Durban FilmMart Daily Newspapers Day 3

l Film Festival 2018

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DURBAN FILMMA RT – DAILY 3

DFM Programme Monday, 23 July REGISTRATION: 08H30 - 17H30 DAILY

09h00 - 10h00

South African Emerging Black Filmmakers Fund Guideline Launch Isiphethu Hub, Garden Court Marine Parade

10h00 - 12h30

BRICS SA Forum: BRICS Film Fund Suite 3

12h00 - 13h00

BRICS SA Forum: Distribution Strategies Suite 3 © Enhlecreatives Photography

T

he Durban Film Office (DFO) and the 39th Durban International Film Festival (DIFF) would like to thank you, our valued delegates, supporters and partners, for helping us to create another memorable and meaningful Durban FilmMart. Your participation and invaluable support over the years has ensured that we can continue to raise the visibility of projects from the African continent, facilitate funding for promising projects, stimulate production of African content, promote international co-production opportunities, encourage project collaboration between African filmmakers, and act as a feeder stage for established co-production markets across the globe.

The Durban FilmMart (DFM) is a joint venture between the Durban Film Office - eThekwini Municipality’s film industry

development arm under the Economic & Development cluster - and the Durban International Film Festival, South Africa’s largest and longest-running film festival, and a flagship project of the Centre for Creative Arts (University of KwaZuluNatal).

Central to the success of the DFM, is the network of sponsors, partners, and supporters that continue to provide support, opportunities, and access to information. Partners and supporters of this year’s DFM include the National Film and Video Foundation, Industrial Development Corporation, Gauteng Film Commission, Department of Trade and Industry, KwaZulu-Natal Film Commission, AfriDocs, AFDA, Canadian High Commission, CineFAM – Africa, CineMart, International Festival Rotterdam, GoetheInstitut, Hot Docs- Blue Ice, International

14h00 - 15h00

BRICS SA Forum: BRICS Audio-Visual CoProduction Treaty Suite 3

10h00 - 12h00

Is There an Audience for Documentaries in Africa?

Panel Discussion Suite 5

12h00 -13h00

Stories of Change: A Collaborative Model for Impactful Storytelling Richard Perez, Sundance Institute Documentary Programme Suite 5

14h00 - 16h00

KZN Film Commission: Designing a Creative Festival & Distribution Strategy with the Film Festival Doctor: Rebekah Louisa Smith Suite 5

16h00 - 17h00

BRICS SA Forum: Animation Matters Suite 3

Documentary Festival Amsterdam, Produire au Sud, Realness, Sorfond, Sisters Working in Film and Television, Sundance Institute, Talents Durban, Versfeld & Associates, VideoVision, and our industry hub, Tsogo Sun International.

We can’t wait to welcome you to the 10th Durban FilmMart next year.

| Suite 2

at the Durban Internationa

FESTIVAL & MARKET DAILIES

09h00-17h00 – DFM Official Projects Finance Forum Meetings

23

JULY 2018

THE DURBAN FILM OFFICE (DFO) AND THE 39TH DURBAN INTERNATIONAL FILM FESTIVAL (DIFF) WOULD LIKE TO THANK YOU, OUR VALUED DELEGATES, SUPPORTERS AND PARTNERS.

DFM

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DURBAN

FILM MART

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DURBAN FILMMART 2018

NEW AND IMPROVED INCENTIVES LAUNCHED T

he Department of Trade and Industry (the dti), supported by various other government bodies, announced the launch of revised incentive schemes for the film industry in South Africa.

Statements of support by established film stakeholders Irfaan Fredericks, Themba Sibeko and Xoliswa Sithole gave insights into the role that the dti plays in developing and transforming the sector, while also emphasising that there is much more work that needs to be done to effectively transform the film industry.

Minister of Trade and Industry, Dr Rob Davies, highlighted that the film industry started to transform post 1994, and while our country has long been utilised as a service destination – famed for its chameleon-like locations – the industry has now developed its own ecosystem.

This ecosystem now comprises the

complete film value chain, and the dti recognises the importance of effective incentive schemes.

“Since 2013, 530 film productions have been supported by dti incentives. If you don’t have incentives in place, you are not a player. And the revised incentives are about supporting transformation in the sector” said Minister Davies. “In 2016/17 the film industry directly contributed R4.4-billion to the GDP, and about R12billion indirectly. In terms of jobs, the sector employs around 107 000 people.

These are significant numbers.”

After intense review of the current incentives; revisions and improvements have been made. In terms of the Foreign Film and Television Production and Post-Production incentive and the South African Film and Television Production and Co-Production incentives, the cap has been raised, as well as the

Minister of Trade and Industry, Rob Davies © Enhlecreatives Photography

percentage of Qualifying South African Production Expenditure (QSAPE).

With regard to the South African Emerging Black Filmmakers Incentive, the qualifying productions can have a total production budget of R500 000, which

has been reduced from R1-million.

This will allow more filmmakers to access the incentive. There is also a new incentive (up to a grant amount of R2-million) for the purchase of filmmaking assets.

NFVF RESPONSE

TO COPYRIGHT BILL AMENDMENTS

I

n 2017, the dti introduced the Copyright Amendment Bill to Parliament; the purpose of which is to amend the outdated Copyright Act of 1978.

Subsequently, public hearings were held to gather input from industry stakeholders, from which larger developmental issues were raised. A drafting team of legal services, the dti and various consultants have been working to address technical concerns, and the Parliamentary Committee on Trade and Industry has recently presented a corrected version.

The NFVF presented it stance on the amended version at the Durban FilmMart yesterday, which is underpinned by the recognition that piracy and outdated IP law is a serious threat to the film industry. The NFVF acknowledged a dilemma of competing rights: “In dealing with our mandate, the NFVF is faced with the reality of having to manage competing interests from key stakeholders. On

one hand, we have the creators of content: artists, publishers, record companies, etc whose rights need to be protected. The challenge we face is reaching a balance between the rights of creators, and public interests.”

WE BELIEVE THAT A WELL-BALANCED COPYRIGHT REGIME WITH A SOLID AND UNAMBIGUOUS FOUNDATION, CLEAR RIGHTS, LIMITATIONS, AND EXCEPTIONS CAN ASSIST IN THE REALISATION OF THIS DREAM.

The Way Forward

There are two main reasons for granting copyright: one is to provide statutory protection – both economic and moral rights to creators, and to provide such rights to the public to gain access to the creative works. “Given our history, the local copyright regime should be premised on socio-economic development agenda, resulting in effective and inclusive participation in the Creative Economy, while at the same time provides reasonable access to creative work.

“We believe that a well-balanced copyright regime with a solid and unambiguous foundation, clear rights, limitations, and exceptions can assist in the realisation of this dream.”

PLAIN LANGUAGE The NFVF strongly suggests a move towards plain language in the amendment of the copyright legislation. Complex legalese is outdated and prevents access to the many people this Amendment Bill is meant to serve. The current wording requires complex interpretation and does not seem to be intended for the average copyrighted content creator, or the average filmmaker who may not have a legal background or access to legal services.

THE ESTABLISHMENT OF A COPYRIGHT REGISTRATION BANK A Copyright Registration Bank would place on record a verifiable account of the date and content of the work in question, so that in the event of a legal claim, or case of infringement or plagiarism, the copyright owner can produce a copy of the work from an official government source.

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DURBAN FILMMART 2018

LESSONS FROM

A HOLLYWOOD PIMP P

eter Russell is a veteran of the Hollywood industry, with a staggering portfolio of clients including HBO, CBS Television, Imagine and Viacom. He has lectured at UCLA and worked as a script doctor on a number of high-profile productions.

But when describing his job, Russell had a different take. “I’m a Hollywood pimp,” he said, which set the tone for his often humorous and always informative presentation.

Russell believes that the future of commercial success is in the world of television rather than feature films.

While he stressed the importance of telling authentic South African stories – which he believes the global market is interested in – he added that the international market is far more interested in television than other film formats, due to the explosion in quantities of produced television. In the US, the number of scripted television shows on air grew from 250 to 520 in the last few years. So, Russell said, if you want to sell in America you have to go to television. Even within South Africa, Russell believes the television market will expand due to the internet and Video

on Demand services. The latter is also contributing to the artform getting longer, which demonstrates that it is reaching its apex.

Russell then broke down the patterns present in all great stories: 1.

2.

3.

4.

Great world A great television show must include a rich, developed world with pervasive rules.

Setting and theme There needs to be a clear moral message or theme underscoring the entire show. “You don’t have to be sophisticated to make a lot of money in television,” added Russell, citing Baywatch as an example. The core message there was that the story was about a family that saves each other – and that’s what kept viewers tuning in.

A hook Viewers need to know why they are tuning in week after week.

A clear genre The rules for each genre will be different, said Russell.

5.

6.

A character’s situation or question that can captivate our attention for 5 years Russell referred to this as an unsolvable dilemma or permanent conflict, which agonises the protagonist over the course of the show. These can be dark or light, depending on the genre of the show, but they cannot ever be neatly resolved.

Characters who fascinate us and surprise us In television, Russell said characters never heal from their core wounds, which come in three ‘flavours’ (beliefs about themselves, beliefs about other people or beliefs about the external world). “Write about your character’s pain,” he said – as that is what will interest viewers.

This pain should be rooted in your own personal history in order to make the story feel authentic.

Furthermore, interesting characters have so-called superpowers that they either use or misuse – such as Walter White’s exceptional knowledge

7.

8.

of chemistry.

Strong storyline Russell did not have time to discuss this in depth, but answers it in courses available online Structure With structure, Russell suggested the ‘BMOC Arc’ as a helpful tool.

This refers to the four times in the story when the protagonist is asked the same key question: “Are you going to heal, are you going to change or not?” The question comes at the beginning, mid-point, obstacle point and climax – which divides the story roughly into fourths. The answers can change over the course of the arc, and if the answer at the climax is a ‘no’, that makes it a tragedy.

Russell also gave general advice, such as getting a partner where possible, and building patience. “Get over the idea that this is going to be easy,” he said.

To buy Peter Russell’s courses and other tools, or to contact him for script doctoring, visit www. peterrussellscriptdoctor.com

QUIPS AND QUOTES Mehboob Bawa

Mariza Matshaya

Film Producer and Actor

I

t’s my first time here at the Durban FilmMart. My wife Razia and I have been promoting our film Bhai’s Cafe, and the response has been really great.

I’ll come back next year, without a doubt.

I’LL COME BACK NEXT YEAR, WITHOUT A DOUBT.

Julie Hall & Bonie Sithebe

Film Financier and Creative Producer

I

’m here to promote the fact that the Eastern Cape is open for business. We are building a postproduction facility in the Industrial Development Zone, which will be ready next year. It will be unmatched in terms of technology, and we are hoping to partner with existing post-production houses so that the business never stops!

Diedre Rosenberg Producer, Director and Writer

Script Writers

Y

ou’ve got to come to markets it’s the place to be. It’s where the whole industry meets. The value of markets is that the industry comes together, and it is about networking and building up on those ongoing networks. At DFM, you have the space and the time and to meet people and that’s what everybody’s doing... So it’s where connections are made!

I

loved the women’s networking event.

I actually met someone from Cape Town - and I’m from Cape Town! Even meeting people from our hometown in this environment is really useful because we’re all focused on work! It’s helped me with my story, because I met the right person, who’s a script editor and can help me with the dead-end in my character... So that’s amazing!

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DURBAN FILMMART 2018

THE EASTERN CAPE IS OPEN FOR FILM BUSINESS! At a lively and entertaining lunch hosted by the Eastern Cape Department of Arts and Culture, guests were implored to come and film in the Eastern Cape – a province that is rich in cultural diversity, natural splendour, and abundant film talent.

All images © Sizwe Nduzulwana

HOW TO UNLOCK $2-BILLION A

new study examines the growth potential of the continent’s film industries and looks at upping box office revenues in Africa.

If Africa were to follow China’s example and broadly invest in cinema infrastructure, it could achieve annual box office revenues of $1.5 to $2-billion; with Nigeria and South Africa accounting for as much as $500-million. This is one of the main findings of the 2018 Framing the Shot: Key Trends In African Film report, which was conducted by Founder of 234 Media, Dayo Ogunyemi, in partnership with the Goethe-Institut and with support from the German Federal Foreign Office.

Launched at the Durban International Film Festival 2018, the study aims to fill the substantial gap in information and analysis about the fast-changing film industry in sub-Saharan Africa.

Framing the Shot particularly recommends improving access to finance, incubating film-specific business skills and capacity and developing effective distribution. Says the report’s author, Dayo Ogunyemi: “For too long, Africa’s film industry has been the subject of

many anecdotes and much supposition; the absence of credible, comprehensive data has led to wasted resources and lost opportunities which the continent can scarcely afford […] If African countries do not plan, invest and collaborate today, the trade deficit around content consumption will widen and the opportunity to shape the tastes and preferences of future generations of Africans will be lost.”

The Framing the Shot report catalogues and analyses the major opportunities and challenges that Africa’s film industries face through four substantive parts: • A survey of African filmmakers and general analysis of the African film landscape • Country studies of Africa’s two largest film industries: Nigeria and South Africa • Case studies of 3 African films from development through completion; a comparison of the commercial performance of an African and a European film; as well as lessons drawn from the diaspora — specifically in the context of African-American film.

• Conclusions on African film in the global industry context and recommendations

on priority steps to address the main opportunities and challenges identified Says Noemie Njangiru, Culture and Development Coordinator at the GoetheInstitut: “There are two reasons behind our investment in reliable information about the continent’s film industries: Firstly, the sector has a huge potential to contribute to economic growth and create employment opportunities. Secondly, we believe that strong film industries and better conditions for pan-African collaborations can contribute to undoing stereotypes, particularly in the context of the Western gaze on ‘Africa’.”

Taking a closer look at the South African film industry, the report suggests extending the current “generous incentive system that is primarily centred on

production […] to the post-completion value-chain — sales, marketing and distribution.” The study continues: “For filmmakers and audiences that continue to endure the historical disadvantages meted out under apartheid, more must be done. Cinema infrastructure must be extended to underserved townships in order to unlock latent spending power on film. One of the most promising ways in which South Africa can do this is to support entrepreneurs and SMEs to close the gaps in distribution capacity and the deficits in exhibition infrastructure in townships and rural areas.”

Browse the full report online on www. flipsnack.com/goethejoburg/framing-theshot-key-trends-in-african-film.html

FOR TOO LONG, AFRICA’S FILM INDUSTRY HAS BEEN THE SUBJECT OF MANY ANECDOTES AND MUCH SUPPOSITION; THE ABSENCE OF CREDIBLE, COMPREHENSIVE DATA HAS LED TO WASTED RESOURCES AND LOST OPPORTUNITIES WHICH THE CONTINENT CAN SCARCELY AFFORD.

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DURBAN FILMMART 2018

DISTRIBUTION:

DEBUNKING THE MYTHS A

n enlightening panel hosted by representatives of Indigenous Film Distribution, AAA Entertainment and Ster-Kinekor sought to debunk the many myths circulating around film distribution, or the “exploitation cycle.” While the word “exploitation” carries negative connotations, panel chair Thandeka Zwana, quipped: “It’s not a bad thing in this case, without exploitation, you’re not going to make any money.”

The following commonly-held myths were busted over the course of the onehour session:

Local exhibitors don’t support the local filmmakers

Helen Kuhn, of Indigenous Film Distribution, and Nicky Scheepers, of Ster Kinekor, spoke extensively on this topic. While it might seem as though exhibitors take local films off the circuit quicker than international releases, this is not the result of a conspiracy. Instead,

it is simply the result of attendance figures, which are tallied weekly. Often, exhibitors actually attempt to keep local films on screens through screen sharing arrangements.

Additionally, Ster Kinekor has established bands for film rental fees – ensuring that smaller, local films are not charged at the same amount as international releases (or, for that matter, local mass hits such as Keeping Up With The Kandasamys).

The commissions charged by sales agents and distributors are excessive

Both sales agents and distributors charge between 20% and 30% commission on the film’s profit. A South African film typically sells for between $1 000-$10 000 internationally, with most falling at the lower end of this scale.

Sales agents are required to promote the film and make deals, as well as having overheads including staff, offices, and so

forth. As such, while 30% might seem high, they are often making around R5 000 on a deal! Moreover, while sales agents are currently subsidised by the dti, and thus can travel internationally to film markets at no added cost, this might soon come to an end – at which point, they will have to start charging costs on top of the commission, as is common for international sales agents. This is simply business, as this is not a non-profit sector! Distributors, too, take massive risks and do not make any money at all if a movie ‘flops’. Therefore, the commission simply covers their costs and allows them to continue operating.

VPF costs disadvantage local filmmakers

VPF costs are the result of international agreements, and money borrowed from the ArtsAlliance. Exhibitors took it upon themselves to upgrade to DCP instead of 35mm – which, in the long run, is reducing filmmakers’ costs – and

had to borrow money to do so. Content creators arranged to contribute with the costs; VPF fees are simply covering that. The agreements come to an end in December 2019, which will mean that VPF costs will very possibly fall away in the near future. Until then, they are an unfortunate reality but do not mean to disadvantage local creatives.

Get multiple distribution deals

You should only enter one agreement with a sales agent, who will then facilitate a deal with one distributor. This allows for clarity at international markets, and ensures there is a limited team negotiating on your behalf. Downstream deals with VOD services and exhibitors should not be exclusive, but the deals with your sales agent and distributor ought to be monogamous. Scheepers then stressed the importance of never entering an exclusive agreement with an exhibitor, as no South African exhibitor has a significant enough footprint.

SPARK YOUR CREATIVITY These were some of the key takeaways from the session:

Julie Hall (left) and Bingiwe Selane (right)

J

ulie Hall, a screenwriter, script editor, lecturer and co-facilitator of the NFVF Spark course, hosted an informative, intimate session focused on the key aspects of screenwriting. Hall encouraged all members of the film industry to apply for the Spark course. She was assisted by co-panellist, Bongiwe Selane, producer behind the wildly successful Happiness Is a Four-letter Word.

• Screenwriting is something that all of the members of the film industry should know about. It’s not simply something that is limited to the writing team. All of the professionals working on a film, such as costume directors, make-up artists, editors and so forth, need to be intimately familiar with both the story and the script, and have a clear notion of how to communicate their message.

• Think about the genre of your film and the target audience. Hall pointed out that people choose films based on their mood and preferences, and established genres play into this. Even critically acclaimed films, such as Tokoloshe and Five Fingers for Marseilles, can operate within established conventions. Selane added that too many inexperienced South African filmmakers talk about making a film that’s “for everyone” – when no such thing exists. Understanding your target audience and creating a film that fits into their preferred genres is vital for commercial success.

• Due to the need for films to find commercial success, Hall added that filmmakers and screenwriters must

see themselves as business people, and not merely as creatives. This involves learning the conventions of the business side of the industry. The five-month long Spark course devotes a significant amount of attention to developing its participants’ business acumen and skills.

• Employing a script editor can greatly improve your content, and writers must try not to feel overly protective over their scripts. Both Selane and Hall pointed out that a film will change from the script to the table read and may change once again in the editing phase; in fact, there is no such thing as a “locked-in” script. As such, there is no reason to be overly sensitive about edits or changes; so long as the core message – or beat – of the film is being communicated. Here, it is vital for all the cast and crew to be familiar with that message, and this is where the importance of technical training comes in.

• It is vital to think visually when screenwriting, instead of in traditional prose. This is a hugely challenging technique to learn, as it requires a writer to learn to think in pictures rather than words. “Screenwriting is probably the hardest form of writing,” said Hall, because there is

no way to communicate anything unless it’s shown on screen. “Real but unusual” is the mantra of the Spark course. Hall communicated the importance of sticking to the authenticity of the story, but attempting to surprise the viewer through the images and situations shown on screen. Too often, she said, novice screenwriters stick to clichés instead of thinking outside the box and presenting their audiences with exciting, new images or scenarios.

THIS IS A HUGELY CHALLENGING TECHNIQUE TO LEARN, AS IT REQUIRES A WRITER TO LEARN TO THINK IN PICTURES RATHER THAN WORDS. “SCREENWRITING IS PROBABLY THE HARDEST FORM OF WRITING,” SAID HALL, BECAUSE THERE IS NO WAY TO COMMUNICATE ANYTHING UNLESS IT’S SHOWN ON SCREEN. “REAL BUT UNUSUAL” IS THE MANTRA OF THE SPARK COURSE.

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DURBAN FILMMART 2018

SEEN ON SOCIAL #DFM2018

Monica Rorvik | @Moni_R Great news @nfvfsa @IDC signing ceremony R6 million features will now be 100% financed in Emerging w @the_dti rebate once #NFVF approved then projects go to green light committee where commercial viability will b tested @DIFFest @durbanfilmmart @kwazulufilm @Wesgro Thembisa Mdoda | @tembisa Good morning from the Baby Mamas...we can’t wait to see you all at the premiere later at @DIFFest!!! #BabyMamasFilm Kymon | @kymon88 To think I’ve had this model in my head for years. Then drafted it.

Then heard about #microcontent @durbanfilmmart I’m on the right track!

27 likes | @durbanfilmmart

162 likes | @francescavarriemichel

22 likes | @durbanfilmmart

Zimkhitha | @zimkhithaz The DTI announcing the reviewed incentives for film and tv #DIFF2018 @nfvfsa The Callsheet | @TheCallsheetSA Minister Rob Davies outlines revisions and improvements to SA’s film incentive schemes, especially for emerging black filmmakers. @durbanfilmmart #DFM2018 @the_dti NFVF | @nfvfsa

@enhlecreativesphotography

13 likes | @billyseitshiro

1,259 likes | @bellanaijaonline

There’s a challenge to understand what genre you are working in.

– Julie Hall #NFVF #DIFF2018

SOCIAL MEDIA @durbanfilmmart @durbanfilmmart @DIFFest @Durban.Filmmart.Africa @DurbanInternationalFilmFestival

@enhlecreativesphotography

7 likes | @durbanfilmmart

@enhlecreativesphotography

#DFM2018 | #DIFF2018

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