also provided a lovely prize of a wine tour for two people, including lunch and wine tastings.

The crowd was addressed by Film and Event media editor Kate Hodges, Stefan Nel from Visual Impact and finally by Protea Hotel Victoria Junction general manager Pieter.

Film and Event Media’s next monthly wrap party will take place at The Bay Hotel in Camps Bay, Cape Town on Thursday June 28.

To see the full gallery of photos from this event visit our Facebook fan page. To view a video of the event visit: www.thecallsheet.co.za

Ayla Belford and Ann Meyer

Helene Henn

Vicki Bawcombe and Tess Fairweather

Sabine Palfi and Claire Verstaete

Liza Nieuwoudt and Tarryn Pypers

Razia Rawoot and Mehboob Bawa

Liezel Vermeulen and Derika van Zyl

The team from Visual Impact

Derek Antonio Serra and Juanita De Bruyn

Andrew Germishuys, Martez Saporta-Rothuysen and Gary Hirson

Jon Jon San Juan Janine Jackson-Smith and Charlie Alves

Hilton Smith and Steven

Roger King and Jacquiline Uys

22 | The Cal l sheet

Richard Vossgatter and Nic Paton

Clint Tessendorf and Fiona Hemphill

Craig Parker, Wilna van Schalkwyk and Jacques Bock

Dominic and Jeanne Neilson

Marius van Straaten, Stefan Nel and Graham Austin

Louise van Hoff, Nana Lomingo Nasson and Nicky Diamond

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REGION

TELEPHONE

EMAIL

WEBSITE

African Sky Automotive

Pretoria

+27 79 319 5129

jan@janmenzel.com

www.africanskyautomotive.com

Around About Cars

Cape Town

+27 21 422 4022

info@aroundaboutcars.com

www.aroundaboutcars.com

Avis rent-A-car

Cape Town

+27 21 424 1661

avisfilm@avis.co.za

www.avis.co.za

Bickers Action

Cape Town

+27 21 864 2872

action@bickers.co.za

www.bickers.co.za

Budget Van Hire

Cape Town

+27 21 510 8602

gardv@budget.co.za

www.budget.co.za

Camera Carriers

Cape Town

+27 21 556 4522

info@cameracars.co.za

www.cameracars.co.za

Camera Ready Cars

Cape Town

+27 21 556 4948

info@camerareadycarssa.com

www.camerareadycarssa.com

Cape Cobra Hire

Cape Town

+27 83 321 9193

dean@capecobrahire.co.za

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Car Hire South Africa

Cape Town

+27 21 558 6300

claudia@carhiiresouthafrica.co.za

www.carhiresouthafrica.co.za

Chrysler

Johannesburg

+27 12 666 3600

info@chryslersa.co.za

www.chryslergroup.co.za

Errol’s Tracking Services

Cape Town

+27 21 557 3794

francesi@mweb.co.za

www.trackingvehicles.co.za

Errols Tracking Services

Cape Town

+27 21 551 3794

francesi@mweb.co.za

www.trackingvehicles.co.za

Europcar

Johannesburg

+27 11 479 4000

naomi.bhuda@europcar.co.za

www.europcar.co.za

Exoticar

Cape Town

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cindi@kingsley.co.za

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Fatman and shorty

Johannesburg

+27 11 486 1797

fatman@netactive.co.za

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Fleet Star

Global Car Rental

Cape Town

Cape Town

Global Vehicle Sourcing Agency

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martin@fleetstar.co.za

www.fleetstar.co.za

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info@globalcarrental.co.za

www.globalcarrental.co.za

+27 82 990 2732

info@actionvehicles.co.za

www.lhd.co.za

Harley Davidson

Cape Town

+27 21 401 4260

h-dmeaenquiries@harley-davidson.com

www.harley-davidson.com

Hertz rent-A-car

Johannesburg

+27 11 977 9700

res@hertz.co.za

www.hertz.co.za

Honda

Nationwide

+27 21 659 8000

tcc@hondadealer.co.za

www.mekor.co.za

Imperial Truck Rental

Nationwide

+27 21 551 7687

capetown@imperialtruck.co.za

www.imperialtruckrental.co.za

Kempston Hire

Nationwide

+27 11 974 1023

suer@kempston.co.za

www.kempston .co.za

Mercedes-Benz

Nationwide

+27 12 677 1500

Moto Classic Rentals

Cape Town

+27 21 461 7368

Motostars

Cape Town

+27 21 423 1800

Movie Action Cars

Johannesburg

+27 11 334 1941

Multichoice

Nationwide

+27 11 289 3000

Picture Cars

Cape Town

+27 21 461 3332

info@picturecars.co.za

www.picturecars.co.za

Ronnie’s Rentals

Cape Town

+27 21 794 6987

ronnie@ronniesrentals.co.za

www.ronniesrentals.co.za

Status Luxury Vehicle

Cape Town

+27 21 510 0108

info@slv.co.za

www.slv.co.za

Super Rent

Nationwide

+27 31 701 7680

beverley.butt@supergrp.com

www.superrent.co.za

www.mercedes-benzsa.co.za info@motorclassic.co.za

www.motoclassic.co.za www.motorstars.com

info@moviecars.co.za

www.moivecars.co.za www.multichoice.co.za

Supreme Film Cars

Johannesburg

+27 11 682 1184

Tempest Car Hire

Cape Town

8 618 367 378

capefilm@tempestcarhire.co.za

www.filmcars.co.za

www.tempestcarhire.co.za

Thrifty Car Rental

Nationwide

+27 21 481 3750

gail@thrifty.co.za

www.thrifty.co.za

Tiger Wheel & Tyre

Nationwide

+27 11 256 4040

leanne@twt.to

www.twt.co.za

Ugly Duckling

Cape Town

+27 21 987 7111

info@uglyduckling.co.za

www.uglyduckling.co.za

UVS

Nationwide

+27 21 686 2404

cape@uvsrent.co.za

www.uvsrent.co.za

Value Film Fleet

Nationwide

0860 1000 46

www.value.co.za

DIRECTORY LISTINGS - ADVERTISERS COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Animal Issues Matter

Western Cape

+27 72 583 2990

capeaim@vodamail.co.za

www.animalissuesmatter.com

Aquila Private Game

Western Cape

+27 21 430 87260

pa@aquilasafari.co.za

www.aquilasafari.co.za

Atlas Studios

Gauteng

+27 11 482 7111

info@atlasstudios.co.za

www.atlasstudios.co.za

Avis

Nationwide

+27 21 424 1661

avisfilm@avis.co.za

www.avis.co.za

info@mediafilmservice.com

www.mediafilmservice.co.za

IDC

Johannesburg

+27 11 269 3813

pietb@idc.co.za

Kathy English Brower Consulting

Cape Town

+27 82 453 6055

kathyenglishb@gmail.com

Media Film Service

Nationwide

+27 21 511 3300

Media Gear

Cape Town

+27 21 802 0709

info@pinnacleav.co.za

www.pinnacleav.co.za

MovieMart

Nationwide

+27 21 843 2666

info@moviemart.co.za

www.moviemart.co.za

Roodebloem Studios

Cape Town

+27 21 447 6326

info@roodebloemstudios.co.za

www.roodebloemstudios.co.za

Sanfields and Forests

Johannesburg

+27 82 577 2312

sfrank@glynmarais.co.za

Scarab Industries

Cape Town

+27 21 683 2556

info@scarabindustries.co.za

www.scarabindustries.co.za

Sitewise

Cape Town

+27 21 447 3151

action@sitwise.co.za

www.sitewise.co.za

The Loerie Awards

Johannesburg

+27 11 326 0304

info@theloerieawards.co.za

www.theloerieawards.co.za

Touchvision

Nationwide

+27 11 886 8572

stacey@touchvision.co.za

www.touchvision.co.za

UVS

Nationwide

+27 21 686 2404

cape@uvsrent.co.za

www.uvsrent.co.za

Visual Impact Group

Cape Town

+27 21 468 6000

info@visuals.tv

www.visuals.tv

Wizardz

Cape Town

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

List your company here and on www.thecallsheet.co.za at R350 excl. VAT

The Callsheet | 23