CONTENTSCONTENTS Page 4 - cpa sponsors loerie awards Page 6 - best of the best to judge loeries
Page 30 - jobs
Page 20 - call for entries for the 7th annual saftas
Page 32 - opportunities
Page 7 - james hurman to speak at loeries seminar
Page 21- tcff’s opening film is big boys gone bananas
Page 8 - 9 - ididthatad’s loeries predictions
Page 22- diff and dfm a success
Page 10 - nu metro distributes snare on new platform
Page 24 - new ad explores dualities of life and art
Page 11 - online news highlights Page 12-13 - dredd 3d: a crowning achievement for sa film Page 17- rudi riek on shooting in cape town Page 18-19- supa strikas
Page 34 - pollen make spot for one show interactive Page 35 - boeremeisie goes to idfa summer school
Pg- 28 Love Bombs
The curtains are opening once again for the highly successful Love Bombs Film Festival. In early August three locally produced short ﬁlms premiered to a sold out crowd of 1300 movie goers, over 8 days, at the Labia on Orange, Cape Town.
Pg 18 - Supa Strikas
Page 25 - russ malkin on filming adventures Page 26 - the latest news from mipcom Page 27 - creative film locations at the cticc Page 28 - it’s an encore for the love bombs
• PUBLISHER: Film & Event Media
Ahead of the release of 13 new half hour episodes in November 2012, The Callsheet interviewed Supa Strikas animated television show director Bruce Legg.The new episodes will be screened globally along with rebroadcasts of the existing 26 episodes on channels including Disney Asia, Nickelodeon India, Star Sports Asia and SABC locally.
Pg 7 - James Hurman
The Loerie Awards has confirmed James Hurman for the International Seminar of Creativity. James’s recent book, The Case for Creativity, proves the link between creativity and effectiveness using research conducted over many years, and is a mustread for everyone in the brand communication industry
• PHYSICAL ADDRESS: 57 2nd Ave, Harfield Village, Claremont, Cape Town • PHONE: +27 21 674 0646 • PUBLISHER: Lance Gibbons (email@example.com)
Pg - 20 Zama Mkosi
• ADVERTISING EXECUTIVE: Makkie Slamong (firstname.lastname@example.org) • HEAD OF DESIGN: Zaid Hendricks (email@example.com) 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.
National Film and Video Foundation (NFVF) is calling on all local production companies to submit their entries for the 7th annual South African Film and Television Awards (SAFTAs). The entries opened on Monday the 20August 2012 and will close on 20 September 2012 at 16h00.
The Callsheet | 03
CPA SPONSORS LOERIE AWARDS The Commercial Producers Association is a proud sponsor of the 34th Annual Loerie Awards which takes place in Cape Town on 23rd September.
he CPA has consolidated its partnership with the Loerie Awards through participation on the company’s Board as well as a sponsorship of the TV, Film & Video Communication Crafts which, under the chairmanship of Tony Granger, Global Chief Creative Officer at Y&R, New York, seeks to recognize creative excellence in directing, cinematography, editing, art direction, animation and special visual effects and the important contribution of these disciplines to the creative process.
tising continue and spread to incorporate advertising and branded content in new broadcast media. Clients want high production values and a quality finished product to effectively market their brands. A significant development over the last couple of years has been the rising popularity and accessibility of digital filmmaking. The new technology has seen the commercial sectors love affair with film come to a (sad) end but the speed at which the change has happened has created many new problems for which solutions must urgently be found. The CPA has been working with gear rental companies, digital crew, edit houses, facilities, agencies and insurers to
“The CPA welcomes the renewed acknowledgement of the role played by production companies in the creation of award winning advertising.” The CPA welcomes the renewed acknowledgement of the role played by production companies in the creation of award winning advertising. The Loerie Awards and the CPA’s AGM which are held in the same week offer an opportunity for reflection on the commercial production sector over the last year. It’s no secret that times have recently been tough however although the industry remains under pressure it is very robust. Recent international studies have confirmed that television commercials offer a better return on investment than any other form of advertising and thus, despite the many challenges, the CPA expects to see the demand for television adver-
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begin to draft protocols which set out the roles and responsibilities of the various parties to try to ensure that the new technologies are seamlessly integrated into an efficient workflow and the finished product safely stored for future use. The CPA has also increased its focus on research in the last year. One of the best ways to grow the sector is through analysis of market intelligence which maps how the industry works and where it is potentially compromised. The CPA’s eighth consecutive annual survey is currently underway and the Association also undertook an extensive cost comparison exercise late last year to ascertain areas of spend in which South Africa is
lagging behind other film production centres. The CPA hopes to use this information to begin a discussion with our suppliers on the measures necessary to boost South Africa’s market share of the valuable but highly competitive international service industry. The information also provides a benchmark for costs in the local industry which continue to rise at unsustainable levels. On a more practical level, the last year has seen a significant partnership develop between the CPA, the Stills Producers Association (SAASP), the City of Cape Town and the Western Cape Provincial Government in a serious bid to resolve many of the location issues which have plagued the Mother City for the last five years. The CPA & SAASP hired in a full time unit manager to assist members who experienced difficulties in accessing locations. The results have been outstanding in that over 90 location interventions (with an estimated production value of R35 million) were staged over season in a collaboration which has seen the two Associations working hand in hand with the City & Province to ensure that filming could go ahead in all instances. The information gleaned from these real life scenarios has enabled the associations to formulate a far better understanding of where the challenges lie and how best to deal with them. The CPA & SAASP aim to repeat this initiative over the next season as there is still work to be done however there is a renewed confidence that real progress is being made and that long term solutions may well be in place within the next 12 months.
A further challenge for the service sector has been the change to the procedures involved in applying for visas implemented without notice by the Department of Home Affairs late last year. The new procedure is problematic for the industry due to lengthy processing periods which do not work well for a business which operates at high speed and on short notice. Clients perceive such barriers to entry as a serious deterrent which causes them look for alternative locations. To address this issue, the CPA retained the services of one of South Africa’s top immigration attorneys who has made representations to Home Affairs on the Association’s behalf. The situation is complex however significant progress has been made in recent weeks and the CPA is confident that a workable solution will be in place before season starts up in October 2012. The CPA has also recently announced the launch of its new on-line newsletter - HYPE - which will be sent out monthly to subscribing production companies, suppliers and clients. The Association hopes that HYPE will facilitate a better understanding of what the CPA and its members are all about and also highlight important industry issues that may be of interest to the wider advertising and production communities. The CPA has made significant progress over the last year and looks forward to the many interesting challenges yet to come. To find out more about the CPA, please visit the website – www.cpasa.tv
T h e Ca lls h e et | 05
BEST OF THE BEST TO JUDGE LOERIES Vanessa Pearson
This year, the Loeries Judging migrates to Cape Town’s iconic City Hall and becomes part of Creative Week CT from 15-23 of September. The week includes a seminar on Friday 21 September 2012, featuring insights from a selection of top global brand leaders – including the Loeries four international jury chairmen.
he judges for this year’s Loerie Awards are compriised of the best minds in advertising and production. See below for the complete list of this year’s judging panels. TV & Radio Communication Panel Chairman: Tony Granger,
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Global Chief Creative Officer, Y&R New York Brett Morris, Chief Creative Officer, Draftfcb Ahmed Tilly, Executive Creative Director, Black River FC Alistair King, Group Chief Creative, King James Catherine Ireland, Creative Director, Amplified Chris Gotz, Executive Creative Director, Ogilvy Justin Gomes, Executive Creative Director, FoxP2 Kamogelo Sesing, Creative Group Head, TBWA\Hunt\ Lascaris Michael Middleton, Director, Jump Nkanyezi Masango, Creative Director, Y&R Cape Town Pepe Marais, Chief Creative Officer, Joe Public Ree Treweek, Illustrator/Director, Shy the Sun Rob McLennan, Executive Creative Director, Net#work BBDO Templar Wales, Strategic Director/MD, Gloo Digital Design TV Crafts Panel Chairman: Tony Granger, Global Chief Creative Officer, Y&R New York Adam Livesey, Executive Creative Director, TBWA\ Hunt\Lascaris
Alan Irvin, Commercials Director, Picture Tree Brent Singer, Creative Director, Net#work BBDO Gareth Lessing, Founder & Executive Creative Director, The Nest Greg Gray, Commercials Director, Velocity Films Jannes Hendrikz, Owner and Film Director, Shy the Sun John Davenport, Executive Creative Director, IrelandDavenport Peter Pohorsky, Director, Plank Films Rob Schroder, Music Director, Rob Roy Music Slim, Director, Egg Films Teboho Mahlatsi, Writer/Director, The Bomb Vanessa Pearson, Executive Creative Director, Livebrave Internet, Mobile & Interactive Panel Co-Chairman: Clint Bryce, Group Chief Creative Officer, Quirk Co-Chairman: Matthew Ross, Executive Creative Director, PUNK, King James Joanne Reidy, Digital Designer Johann Schwella, Digital Producer, 140 BBDO Jon Mckenzie, Executive Creative Director, Native Kabelo Moshapalo, Cre-
ative Director, MESH/Draftfcb Mark Tomlinson, Executive Creative Director, HelloComputer Nicholas Wittenberg, Creative Director, Ogilvy Paul Tooze, Creative Director, Wireframe Studios Pete Case, Executive Creative Director, Gloo Digital Design Preston Thomas, Technical Director, Pixel Project Tony Granger is the chairman of both the TV & Radio Communication Panel and the TV Crafts Panel. Tony is the Global Chief Creative Officer at Y&R New York. Tony was born in South Africa. He started his career as an assistant art director at Grey, then left South Africa in 2000 and continued to work on breakthrough communication, including the legendary ‘Got Milk?!’ campaign. To date, Tony has won numerous industry awards including Y&R New York’s 2010 title for the most awarded agency in the US and the second most awarded agency worldwide. The Young & Rubicam global network has also been named Network of the Year by Dubai Lynx, Art Directors Club, London International Awards and EPICA. When asked about coming to Cape Town in September, Tony says, “I always look forward to coming home to South Africa. And every time I do, I am delighted by our industry’s people, culture and work.” Tony has also served as president of several international advertising juries including Cannes Lions and CLIOs.
James Hurman to speak at Loeries seminar
Cape Town City Hall
The Loerie Awards has confirmed James Hurman for the International Seminar of Creativity.
ames, author of The Case for Creativity, will take part in a panel discussion via Google Hangout during the seminar at Cape Town’s City Hall. He will be joined by two industry heavyweights – further information on these speakers will be available soon. Other confirmed speakers that are set to inspire the audience at City Hall, include the Loeries four international jury chairmen: Tony Granger (Y&R, New York), David Nobay (Droga5, Sydney), Chris Lee (Asylum, Singapore), Alex Schill (Serviceplan Group, Hamburg), plus John Hunt (TBWA\Worldwide) and Ceceila Wogan-Silva (Google USA). James’s recent book, The Case for Creativity, proves the link between creativity and effectiveness using research conducted over many years, and is a must-read for everyone in the brand communication industry. Case studies in the book prove that advertising which wins creative awards tends to be more effective than advertis-
ing in general; and that as advertising gets more creative, it gets more effective. The book highlights how consumers think better of companies and the products they produce, when those companies use more creative advertising. The book has been described by Jonathan Mildenhall, Vice President of Global Advertising Strategy and Creative Excellence at The Coca Cola Company, as “beautiful words of wisdom” – and it is this wisdom that James will be sharing during the International Seminar of Creativity. Going back to the beginning, James began life in advertising as the guy who fixed the computers. After making the leap from I.T. to strategic planning, he spent a decade trying to figure out how to do planning in a way that made creative work turn out better. He eventually became Head of Planning at Colenso BBDO in Auckland and during this time his planning department grew into one of the worlds most awarded, helping the agency get to 5th globally in terms of both creative and effectiveness awards. He recently had a stint at Ogilvy Shanghai as a planning partner, before re-
turning to the land down under to become MD of Y&R New Zealand. Before relocating from New Zealand to Shanghai to join O&M, Hurman was Head of Planning at Colenso BBDO Auckland for five years. During his time there, the agency won 21 Cannes Lions, including two integrated Lions and
can do some really brilliant work here; the kind of work that has a big impact on consumers. The benefit of very creative stuff is that it tends to do that.” Don’t miss the chance to hear James’s thoughts on how creativity impacts business success. The fullday seminar is open to everyone and tickets are
“James’s recent book, The Case for Creativity, proves the link between creativity and effectiveness using research conducted over many years” one of only six inaugural Creative Effectiveness Lions given out in 2011. Under his guidance, his agency also dominated in effectiveness, winning 41 local and international effectiveness awards for 19 different campaigns, and received Bests in Show at both the Asian Marketing Effectiveness Awards and New Zealand Effies. Ahead of his move to O&M Shanghai, James said, “Being here with Ogilvy in Shanghai is a real privilege and it’s a real buzz to be part of a place that is the center of attention of the whole world. My goal and hope is that we
just R500. Book your seat through the Loeries online ticketing system at www. theloerieawards.co.za. Tickets are exclusively for the seminar and do not include access to the award ceremonies or other official functions during Creative Week Cape Town. Seminar Details Date: Friday 21 September 2012 Start time: 08h30 sharp End time: 16h30 Registration: Thursday 12h00-21h00; Friday 07h0008h30 Standard tickets: R500 Student tickets: R150 The Callsheet | 07
IDIDTHATAD’S LOERIES PREDICTIONS Executive Creative Director At Tjdr Jhb VANESSA GIBSON Creative Director At Black River Fc TOMMY LE ROUX Associate Creative Director At Ogilvy Ct THOMAS FERREIRA Director At Groundglass This year the Loeries are only announcing finalists during Creative Week 17-20 September so our guest predictors are really working in the dark. We only know the Loeries have over 3,000 entries this year and no more than that. We’ll be providing updates as the finalists are announced and we’ll post the winners as soon as possible after the awards. And that’s not all! Yes, it’s true – the vivacious and unassuming Julie Maunder will be there throughout, keeping you updated on all the news – when it happens, as it happens. So follow us on Twitter (@ididthatad.com), Facebook (fb.ididthatad. com) and make sure you’re subscribed to the ididthatad newsletter. A huge thanks to Groundglass without who’s support this would not be possible.
Ididthatad Reveals the Loeries Predictions – courtesy of Groundglass
reative Week Cape Town just wouldn’t be the same if ididthatad didn’t kickstart start things with our own predictions of who’ll be walking on stage at the Loeries. For the second year running, we have assembled an intrepid team of guest predictors Check out their predictions right here (www. ididthatadpredictions.com).
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Let us know what you think – agree, disagree and tell us what you think is the best of the bunch!
TOM CULLINAN Nando’s Standing
WINGWING MDLULWA Executive Creative Director At Draftfcb
Comment: I have always felt that it’s important that the work that gets a country talking should get praised at award shows. I think it’s been a while since an ad has caused so much social and political buzz. Its strong African flavour, although contentious, should strengthen its case in rocking our local shindig.
SAB - Be The Coach
BRUCE ANDERSON Creative Director At Network Bbdo PETER KHOURY Executive Creative Director At Metropolitanrepublic
Comment: Definitely my campaign of the year. It demonstrates beautiful integration of what is not an advertising idea. It will be interesting to see how this puppy got skinned and entered into multiple categories, where it should also clean up. This is the work our industry should be doing and a campaign I wish I had done. Santam - Sir Sneaky Nando’s - Options Santam - Back at ya Comment: Okay, so I have bundled this lot together for obvious reasons. “Sir Sneaky” is clever and the simple flaws of human conditioning are demonstrated with such charm. The Nando’s spoof featuring their menu options was done with the typical wit and speed we have come to expect of the brand. I’d give it a gold. Then came the spoof of a spoof…. The “Back at ya” rebuttal done by Santam is sure to pick something up in the Direct and PR category. This little spat proves our industry has character and is competitive. We should reward the sharp and brave agencies and clients behind the work. Wimpy Braille Burger Comment: Warm and simple like buns straight from the oven! The entry is delivered with charm and smile as well. Who would have thought that a few sesame seeds could have such an impact.
VANESSA GIBSON SAB - Be The Coach What a compelling entry. McDonalds Jumping Castle
PREDICTIONS I hate this piece! It is so genius that i hate that i didn’t do it. So simple and so very clear and effective. Standard Bank - Joy of Jazz Those are some talented pigeons y’all. Very entertaining. Toyota Etios Tweets for Sweets Lovely to see this sort of stuff happening locally. Nandos Last Dictator Standing The feel-good hit of the summer. Santam/Nandos I think this will pick something up. Question is, which agency will it be? Nando’s - Options Santam - Back at ya QINGQILE MDLULWA Nando’s - Last Dictator It’s not very often that humorous socio-political commentary meets a commercial message and produce a hit. Mercedes-Benz Attention Assist radio campaign.Superbly written, produced and performed. Frank.net -
Radio Campaign Completely unexpected, and dare I say, funny.
SAB Carling Black Label Be The Coach Innovation, Zamalek, soccer, Orlando Pirates. Wimpy Braille Burger Clever use of the product. McDonalds Kids Birthday Parties The campaign resonated with me, I have kids. They terrify me. Mercedes-Benz Blind Spot Assist (the trian-
gle knows?)Great practical demonstration of the feature, in situ. Perfect. Land Rover Defender Lions/Bufallo/Bushbaby Vintage Land Rover stuff or at least what I think the brand is about. TOMMY LE ROUX MK IS MK is a beautifully crafted integrated campaign that sucks you in and demonstrates that when you have a great idea lots of hard work always pays off. To paraphrase one of the titles in the videos, I hope MK is will bring home the bacon. Wimpy Braille Burger And while we’re on the subject of all things edible and greasy, Wimpy Braille Burger is an outstanding piece of work that I wish I’d done. It makes me jealous. It makes me sympathize with the visually impaired. It makes me hungry. iFix
A really interesting idea that is entertaining and useful too. And all without beaches and bikinis. No small feat for a calendar. YouTube Interventions “A semi-naked fat guy dances to The Black Eyed Peas and saves some rhinos at the same time.” I wish I could have been in the first review for this one. Turns out it’s actually a very smart idea that insightfully taps into people’s frivolous online activities and reminds them that they can do so much more. Legal Disclaimer: this one is from Ogilvy Cape Town – the agency I work at. Mercedes-Benz The Triangle Knows It’s hard to compete with the Germans and Swedes
when it comes to building something interesting to demonstrate a potentially boring automotive feature. But this idea manages to do just that. Another envy inducing idea. BRUCE ANDERSON Enterprise Mother’s Favourite
think the team should polish their shoes and congratulate themselves on the step change they’ve achieved with regards to sponsorship platforms in general. Wimpy ‘Braille Burgers’
Toyota Etios Smile o’ Clock
Comment: Even though this campaign came out of my own agency, this piece really is reflective of where the world is right now. Social upliftment initiatives and campaigns that start a meaningful dialogue between a brand and the people out there are yielding results like never before.
Antalis Paper loves design
MNET ‘MK IS’
Marmite Don’t be afraid of the dark
Comment: Shot on a shoestring budget (I presume), this fresh campaign really does take the energy and essence of a brand and translates it into an incredible montage of footage that you just can’t stop looking at.
Mercedes-Benz Attention Assist Organ Donor Foundation – Leila
Landrover Defender Night eyes SAB The coach Wimpy Braille Menu Flight Centre – Students Comments: I thought it would be easy picking ten after the results from Cannes, D&AD, One Show etc. But there seems to be a strong variety of work across all categories. I picked the work that I’m sure most of us would like in our books. PETER KHOURY Carling Black Label ‘Be the Coach’ Comment: It’s done the rounds at almost every international award show this year, and for me this innovative, integrated campaign is even more appealing from a local perspective. I
Enterprise ‘Mother’s Favourites Print & Outdoor Campaign’ Comment: The first time I got a glimpse of this campaign, I loved it. Smart, innovative and really funny. I have to admit, I wish I had done it. It will definitely pick up a few bits of metal. Hopefully it goes all the way. Nando’s ‘The Last Dictator’ Comment: Controversial, irreverent and highly entertaining. It could only be Nando’s. I thought this piece would do better internationally, but on a local level, this one is bound to pick up something. Unless Mugabe has anything to say about it.
The Callsheet | 09
NU METRO DISTRIBUTES SNARE ON NEW PLATFORM Nu Metro Cinemas and Nu Metro Films have pleasure in announcing a unique, innovative and customised release for the local film, Snare - a gripping adventure thriller set against the backdrop of the Rhino poaching crisis,
riki Mitchell, General Manager of Nu Metro Films says, “We realised that with this film it’s important to reach audiences who are committed to the cause and have compassion and empathy for the national tragedy that is happening. To that end, together with the producers, we are committed to finding partners and sponsors to bring SNARE to their members, subscribers and customers whilst also raising much needed funds for RAGE (Rhino Action Group Effort). RAGE
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supports the men and women on the frontline who risk their lives daily against the ruthless and heavily-armed criminal gangs who run the illegal rhino horn trade. Director Diony Kempen hopes that SNARE in its own way can make a difference, “I think the film shows the awful futility of what’s happening. As South Africans this is a national scourge being played on an international level. And one way of tackling it is through education. As long as people believe the horn will cure something there will be a demand. So educate – not only here but also abroad.” Although Snare is primarily an adventure movie designed as entertainment Kempen would like the film to make a difference, Snare tells the story of local game farmer Basie van Tonder, who strikes a shady
deal with Armand, a ruthless arms dealer with interests in the illegal rhino horn trade. To sweeten a contract with an Asian customer, he needs forty horns in four weeks. A fresh crop of gruesome Rhino killings is set in motion, but as the impossible deadline approaches, Basie turns to Spoon, a traditional hunter, for help and in desperation he frames a stranger who came to the bushveld hoping to find a piece of heaven. Basie’s web of deceit and slaughter unravels as those who really care begin to fight back. In South Africa a Rhino is killed every twenty-one hours. This film is a response to this crisis – but it’s not a dogmatic environmental plea for help. SNARE is thrilling entertainment that will make audiences think about the genocide of one
of Africa’s greatest species. Director Diony Kempen together with producers Andrew Worsdale and Carmel Nayanah have always hoped that SNARE would make a difference in the fight against Rhino poaching. “It was always our intention to create an entertainment that would allow viewers into this clandestine world and also to expose the stupidity and greed behind this mindless slaughter,” says Worsdale, RAGE does not directly carry out work on the ground, but supports those who do. When contributions are received, whether monetary or in kind (or expertise), RAGE’s committee of volunteer experts (ecologists, game reserve owners, members of government, media professionals, economists etc.) collectively decides where they can best be utilised.
ONLINE NEWS HIGHLIGHTS Jesse-Leigh Elford directs Elvis Blue’s Lifeline Music Video Elvis Blue, our bright star Idols-winner has released his new album Journey with the single Lifeline, accompanied with a beautiful music video directed by renowned SA beauty and fashion photographer, Jesse-Leigh Elford. The music video for the new single was shot on stunning location in Grabouw with Silver Lining Pictures’ supportive production team. Under the guidance of director Jesse-Leigh Elford and the extraordinary performance of Elvis Blue, the DOP, Grant Appleton, and Steadicam Operator, Michael Carstensen, captured the most ravishing and enchanting imagery with a combination of breathtaking landscape and passionate performance that make up an unique music video for what is anticipated to be one of South Africa’s most celebrated hits of the year. The excellent camera work compliments the natural performance of the artist and the amazing backdrop. Jesse-Leigh Elford presents his astonishing talent in this production, proving that simplicity can brilliantly illustrate the intense and heartfelt undertone of Elvis Blue’s song Lifeline. The video is shot in a single take
that communicates the artist’s compassion and life experiences, which speaks to an audience through unforgettable visuals and melodies, while suggesting hope and faith. Elford’s interpretation perfectly supports the genuine tones and meaning of the song, embracing the rough weather and scenery of the location that add to the significance and feeling. The aesthetic decision to release the music video in black and white attach a timelessness to the song that can be perceived in the characteristics of the song and the artist’s kind personality that reaches his audience. Executive Producer Renier Ridgeway, who aspires to always recommend the right director for the right job, says “Understanding Jesse’s production background and his fanatical love for cinema is essential to understanding his creative process: every logistical solution is explored alongside any creative impulse; significant time and energy is spent in preparation, hand-picking the right team as he considers each individual’s input crucial; he is militant about the details – from initiation to completion”. With this music video for Elvis Blue as his debut as a director, Elford offers a promising glimpse of the
Jesse-Leigh Elford & Elvis Blue
impressive directing work that is still to come. Creative Vision unleashes the power of stereoscopic 3D animation To coincide with the opening of “The Amazing Spider-Man 3D” at the IL Grande cinema Montecasino, Skoobs wanted to make an unforgettable impression on the audience. Creative Vision’s Brenton Green was chosen by Marisa Torrani to conceptualize a 45 second S3D cinema ad for Skoobs that would capture the uniqueness of the ultramodern book store. “The incredible immersive
power of S3D was the perfect way for me to take the moving image to another level by manipulating the enhanced perception of depth, and make the audience feel like they have stepped into the ad.” says Brenton. The allure of an extra dimension has rejuvenated the cinema experience and its S3D titles are breaking all box office records. Internationally, television broadcasters are rapidly gearing up for S3D. We see the world in 3D, naturally we would expect our entertainment in 3D too. The ad is running now at selected Nu-Metro 3D cinemas.
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DREDD 3D: A CRowning AChiEvEmEnt foR SA fiLm
Dredd © Joe Alblas All goes quiet on Sound Stage 1 at the newly built Cape Town Film Studios. The scene is lit, the extras and supporting cast members sport tattered rags and carry heavy machine-guns.
he First Assistant Director calls action and then, the low gruff voice of Judge Dredd echoes through the room. “Put down your weapons, or you will be forced to do so.” For the first time I realize I’m part of something special. It’s November 2010 and it marks South Africa’s first foray in to 3D film-
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making, and I’ve been tasked with shooting the behind the scenes. It seems a long time ago now, and so much has happened in the interim, but this September the world will meet the new and improved Judge Dredd and, in many ways, they have our local industry to thank. The origins of the reboot belong to producer Andrew MacDonald (Trainspotting) and screenwriter Alex Garland (28 Days Later). And, according to Michael Murphy (Dredd co-producer and head of Kalahari Pictures), their reasons for bringing the
project to South Africa are simple. “Sharlto Copley met Andrew Macdonald socially and Andrew was impressed with District 9. Sharlto introduced Andrew to me, and that’s where it all started.” And so it was that due to the success of D-9, UK based Film Company DNA Films decided that South Africa would make perfect sense as the venue for the production. Michael reaffirms why in saying that, “D-9 is the best example of a larger fx movie utilizing mainly SA cast and crew, creating what looks like a $100million dollar movie, which costs a fraction of that. Most larger studio movies that come to SA bring most of their department heads from the US or UK. On D-9 and Dredd, the shooting crew and cast were mainly South African. South Africa is not just a place to find lower shooting costs, but it brings first-rate talent to the party.” This was no more apparent than on Dredd where many of the key roles were entrusted to local department heads. These included, “Diana Cilliers (Costume Designer), Max Poolman (Special Effects), Rob Carlisle (Fabrication and Makeup FX), Alex Wheeler (Fabrication - Dredd’s bike), Meg Tanner (Makeup), Emelia Roux and Christophe Dahlberg (Art Directors), Grant Hulley (Stunt Supervisor), Franz Spilhouse (Stunt Coordinator), Denton Douglas (Casting Director), Brendan Smithers (Construction Supervisor), Rob Fisher (Key Grip) and hundreds of other SA crew.” However, none of the above, as well as most of the international crew that came to South Africa to shoot the film, had ever worked on a 3D project before. The film had an estimated $45 million dollar budget and required set building, location shooting and had to be shot in 3D to meet its competitors on an open playing field. The
latter adds a hefty amount of time and monetary restrictions to any budget, especially when you consider that every 3D fantasy film that had been made up to that point cost at least double that amount. But everyone was up to the challenge, and for the local crew it meant a once in a lifetime opportunity to learn the world of 3D filmmaking and in the process, break a lot of the conventional rules. Leading the pack in the camera department was Academy Award winner Anthony Dod Mantle (Slumdog Millionaire). He was accompanied by other Oscar winners Michael O Connor (Best Costume – The Duchess), Michelle Day and Mark Digby (Best Production Design – Slumdog Millionaire). But it was ADM’s task of bringing the project to 3D reality that was of paramount importance as he went up against the odds, blazing a proverbial trail, in an attempt to explore 3D filmmaking in a deeper more visceral way. He planned to use 3D camera technology like never before, and this presented new challenges that everyone met head on. This was no easy task, considering almost every crewmember was learning as they went along, not to mention their working in a newly built studio complex that wasn’t entirely ready for a 3D production. Michael recollects, “there were plenty of teething problems in the beginning, but we got through them. However, I’ve never had such a luxurious place to work. Having everything contained at a studio – all the workshops - construction, fx, fabrication, wardrobe, makeup fx, and weapons right next to four brand new, clean and modern sound stages made production much more manageable than it would have been otherwise.”
DREDD 3D For more than 3 months the crew called CTFS home, and it was a welcome change having mostly one place to travel to every day rather than multiple treks into the vast expanse of the Western Cape, which is common practice for our local industry. The studios were fully utilized, which wasn’t the initial intention, but as the production went in to full swing more space was needed thus the studios became a movie making hub like we’ve never seen before. But of all the crowning achievements Dredd came to bare, it was the internship program that demonstrated the importance of this project to our local industry. Michael describes the internship program best; “We decided on Dredd that we needed to be more aggressive with our approach to interns than what generally takes place on larger productions in South Africa. We had the resources to give a valuable opportunity to filmmakers who were at various stages of their careers.” With the help of F.I.L.M and the Cape Film Commission interns were placed in almost all of the departments, but more importantly in the departments they showed genuine interest in. Michael continues saying that, “it took effort, but we monitored these young filmmakers throughout the production to make sure that their experience was productive and worthwhile. On the next feature film we’ll have a full time individual on the set whose sole purpose is to make sure no training opportunity is missed and that the interns are not neglected.” As Michael mentioned, internship programs are common practice on large projects that come to SA but, this was a 3D project and it wasn’t only important for existing crewmembers to be educated in the ways of making a 3D film but also to
Dredd © Joe Alblas ensure the future growth of the filmmaking medium in SA. “Because Dredd was the first feature film to shoot in 3D in South Africa, and experienced 3D technicians were nonexistent, we exploited the opportunity to have our local crew train and work along side some of the most expert 3D technicians in the world.” One of the areas of local filmmaking that is often neglected on student level, and even professionally, is the role of the producer. Michael took note of this and decided that Dredd was the perfect opportunity to grow these skill sets. “We hired two shadowing producers - Irfaan Fredericks and Brian Letlhabane, whose sole purpose was to work closely with the other Producers and myself to expand their knowledge of the filmmaking process on this scale.” Further training programs continued beyond the end of production with local camera operators, Siyabonga Jim, Naguib Fredericks and Georgia Court,
awarded an opportunity to learn the art of Steadicam by the creator himself, Garrett Brown. This solidified Dredd as both a technical and academic achievement we will continue to reap benefits from in the years to come. But, what of the film itself? Was all the hard work and effort behind the scenes going to deliver a successful film that fans would appreciate? The film wrapped principal photography at the end of February 2011 and was initially meant to arrive in cinemas during February 2012 but was subsequently delayed to September 2012. A smart move on the distributors part as it bypassed the blockbuster season allowing all the hype surrounding its competition to fizzle away. Online the film barely showed sign of existence, until recently. Events such as ComicCon 2012 brought the project into the limelight and to rave reviews. Michael has spent the past 6 months on the USA and watched the film with a test
audience in Los Angeles in June 2012 saying that, “it very well may be the best use of 3D that you’ve ever seen. It’s extremely good and absolutely beautiful. The audience response was 100% positive.” And though that may seem a bias opinion, numerous other critics who comment on its graphic nature and its loyalty to the subject matter, say just that. It isn’t your average comic book adaptation, and it has taken 3D to new depths. Most importantly, the film demonstrates how efficient and proficient South African film crews are in the making of a “big budget” film without actually having the big budget. The film is in fact a milestone achievement for our local industry. It shows we can meet 3D challenges head on and deliver and end result that can compete with the best in the world. Dredd 3D releases nationwide on September 28th 2012. Jasyn Howes The Callsheet | 13
ADSTREAM MAKES LIFE EASIER FOR PRODUCERS Mike Smit
Mike Smit Head of Adstream Africa. The benefits of using Adstream become obvious as you use the system. Adstream dramatically reduces the cost of copies as you will no longer need discs and tapes, or file conversions to email. Master files are stored in AdBank and available in various formats.
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dstream manages the distribution of ads to any publisher, broadcaster or station anywhere in the world. When you receive arb requests, let us know what you need, we thrive on solving your problems. If we cannot get your ad delivered digitally, we will make up what-
ever format you need, and arrange a courier. Just send us your campaign chase list and we’ll do the rest – giving the producer more time to focus on production. We have a team of professionals with years of experience in advertising. The right ad at the right place, on time, every time. Adstream is far more than a delivery company. We are media management specialists...streamlining the complete campaign process from creative development to broadcast/publication. Intuitive user tools allow for easy sharing and approvals of all digital file types, with options to download TV, Radio and Print files, in various formats. Adstream makes the distribution of television commercials to one or multiple stations
an easy online process. Imagine no paperwork, no couriers, less resources needed for checking, and the peace of mind your material will arrive at the station on time. And added to that, no more need to manage a pile of discs in a dusty dark room. After going through Adstream’s rigorous quality control check, commercials are delivered to television stations in broadcast quality digital files. You will receive alerts via email, or SMS, at various stages throughout the delivery process, including final delivery report that your commercial has arrived at its destination. All ads are automatically stored in our AdBank (online library) allowing for easy retrieval, including access to radio and print ads from the same campaign.
IDC rEaffIrmS ITS CommITmENT To ThE loCal moVIE SCENE The Industrial Development Corporation (IDC) has confirmed support for the film industry as one of its mediumterm goals, to help grow the production of local movies into a sustainable business.
t also hopes its funding will help to put South Africa on the movie makers’ map to attract more international film shoots. “One area that doesn’t get the attention it should is the development of locally produced films,” the IDC’s CEO Geoffrey Qhena said at its annual results presentation in September. In the financial year ending March 2012 the IDC invested R13.5 billion in various funding initiatives, of which just 4% went to the media and film industry. While it is not planning to raise that percentage, it does recognise that the media industry is suffering and needs all the support it can get. Many other sectors are also competing for its cash, with mining, agriculture, textiles and green energy initiatives taking priority since they create far more jobs. Yet developing a sustainable local film industry is definitely a target, said Qhena. But he cited audience apathy as a major problem. No matter how much money is thrown into the sector, it will not become sustainable unless cinemas give local films more
publicity and longer runs, and people actually bother to see the films. “We hope people will continue to go and see local productions because it lets our actors earn revenue and some of the supporting industries around that are able to thrive as a result of us growing this industry,” Qhena said. The IDC’s Media Business Unit has invested in the Long Walk to Freedom, a movie currently in production based on Nelson Mandela’s autobiography. Qhena hopes that when the film is released in 2013 or 2014 everybody will watch it and support the local industry. It also invested in SemiSoet in 2011, an Afrikaans rom-com that grossed more than R9 million at the box office, and helped to fund Zambezia, the first locally produced 3D animated feature film. The Unit also funded a pilot project of a digital cinema in Soweto to give townships access to digital media resources and open up new markets for film distributors. Since Cape Town is becoming a preferred destination for filmmakers, the Media Unit invested in the Cape Film Studio to increase its facilities and skills. Yet despite such investments, there has been no noticeable gain in long-term
job creation because films usually only generate temporary employment. Government support for the film industry wasn’t limited to the IDC, Qhena said. The National Film and Video Foundation and the Department of Trade and Industry were also involved in funding. “The level of support we provide I’d like to believe is playing a role, particularly for the feature films South Africa produces,” Qhena said. “The IDC has played quite a significant role as far as that is concerned, but other people have different views.” Now the IDC must engage with the industry and distributors in particular to see how best those South African stories could be told and showcased, he said. “We have very good feature films like Semi-Soet where the revenue was good, but the time it had to be showcased was very limited, which I believe discourages some producers,” he said. Cinemas needed to make more space for local productions to ensure they were given a proper chance, and to reduce the risk of the producers not seeing a return on their investments. The IDC also funds documentaries for television, Qhena added. Such investments had a knock-on effect by boosting the local cater-
ing, hotel, transportation and tourism industries, which also win more business when foreign films are shot here. The IDC’s annual report says South Africa has a vibrant and growing film industry that is gaining global recognition. Foreign producers are attracted by the country’s diverse locations, low production costs and favourable exchange rate, which can make it 40% cheaper to produce a film here than in Europe or the US, and 20% cheaper than in Australia. Foreign-made films that were shot here created an awareness of the country and may inspire other filmmakers to see South Africa as a desirable location. So the combination of foreignmade films and locally produced efforts were putting South Africa on the map as a desirable location, Qhena said. The IDC has committed to invest R102 billion over the next five years and is speeding up the approval process for deciding which projects will win grants. “We have increased our level of activity because this economy of ours needs increasing levels of activity to ensure jobs are created and are sustainable,” Qhena said. Lesley Stones
T h e Ca lls h e e t | 15
ONLINE NEWS HIGHLIGHTS Skate soccer doc Rollaball starts Kickstarter campaign Rollaball will tell the story of The Rolling Rockets, an inspiring team of Ghanaian polio survivors who are pioneering an extreme sport combination of skating and soccer. Coach Albert K. Frimpong explains, “The ﬁrst game of skate soccer was in Lagos, Nigeria, but it’s now spread throughout West Africa. We played our ﬁrst international game recently against Nigeria and are hoping to host an Africa Cup of Nations next year.” Big World Cinema’s Steven Markovitz is producing the documentary, which is currently crowdsourcing production funding via a 30-day campaign on Kickstarter, the world’s largest funding platform for creative projects. Steven co-founded Encoun-
ters, Africa’s most prestigious documentary festival; coproduced MTV’s Best African Movie 2010, Viva Riva!; and is producing the upcoming Jambula Tree, winner of the Arte Prize for Best Feature Film Project at Durban International Film Festival 2012. Shelley Barry, a ﬁlm director and disability rights activist, is associate producer. She asks, “Who decides which sports are played at the Paralympics and what criteria are used? Skate soccer is one of the most gripping sports I’ve ever seen, so it’s a shame that its inspiring athletes won’t be represented at the games, purely because until now the players haven’t had the resources available to campaign successfully for its inclusion. We want this documentary to help change that.” In the last week, Rolla-
ball’s vision has received high-proﬁle endorsements from the likes of AC Milan midﬁelder and Ghanaian Black Stars international Sulley Muntari; Disabled Peoples’ International; paralympian Anne Wafula Strike; The UN Special Rapporteur on Disability; World Cup Skateboarding; and South Africa’s Department of Women, Children and People With Disabilities. Rollaball received production funding from The National Film and Video Foundation of South Africa, won the Puma.Creative Catalyst Award in partnership with Channel 4 Britdoc Foundation in 2011, and was selected out of 571 entries for the prestigious Shefﬁeld Doc/Fest in 2012, but Steven says the current funding landscape means producers need to be more innovative than ever before.
“Kickstarter is revolutionizing the ﬁlm industry, because it allows the audience to take control of the commissioning process and fund what they want to watch.” Rollaball is being directed by Eddie Edwards, who also helmed the award-winning sports documentary The Fight, about South African boxing champion Andile Tshongolo. Eddie says, “When I ﬁrst met the team two years ago, I knew they were something special. These guys face massive challenges off the pitch, as polio is still stigmatized in Ghana, so many of them live on the streets and beg for a living. But despite all the odds, they’re incredible athletes who deserve to be stars. They have inspired something in me and I believe they’ll inspire many others. Both on and off the ﬁeld, their stories are legendary.”
Sales, Distribution & Production of Factual Content. Specialised in high quality non-fiction and independent films, our focus is on integrity, entertainment and customer service. Tel: +27 (0)21 712 74 92 Mobile: +27 (0)71 420 9113 Sherene@offthefence.com www.offthefence.com
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RUDI RIEK ON SHOOTING IN CAPE TOWN Rudi Riek, an independent consultant for CPA & SAASP, speaks to The Callsheet about the challenge of location filming in Cape Town, the successes in negotiationg with the city and the new film permits and tarriffs in the city. Rudi worked as a unit location manager for a decade before moving into consultancy.
he CPA and SAASP in 2011 employed me on an exclusive basis to act on their behalf with regards to locations related challenges in Cape Town. This was done because there where many challenges related to filming in our province that were not being addressed by the authorities tasked with this. Although my interventions where mostly limited to assisting companies paying for this service, it did have the result that all production companies now benefit from the changes we have requested. I am pleased to say that the locations project has been approved to continue throughout the 2012/2013 season. Some of the successes achieved this year as a direct result of the CPA & SAASP locations project are: 1. The blanket ban on filming on Blue flag beaches was lifted during the blue flag season 2. The R44 has been reopened to Filming 3. 98 individual interventions, in 25 cases the authorities were convinced to allow filming at the last minute thus allowing the productions to continue and generated an estimated R33 million rand revenue that could have been lost. 4. A good working relationship between our associations and the City of Cape Town as well as provincial authorities. One of the biggest improvements in relation to the City tariffs is the downward adjustment of the rates charged for filming at Cape
Town Stadium. If you recall, in the 2011/2012 tariffs, commercial producers where charged R4500 per hour and Long form where charged R15 000 per day. It is only because the CPA & SAASP placed tremendous pressure on the City, that they agreed to meet with us, (other industry bodies where also invited to this meeting) and at this meeting the stadium management agreed to reduce the tariffs for commercials in order to be equal to those of long form. The rates for long form where also divided into hourly rates as opposed to a standard daily rate, thus giving producers the opportunity to save should they only require the stadium for a couple of hours. When you add all the additional charges when filming at the stadium at night for instance, charges like pitch protection, lighting etc you are still going to end up paying upwards of R70 000 per day, but when you compare this to other stadiums of the same calibre across the Country like Durban or Johannesburg’s world cup stadiums, Cape town is still considerably cheaper. What is also important to note is that Cape Town stadium is the only one of these stadiums that guarantees you your booking. I was disappointed to see that Cape Town have registered the shape of their stadium as a trademark and will this season be charging a considerable fee should you use one of these registered angles. I believe it is opening the flood gates to a practice which could potentially make it impossibly expensive to film in the City. We have asked the City for an engagement on this in order to request that they waiver the fees for seeing the stadium in it’s entirety as we believe it is also in the City’s best interest to allow productions to show the exterior of the building to the world without having to pay
additionally for this. We must keep in mind that the City is still offering our industry the majority of it’s locations for free as opposed to many of the smaller surrounding municipalities. I know some people have argued recently that it is unfair that we are charged R179 per parking bay but you pay much less when you just pay
on ice for the interim as it seems there is discussion between the department Safety and Security and the Department Events, Tourism and Marketing as to whom is actually going to pay for this unit. We have requested answers on this topic and will be meeting with Executive Director for Tourism, Events and Marketing on Friday this week
“The City’s willingness to work with us and engage with us... has resulted in 98 interventions in this last season...” the parking marshal, I agree that the discrepancy needs to be explained properly to us and we have asked for an engagement with the parking officials within the City to explain this to us. I must add here that it is not just the film industry that is being charged this premium rate, but all parties wishing to hire dedicated parking bays including other events, construction etc. The rate was R170 per bay last year and has increased to R179 so it is not a significant increase year on year. The City’s willingness to work with us and engage with us on a regular basis about the multitude of challenges we face has resulted in 98 interventions I have had this last season, all of which had positive outcomes and in all of which the City was willing to see our side of the situation. There are several issues that still need attention but I am confident that from Terence and his team, to the new Director of Events for the City, Teral Cullen, to the new Executive Director for Tourism, Events and Marketing, Anton Groenewald, they are all committed to making Cape Town as film friendly as possible by constantly engaging and assisting when stumbling blocks occur. The Traffic Unit to my knowledge has been placed
to get clarity on this and other matters. I believe it is vitally important for this unit to be established as the current traffic force comes under increasing pressure every season to provide the services we require and in order to ensure that our City’s traffic department can keep up with the increasing demand from our industry and other major events taking place within the City such a unit needs to be established sooner rather than later. We have upcoming engagements with the City to discuss amongst other things: 1. The Bo Kaap 2. Filming in Darling street and surrounds 3. More improvements to the online permit system 4. Monthly locations forum meetings 5. Filming on the IRT bus routes 6. Changing the attitude some line departments have towards our industry It is not easy merge the needs and demands of the film industry with what government officials are allowed to do within their mandates, I believe the City’s film office as well as the high ranking officials that support them, have shown us this season that there is room for us to work together in making Cape Town Film Friendly. The Callsheet | 17
SUPA STRIKAS GOES GLOBAL Ahead of the release of 13 new half hour episodes in November 2012, The Callsheet interviewed Supa Strikas animated television show director Bruce Legg.
he new episodes will be screened globally along with rebroadcasts of the existing 26 episodes on channels including Disney Asia, Nickelodeon India, Star Sports Asia and SABC locally. CS: Could you tell me a little about the evolution of Supa Strikas from comic book to animated series? BL: We started the Supa Strikas comic series in South Africa in 2001 and began to grow it’s presence in Southern Africa, South and Central America, South East Asia and some European territories. The comic started as a rags-to-riches story about a kid from Soweto but as the brand spread and the TV show started to happen we evolved the storytelling to a more epic, adventure-oriented style. We were also lucky to have a headline sponsor with an appetite for revolutionary marketing so that helped take the story from print to screen! Today the comic and series work off each other a lot creatively. In the past we could select the best comics to turn into episodes, but now we write stories that will fit both formats. CS: Did you expect it to be such a massive global success? BL: We evolved the style of the story and characters to fit the workflow, production tools and TV format to the extent we had made a lot of changes. Going to TV was a big play because if it had failed we knew we would all be going home. The show was well received on SABC initially and then other, more cartoon-oriented broadcasters, like Disney SEA, started showing good viewership.
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Subsequently Star Sports Asia, Nickelodeon India, Al Jazeera, Air China and a number of free to air and cable broadcasters have picked it up. It’s been on in about 35 countries in 7 languages in the last 2 years. CS: How have you managed to get distribution in so many regions? BL: Two reasons: the comic distribution had established a massive presence and demand for the show in 15 countries so we had broadcasters who knew the brand and didn’t feel like they would be taking a huge risk with the show, and two, because Supa Strikas content is sponsored by brands like KFC and Caltex we were able to
offer a branded “trial” version of the show for free to broadcasters. This was the case with Disney SEA, who now buy the branded show ahead of production being complete. CS: What are the challenges of distributing to so many regions? BL: Currently we are doing a deal with Coca-Cola for a couple of East African countries where their brand is dropped into the backgrounds of the show. It’s a great way to offer value regionally while getting the Supa Strikas stories out there. For example in Central America we have the characters’ shirts branded Texaco, and Caltex in SEA. Otherwise it’s the usual practical chal-
lenges: dealing with multiple broadcasters with different requirements, working across different languages and times zones and in some cases running business entities in different countries with different legal and tax requirements. CS: You guys have really made branded content work for you – do you think this has only been possible because it fitted in with the world-building and context? BL: Overall Supa Strikas is a very robust product. In its current form all its components work well together, so I don’t think there’s any ONE thing that has made it a success (of course there is always plenty of room for improve
SUPA STRIKAS GOES GLOBAL
Bruce Legg © zaid hendricks ment!). We have a good mix of unique creative and business models AND we always endeavour to offer all parties value: if you’re a broadcaster or newspaper we will get you unique entertainment
benefit both the sponsors and the product and 2) production, because creating this type of product is very demanding - 860 minutes of animation so far, 30 pages of full colour comic a month – and we take pride in the fact
“In the past we could select the best comics to turn into episodes, but now we write stories that will fit both formats.” content to add to your offering; if you’re a sponsor we will get you better value than conventional advertising; if you’re a viewer or a reader we’ll get you awesome content at no cost to you; if you work on Supa Strikas you get to make something fun, unique and demanding! CS: What advice do you have for other projects looking to follow a similar model? BL: Certainly in the print space in South Africa others have tried a similar model with limited success. Two challenges: 1) developing and evolving the business relationships to
our product is high quality. So you need super-talented and dedicated people to make it possible. And the pay-off for them really is making something new and exciting each month to a very high standard. Sustaining that passion comes from the individual and from endeavouring to make the product fresh every time. Strika Entertainment’s head office team of 30 also produces comic and animation products for marketing and education purposes across sectors. CS: Your animation is done by
a Malaysian company – Animasia. Was it a difficult decision to take the work abroad? BL: We didn’t feel we had any local options, although we continue to investigate South Africa as an animation supply option. We need two things for animating Supa Strikas: 1) a biggish pipeline (at least 75 people) and 2) pretty much all 75 need to be animators who can draw the human body and action. Supa Strikas is a big action, travel and soccer adventure. This is what makes it unique. We don’t use rigs, puppets or any tweening, so, like the crew that writes and makes the comic, the animators MUST be at a certain level and prepared to put in a massive effort! CS: Are there many production challenges as a result of the scripting and story-boarding being done here and then animation taking place in Malaysia? BL: Our preproduction process is pretty thorough – from scripts, voices, boards, animatics to all production design – the full package is sent
off to Animasia. So while the workload for them is heavy, all the answers are provided upfront. We also have a maximum 24-hour turnaround policy on any feedback they might need and usually we respond in 2 or 3 hours. I used to go to Kuala Lumpur every couple of months to brief Animasia on story and animatics, but we had a really good understanding creatively from the start. It’s developed to the extent that Greig Cameron, who also writes and directs on the show, and I just brief their Animation Director over Skype. Wickus Coetzee, our lead boarder and production designer, does highly detailed boards and that helps Animasia loads. On average over the last 286 minutes we’ve produced there is a new board every 0.76 seconds. That’s 22 500 boards in 13 episodes. It’s a lot of boards. CS: What does the future hold for Supa Strikas? BL: Our goal has always been the 4 tenets I mentioned earlier. We want to increase the value offering to all those parties and in so doing continue to build the Supa Strikas brand. We have a number of additional products / media that are helping this process: an interactive digicomic and app, a strong facebook fanbase (with additional content), a busy youtube channel and we regularly do promotions with merchandise and other products. CS: Is there anything else you’d like to tell our readers about? BL: In South Africa the Supa Strikas comic is now in You, Drum and Huisgenoot magazines both weekly (one page) and monthly (24 page comic). The show will be back on the SABC towards the end of the year (starting with 13 new episodes) and we are planning a Zulu dub of 39 episodes shortly! The Callsheet | 19
Call for entries for the 7th annual saftas
National Film and Video Foundation (NFVF) is calling on all local production companies to submit their entries for the 7th annual South African Film and Television Awards (SAFTAs). The entries opened on Monday the 20August 2012 and will close on 20 September 2012 at 16h00.
he SAFTAs, managed under the custodianship of the National Film and Video Foundation, are an industry initiative governed by the SAFTAS committee and the body of industry representatives comprising of the broadcasters, SASFED and other key stakeholders. The basic guidelines for the eligibility of entries are as follows: • For TV fiction, nonfiction, student films and TV animation, only South African films and television programmes that have been produced and publicly exhibited or broadcast between the 1st of
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August 2011 and the 12th of August 2012 are eligible to enter. • For feature film and feature length animation, only South African films produced and publicly exhibited or broadcast between the 1st of January 2012 and the 31st of December 2012 are eligible to enter. Only productions that are entered will be eligible for consideration. “We once again begin the most exciting journey in the film and television industry calendar. This is a time where the industry comes together with the aim of recognizing and celebrating the best of South African talent in film and television. As we commence this process leading to the industry’s annual prestigious event, we call upon the industry to support every stage of the SAFTAs to ensure another successful event. The SAFTAs have come a long way in the past six years and we look forward
to working with the industry to grow the event further,” says the NFVF CEO and SAFTAs Chairperson Zama Mkosi. The SAFTAs has since its inception honoured individuals and productions in the following categories: TV Non-fiction, TV Fiction, Feature Films, Short Films, Student Films and Animation. The awards also honour the lifetime achievers with the Special Lifetime Achievement awards given to those esteemed individuals who have long served the industry in various categories. This year the SAFTAS launches a new category called Best International Adaptations. This award will recognise the programmes originating from international formats. These would include shows like Survivor, SA Idols, So you think you can dance and SA’s got Talents. The system that the SAFTA Committee introduced last year of incorpo-
rating the previous SAFTA winners and nominees to the judging panels will be utilized again this year. This system was introduced with the aim of encouraging peer recognition within the industry and to ensure that there is transparency throughout the process. As with the previous years, the public will also get the opportunity to vote for their Best Soapie. For complete rules and guidelines of the SAFTAs, visit the NFVF website www.nfvf.co.za All the entries should be submitted through an online entry system which can be found on the SAFTA Entries website www.saftaregistration.co.za The closing date for entries is Thursday 20th of September 2012. The glittering awards ceremony for the 7th annual SAFTAs will be held in March 2013 where all winners will be announced and will be presented with the official SAFTA trophy, the Golden Horn.
TCFF’s Opening Film is Big BOys gOne Bananas
The Tri Continental Film Festival (TCFF) launched its 10th program, announcing Fredrik Gertten’s critically acclaimed documentary Big Boys Gone Bananas will open the Festival on Thursday 6 September. The festival, the largest festival of human rights cinema in Africa, will take place from 7-23 September in Johannesburg, Cape Town, Pretoria and Soweto.
estival-goers will be treated to an exciting programming lineup of diverse human rights focused titles and genres from around the globe, including works from Australia, Austria, Belgium, Brazil, Canada, Chi-
na, France, Finland, Greenland, Ireland, Netherlands, New Zealand, Norway, South Africa, Spain, Sudan, Sweden, Syria, United Kingdom, United States, Venezuela, Zimbabwe. The Tri Continental Film Festival is an annual, South African festival that focuses on documentary and narrative films from or about Africa, Asia, Central and South America and the Middle East. It aims to showcase outstanding cinema that deals with socio/political and human rights themes pertinent to these regions and also help filmmakers reach South African audiences enabling its public to experience the
power of cinema. It is well known for being a diverse film festival that supports African talent and encourages dialogue between filmmakers, film themes and audience. It is the only human rights dedicated film festival in Southern Africa. Founded by Rehad Desai in 2002 to spur the growth of the African documentary film industry through an annual celebration, the festival brings the industry and community together around storytelling. South African audiences can expect to view remarkable pieces of documentary cinema by directors such as Amiel Courtin-Wilson, Paul Taylor, Pirjo Honkasalo, Jihan El-Tahri, Francois Verster, Micha X Peled, Jon Shenk, Santiago Zannou, Petr Lom, Delphine de Blic, Alison Klayman, Fredrik Gertten and Laura Gamse. The festival will screen 42 films, 37 narratives and five shorts that demonstrate the breadth of global documentary films. Ten films make up a special “best of” section, hailing from past TCFF catalougues. A total of 32 titles have received awards on the international festival circuit, and five films in the African selection will have their South African premiere.
“The best of selection are the films that resonated with our audiences, films that shook the festival, not just because they are some of the best examples of the craft of documentary filmmaking, but because they show that when a filmmaker knows how to tell their story, the effect can stay with viewers long after the credits have rolled,” Desai said. “With our main film section freedom of expression has emerged as a strong theme in the hundreds of films we chose from, highlighting the crucial role of the artist in social change at a time when our freedoms are increasingly being threatened.” The freedom of expression selection includes the world premiere of Suffering Grasses, a brave new film that seeks to draw attention to the peaceful wishes of Syrian people. “It was important that we close TCFF’s first decade highlighting projects that were attuned to the pulse of South African social issues such as economic and environmental justice, anti-globalisation, access to health-care and homophobia,” said TCFF Director of Programming Anita Khanna. “We are eager to introduce our audiences to a group of films that provide a window into the world, as well as reworking genres and testing traditional modes of storytelling.” The 10th annual TCFF, founded to broaden the audience for human rights documentary film and encourage a social justice society, will include two retrospectives – an anti-globalisation slate to mark the completion of Micha X Peled’s anti-globalisation trilogy and a focus on Palestine that includes Emad Burnat and Guy Davidi’s stunning film, 5 Broken Cameras as well as Roadmap to Apartheid by South African and Israeli director’s Ana Nogueira and Eron Davidson.” The Callsheet | 21
DIFF AND DFM A SUCCESS
Adventures in Zambezia - Sekhuru, Zoe, Ajax
The 33rd edition of the Durban International Film Festival, with principal funding from the National Lottery Distribution Trust Fund, announced its award-winners, prior to the closing film. Winner of the Best Feature Film award, Love (Amour) was applauded by the International Jury as “unmissable”, and the film’s director Michael Haneke, as a “contemporary master with an astute understanding of his cinematic world”. The Best Feature Film award carries a cash prize of R50 000.
he international Jury which comprised Zimbabwean filmmaker and novelist Tsitsi Dangarembga, hot South African director Oliver Hermanus, producer and television presenter Kgomotso Matsunyane, and Canadian producer and director Peter Wintonick, also awarded the Best First Feature Film prize (R20 000) to Australian director Julia Leigh for Sleeping Beauty. Animation Film wins best SA prize Receiving a cash prize of R30 000, the Best South
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African Feature Film was awarded to Adventures in Zambezia (South Africa), directed by Wayne Thornley. Of the large number of South African films screened this year, the jury’s unanimous voice lauded this film as one with “strong writing and direction, and beautiful animation infused with the spirit of the continent…” and one that “tells an African story from an African perspective while having clear global appeal”. The Amnesty International Durban Human Rights Award, with a prize of € 2,500, went to Malika Zouhali-Worral and Katherine Fairfax Wright’s film Call Me Kuchu which focuses on attacks on gay people in Uganda. A total attendance of 31,012 was recorded, including workshop and seminar programmes – 1,500 up on 2011 figures. DIFF Director, Peter Rorvik said: “Feedback has been very positive, from filmmakers and public alike. The selection of films has drawn good responses, and we were particularly pleased with the increased
line-up of South African films this year. The French Focus went well, while the Wavescape component and the schools screenings were as popular as ever. Moving the festival hub and industry programmes to the beachfront was well-received and the success of the Durban FilmMart and Talent Campus
Durban FilmMart ‘Bigger and Better’
Breaking new grounds into African soil by infiltrating the continents film industry was the focal point of the Durban FilmMart 2012 which took place from 2023 July 2012 at the Blue Waters Hotel in Durban,
“ A total attendance of 31,012 was recorded, including workshop and seminar programmes – 1,500 up on 2011 figures.” is a good indicator of industry development both locally and across the continent. Congratulations to the award-winners, thank you to the juries and also the audience for voting in the audience awards. Special thanks to the National Lottery Distribution Trust Fund, the National Film and Video Foundation and the KwaZulu-Natal Department of Economic Development and Tourism and other funders and partners.“
South Africa. The event- which highlighted training and funding opportunities, facilitated skills development and comprehensive industry engagements and promoted interaction between African filmmakers and international key experts- ended in style at the Durban FilmMart’s Awards Ceremony, which recognised and honoured outstanding feature film and documentary film projects emanating from the Afri-
ONLINE NEWS HIGHLIGHTS
can continent. The annual coproduction and finance market, which was created as a joint programme of the Durban Film Office and the Durban International Film Festival delved deeper into its objectives of driving the visibility of African cinema, stimulating production and facilitating project collaboration between African film-makers. Durban Film Office Head Toni Monty expressed satisfaction with representation at the event which attracted over 400 delegates from around the continent. Said Monty; “Our large contingent of delegates have shown and expressed their support and appreciation to the Durban FilmMart- a major indication that we are addressing the needs and challenges relevant to African Cinema.” The Durban Film Mart programme was undertaken in threefold; the development platform Finance Forum which is open to selected documentary and feature film projects and the Master-classes and Africa in Focus range of panel discussions and sem-
inars which are both open to all participants and delegates of the event. The Durban International Film Festival’s range of Africa in Focus panel discussion sessions highlighted the nitty-gritty of film production in Africa from sourcing international coproduction, access to global funding and training opportunities, film packaging, marketing and distribution to developing authentic African stories and digital and new media technology. Masterclasses were held with acclaimed local and international experts in the fields ranging from; ‘Getting to Greenlight’ for independent producing with acclaimed SA producer Helena Spring, Coproduction and Finance between Africa and Europe with Roshanak Behesht Nedjad and Developing African Stories for Global Markets with Scriptwriting expert Jacques Akchoti both of the European Audio Visual Entrepreneurs (EAVE), Visual Film Experts Stefan Puschendorf and Steve Macpherson as part of the COA partnership leading discussions on the
Art of 3D Dimension and Pre-visualisation to Virtual Production Technologies respectively. The Africa in Focus programme also includes presentations by the National Film and Video Foundation (NFVF) who present their annual comprehensive industry engagement under the guidance of newly-appointed CEO Zama Mkosi, which provided a platform for industry dialogue between executive management of the national body and the SA film industry and the public. The NFVF also facilitated the high level scriptwriting training and development programme Sediba Spark Masterclass during the programme targeted at providing foundational principles of scriptwriting. Also on the programme included the NFVF’s ‘In Conversation with Filmmakers on International Platforms’ educating the audiences on accessing and navigating international markets and festivals. The NFVF has been a long-time funder and partner of the Durban International Film Festival and has this year also
committed its support to the Durban FilmMart. Delegates and participants also had the opportunity hear the first-hand accounts of filmmakers who had participated in film funding, mentorship and residency programs as well meeting with local and international television broadcasters who are currently seeking proposals for authentic African stories. The programme also delved into case studies unpacking the challenges and experiences of African distributors as well as Documentary Filmmakers Association case studies of transmedia projects. Also high on the agenda was the significant launch on the KZN Film Commission, a project undertaken by the KZN Department of Economic Development and Tourism which will be mandated to develop, promote and market the province of KZN as a global destination for film production to a local, national and international audience as well as facilitate the investment in the film industry in the province of KZN. During the period of the Durban FilmMart, African project participants (12 Documentary and 11 Feature film project directors and producers) underwent a gruelling mentorship and skills training which prepared them to pitch to their ‘work in progress’ film projects in one-on-one sessions to international film funders, broadcasters, distributors and sales agents. The African filmmakers also had an opportunity to interact with industry elite at several scheduled networking sessions.
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NEW AD EXPLORES DUALITIES OF LIFE AND ART
My Life as a Movie
My Life as a Movie
Ogilvy & Mather Johannesburg, M-Net, and a dedicated cast and crew joined forces to create M-Net Channel 101’s new brand campaign advert, titled My Life as a Movie.
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he ad, which builds upon M-Net’s 25year platform as the “Home of Magic”, launched on M-Net & MNet HD on in August. The ad brief? To allow viewers to relate to M-Net’s magic in a way that was more personal and real.
“We want our viewers to believe that magic happens in their own stories. There are definite parallels between the stories on-screen and our own. Who says that magic only happens in the movies?” says M-Net Head of Marketing and Publicity, Mpeo Makape. Filming the ad was not without its share of challenges, including a haunted set and a freak cold front. Directed by Picture Tree Films’ short film and commercial director, JH Beetge, “My Life As A Movie”, which required over two months of pre-production before the two-day filming of the ad and features local celebrity Emmanuel Castis as the hero of the narrative, used emotion as the predominant language.
Circumstance and location were secondary to creating an intense 60-second rollercoaster, which was a complete collaboration between Ogilvy & Mather Johannesburg and Picture Tree Films. “Just as every great movie is an emotional rollercoaster, so are our lives. The ad invites viewers to climb onboard and live the journey through each high and low on the spectrum of human emotion. Drawing upon the universality of human experience, the ad takes the audience on a personal adventure that we can all relate to on some level,” says Creative Director Mariana O’Kelly. Just as the narrator plays with the duality of movie and life content, so too was it important for the ad to be visually cinematic, while remaining real and sincere, O’Kelly continues. “It’s not every day that a brand points out the dark and unpleasant sides of life. But we had to go down to go up again. Such is life. Nevertheless, we hope the ad leaves people with a sense of hope and optimism, as well as the realisation that magic happens every single day - not just on the screen, but offscreen too,” she says.
RUSS MALKIN ON FILMING ADVENTURES Sunday night in Cape Town’s Westin Grand Hotel and the drinks have been flowing for a couple of hours. It’s the wrap party for Charley Boorman- and Russ Malkin’s latest motorcycling adventure and the two are revelling in being reunited with their families, whom they’ve not seen for over two months.
There’s a lot of hilarity – most of the male crew-members and some of the invited guests have trimmed their beards to mirror Charley’s piratical bokbaardjie – but there’s a sombre undertone: after living in each other’s’ pockets for the past seven weeks, they’re upset the adventure is over. Charley Boorman’s Extreme Frontiers: South Africa flights in the United Kingdom as a four-part series next month. In each of the hour-long episodes, says Malkin, Charley “gets under the skin of South Africa”. Malkin describes himself as “primarily an adventurer”. He also wears the hats of series producer and director. He has made his mark in the reality adventure genre with Boorman and actor Ewan McGregor in The Long Way Round and The Long Way Down, the latter featuring the two riding from the northern tip of the UK to Cape Town. The series will be recut – “probably to about seven episodes”, says Malkin – for international flighting (including in South Africa) next year. This is anything but a big-budget production with a crew and cast of thousands. In fact, the team numbers just seven … none of whom have worked with Boorman and Malkin before. With McGregor increasingly in demand in Holly-
Charley to camera
wood, Malkin and Boorman have maintained their adventuring momentum with the Extreme Frontiers series, of which South Africa is the second after 2011’s Canada programmes. “An adventure starts with an idea, which you then have to sell. In this case, our track record allowed us to sell the South Africa series to BBC’s Channel Five. It’s the same channel that showed the Canada programmes in prime time.” Malkin insists that having a broadcast partner is no longer an essential requirement for planning and conducting an overland expedition. “There are very many ways that Internet branding can be an extremely exciting trigger point for generating funding and sponsorships. All it needs is a bit of entrepreneurism, passion and drive. “You also don’t need a celebrity if you have a great idea and format.” Once he’d obtained the green light from Channel Five, Malkin – once quoted as saying “I’ve never met anyone who’s had an adventure and regretted it” – approached perennial sponsors BMW and sought other partners. Among those that came on board were South African Airways, Nissan SA, national and regional tourism
authorities, the Mantis Collection of privately owned boutique hotels and Intrepid Travel. BMW was a cinch: the team was single-handedly responsible for a 45 percent worldwide jump in the marque’s bike sales after the two Long Way series became international hits. “The point was to travel South Africa side to side, top to bottom, and ev-
recalls, was lighting a blasting fuse in a goldmine near Barberton in Mpumalanga. “I turned round to tell the cameraman to make sure he got the fuse sparking … but he was gone! We had to do it all again.” Malkin says an adventure journey cannot be planned in the finest detail. “Things change. Things go wrong. Unexpected opportunities arise. You have to
“An adventure starts with an idea, which you then have to sell....” erything in between. We started off with Charley abseiling down Table Mountain, visiting Robben Island and going shark-diving in Gansbaai all in the space of 48 hours. “We ended, as has become a bit of tradition with us, by leading a convoy of bikes to our final destination.” In this case, the team was astounded when more than 300 bikes arrived at the Meerlust wine estate outside Stellenbosch on one of the grimmest winter weekends in the Western Cape and followed Boorman to the top of Signal Hill. Such is Boorman’s personality that he greeted each biker with a handshake and word as they arrived. One of the highlights, he
include a huge measure of spontaneity in the production.” And working with an unknown team? “I like mixing things up. If you go away with the same people time after time, you’re unlikely to achieve any kind of breakout dynamic. “I love working with people who are vital and who don’t only do what you, as director, tell them to do. If a cameraperson decides he has to run up a mountain to get a better shot, then let him get on with it but make sure he gets down again with himself and his equipment in one piece! “That’s a professional.” Jim Freeman
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THE LATEST NEWS FROM MIPCOM
Mipcom - guests arriving
Mipcom, the annual content market that takes place in Cannes, has released a white paper called Outside The Box: A beyond-TV entertainment trends review.
he document is a round-up of the latest news outside of the mainstream. Film news includes the mention of Abu Dhabi’s film ambitions. The paper reads: The city of Abu Dhabi, in the United Arab Emirates (UAE), continues to position itself to be the movie-industry hub in the Arab-speaking world while boosting its appeal to international filmmakers. It has launched an incentive scheme that gives producers a rebate of up to 30% for any expenses incurred on films shot locally. This includes movies, TV, commercials and music videos. The scheme comes into effect in September. The brainchild of twofour54, the Abu Dhabi
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government’s pioneering media-and-entertainment centre, and the Abu Dhabi Film Commission, the scheme is the first of its kind in the region. To qualify, the shoot must take place in Abu Dhabi; the services and goods used, including studio work and post-production, must be sourced in the city; and the crew must be UAE-registered. Expenditure on local accommodation and the airline Etihad Airways also count. Also, twofour54 is working with Digital Domain Media Group (DDMG), the USbased provider of specialeffects (SFX) and animation technology to blockbuster movies.” The paper also mentions the upcoming overhaul of the major Australian studio, saying: “Australia’s Village Roadshow Entertainment Group (VREG) is being recapitalised to the tune of US$380m, which includes US$275m in new funds. The company, famous for producing blockbuster hits such as the recent Sherlock Holmes movies, The Matrix sci-fi action films, the penguin-themed animation Happy Feet and the crimecaper trilogy Ocean’s Eleven with Hollywood’s Warner Bros Pictures, will use the cash to boost future productions and expand into China. Future VREG/War-
ner Bros releases include a remake of The Great Gatsby and the new crime thriller Gangster Squad. VREG’s track record is backed by US$11bn in global box-office receipts. Parent company Village Roadshow Limited will have 47.6% of VREG once the recapitalisation is completed with equity from Hong Kongbased asset management firm Shikumen Capital Management and investment firm Trinity Opportunities. Other shareholders include New York-based Tailwind Capital, Crescent Entertainment (via Californiabased Clarity Partners) and US private-equity firm Falcon Investment Advisors. VREG will also use the new finances to develop VREG Asia, which plans to produce films in China, including one with Hollywood star Keanu Reeves and another with Chinese film star Zhang Ziyi.” In tech news, the paper says: “Clouds, a feature documentary by two fellows at Carnegie-Mellon University’s Studio for Creative Inquiry, is thought to be the first time a digital single-lens reflex camera attached to Microsoft’s Kinect motion sensor for video games has been used to create a 3D movie. James George and Jonathan Minard’s film, about the
beauty of computer codes, used techniques acquired from hacking the Kinect. Clips were premiered at Minneapolis’ Eyeo Festival in June and the feature is released later this year.” This year’s Mipcom, which takes place from 8-11 October, features an impressive line-up of keynote speakers, including: Harvey Weinstein, Warner Borthers CEO , President of International Production/International President Sony Pictures Television/ Sony Pictures Entertainment Andrea Wong and President International Warner Home Video and Warner Bros. Digital Distribution Jim Wuthrich.
CREATIVE FILM LOCATIONS AT THE CTICC
The difference between an ordinary film or photo shoot and a truly spectacular one often comes down to the choice of location. Which is why the Cape Town International Convention Centre (CTICC) has become the location of choice for
so many creative directors and photographers seeking to transform their shoots into exceptional experiences.
ituated at the foot of one of the world’s most iconic mountains, in the heart of South Africa’s
vibrant and welcoming Mother City, CTICC’s undeniable charm as a filming or photography location is exceeded only by the flexibility and versatility it allows. Offering fully customisable locations, world-class facilities, and trained, professional staff, CTICC is designed with great experiences in mind. From its bright and airy double volume spaces, architect designed facades and interiors, and advanced technology to its scrumptious Afroglobal cuisine and attentive professional service, every requirement and detail is meticulously attended to. And with easy access to some of Africa’s most popular and beautiful visitor attractions and five-star accommodation on site, CTICC is far more than a
spectacular filming venue; it’s an unforgettable destination. CTICC was also the first convention centre in Africa to gain three internationally recognised management system certifications simultaneously, and the first in the world to align its reporting to the sustainability requirements of the Global Reporting Initiative (GRI) – all of which are your guarantee of the highest levels of quality, care, safety, and sustainability. So, if you’re ready to transform your film or photo shoot into a truly unique experience, make CTICC your location of choice. For more information or to book your shoot, visit www.cticc.co.za
The Callsheet | 27
It’S aN ENcOrE fOr thE LOvE BOmBS Noon in modern day South Africa in iBalaclava. In the midst of poverty and gangsterism, two brothers try to survive the hardships of life. The older brother gets himself into trouble and it falls onto the younger to get him out of a dangerous situation. The ride continues into modern day Cape Town with the experimental drama, The Prodigal. This coming of age story explores sexual identity and forgiveness as a young boy leaves his father’s house in search of love and acceptance. Will he find what he is looking for? Your journey through film will not end there however, before the curtains close for the final time audiences will be treated to one of the novice film makers giving some insight into their experience of being on set and offering their perspective on the film making process. In addition to the premier festival, the films have
“These are not the usual films you would expect a church to make”
The curtains are opening once again for the highly successful Love Bombs Film Festival. In early August three locally produced short films premiered to a sold out crowd of 1300 movie goers, over 8 days, at the Labia on Orange, Cape Town.
anteen owner Harold said, “This is the busiest I have seen the Labia in twenty years.” And so with such high demand and much excitement, the three short films are back for the Love Bombs Encore. On the 14th and 15th September 2012
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The Labia on Orange Theatre will be host the Love Bombs once more. The Love Bombs are a project of the Film Kru, a Film and Media team at Joshua Generation Church. But these are not the usual films you would expect a church to make; the Love Bombs are hard hitting, action packed and insightful stories, artfully captured on screen. Made by a team of over 300 volunteers new to the world of film making, these films manage to deliver a big budget feel, with minimal finances and passion as their primary resource. One guest shared
her impression of the films, “They (the films) were very well written and professional, with good acting.” Under the guidance of up and coming local film maker, Howard James Fyvie, the Film Kru have embarked on a South African adventure of fun, hard work and quality filmmaking. You will be whisked away on a journey of film through these three unique movies; enjoy the ride as The Second Day transports you to a science fiction, postapocalyptic world of prisons and cage fighting. Watch as a young girl, forced to enter a fighting ring to fight for her life, is saved as a stranger steps in to take her place. The next stop on the adventure is the Township of Du
caused quite a stir in the local press with the Love Bombs project featuring in various newspaper articles in both Cape Town and Port Elizabeth. The film makers were also interviewed by the renowned South African film maker, Barry Ronge, on ‘Sunday Night at the Movies’ for Talk Radio 702, and appeared on SABC 2’s popular youth magazine program ‘Hectic 9 nine’ broadcast to over 2.5 million viewers. To find out more about the Love Bombs, to watch the trailers and to buy your tickets go to www.lovebombs. co.za. Alternatively ‘like’ the Facebook page at www.facebook.com/lovebombsfilms or email info@ lovebombs.co.za .
FEM AROUND THE COUNTRY In July Film and Event Media had three networking functions, one each in Cape Town, Johannesburg and Durban.
irst of was the Johannesburg networking function at Southern Sun Hyde Park on 11 July 2012. Our sponsors for the evening were the Film and Publications Board and Ergosports Models. On 20 July 2012 Film and Event Media, along with sponsors The Film and Publications Board, Pioneer Freight, Expovent Solutions and Durban Filmmart hosted a networking function in Durban. The stunning venue was the Southern Sun Elangeni on Durban’s Golden Mile. Six days later on 26 July, on a wet and windy Cape Town evening, we ﬁnished the roadshow at The Cape Milner Hotel. Our next event will take place at the Protea Hotel Fire and Ice on Thursday 27 September 2012.
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JOBS Afrikaans Scriptwriter Contact: Katelyn Gerke Description: Orijin’s JHB office has a position open for a full time Afrikaans scriptwriter for TV promos. Email: firstname.lastname@example.org Production manager Contact: ANicky Abrahams Description: E-TV are looking for a Production Manager for the next few months. email: email@example.com Location PA Contact: Gaynor Brand Description: Afrikaans speaking location and office PA needed. Experience necessary. email: firstname.lastname@example.org Production Assistant Contact: Rachael Allen Description: The recruiter requires a financially trained, efficient and accurate admin type person who can book air tickets and accommodation for television production cast and crew, do all crew bookings, ensure that gear and vehicles are maintained, process insurance claims and help with production administration and research on shoots. Applicants must forward cover letters motivating why they are right for the position with their CV’s to the below email address. Kindly make sure that you include the job that you are applying for in the subject line of your email application. email: jobs@grassnetwork. co.za DSLR Operator Contact: Andrew ALexander Description: I’m looking for an experienced DSLR Operator for a shoot on the 20th October in JNB. It is a wedding. Email me links to your work and desired day rate. email: email@example.com
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Senior Broadcast Designer Contact: Rhea Holdstock Description: Reporting to: Head: Policy and Research Job Purpose: To analyse and interpret data to assess the economic impact of various NFVF and government sector strategies for the film industry. Key Responsibilities: • Conducting economic research • Capture economic statistics in the film industry • Compile and publish film industry reports • Identify trends and analyse information • Develop economic projections and forecasts on industry growth • Assess the economic impact of NFVF strategy and programmes • Compile annual report on the state of the industry Qualifications • Relevant tertiary degree majoring in Economics Requirements: • Minimum 3 – 5 years economic analysis experience • Knowledge of relevant statistical and graphic packages • Ability to communicate effectively with stakeholders • Planning skills and the ability to work well under pressure • Strong report writing • Analytical and research • Strong interpersonal skills • Business acumen • Attention to detail • Innovation and initiative Suitably qualified applicants are requested to submit a detailed CV to 0865197585 or email: firstname.lastname@example.org Economic Analyst Contact: NFVF Description: I’m looking for an experienced DSLR Operator for a shoot on the 20th Oc-
tober in JNB. It is a wedding. Email me links to your work and desired day rate. email: email@example.com Research Intern Contact: Trystin Von Berg Description: SA’s most awarded commercial film production company seeking interns in their Research Department What is the Research Department? At Velocity we have some of the Top Directors in the country working in our Cape Town office. When a script comes in for them to pitch o,n the Research Department gets involved. They search the web, they search magazines they dive into films, music videos a nd other commercials to provide inspiration and content for the directors presentations and pitches. What makes you right for us and us right for you? - Exceptional Skills in Navigating the internet. - Exceptional Skills in using a computer. (preferably Mac experience) > Good to know photoshop > Great to know editing program i.e. Final Cut Pro > Essential to know about various video & image file formats (i.e. do you know what an .mp4 file is, a jpeg, .png .avi etc) - Are you inspired by Contemporary Culture - what’s happening whats inspiring in the world of photography, design, film etc… > Know your favourite SA photographers? > Know your favourite blogs? > Know your most inspiring creative influences? - Desire & Motivation to work hard & learn. Here’s how it works… - You get back to us by email confirming your interest in the position - leave a contact telephone number. - We’ll get back to you ASAP - We’ll invite you in for an interview
Models Contact: AJethro Marshall Bakker Description: Models, Models, Models we still have 2 spaces open for our trip to the Drakensberg for our Forest Fantasy shoot. This shoot includes 4x Hair & make up looks, shooting with 2 photographers, 12 edited images, all accomodation and travel included and food... and of course an absolutely awesome time :) please email email: Angelique@composuresa.com Camera Work/Lighting Lecturer Contact: Charles Shepard Description: Camera work and lighting lecturer is required to lecture and conduct practicals for first, second and third year students at CityVarsity School of Media and Creative Arts in Johannesburg. email: Anita.Kruger@cityvarsity.co.za Video Production Consultant Contact: Tom LiebenbergDescription: Video production consultant for management consulting company responsible for various job title tasks/activities. Scope of duties will include the following: • Shooting/filming of audiovisual material; • Editing of audio-visual material; • Maintenance of audio-visual equipment; • Script writing and creative storyboard concepts; • Shoot/film planning and preparation; • Producing of audio-visual material • Any other duties as assigned and required as time progresses. email: tom@ihpconsulting. net
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OPPORTUNITIES The Cape Winelands Film Festival (CWFF) Call for Entries for the 6th Cape Winelands Film Festival The CWFF is a competitive festival that accepts features, documentaries and short films. The festival highlights both the emerging and professional filmmaker, and serves as a catalyst for bringing writers & filmmakers together to collaborate on future productions. The 6th CWFF will take place in Cape Town and in Stellenbosch from 13 to 23 March 2013, where it will be host to national and international filmmakers for film screenings of the Official Selection films competing for the top awards, industry panels and networking events, Q & A discussions with filmmakers, arts & entertainment mixers at local venues throughout the post-production
Refinery, is a comprehensive post-production facility that services the moving picture industry. We offer the best creative talent, quality solutions, individualised service, and a financial solution to ensure your vision. Services include: VFX, Animation, S3D post, Color grading, Sound, Cinema and delivery on multiple platforms How can we collaborate on your next production?
contact: Sam Alessandri – Creative Director tel: +011 799-7800 email: firstname.lastname@example.org www. http: www.refinery.co.za
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10 days. For more information visit: http://films-for-africa. co.za 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/ NHU Africa Calls For Content from producers AS the Natural History genre widens its scope and becomes increasingly focused on entertainment-led programming, NHU Africa is calling South Africa producers to submit ideas for compelling stories. Whether it’s an idea for an epic adventure and exploration story, or a unique and interesting look at a human and animal interaction, we would like to receive your proposals. For more information regarding the submission process please refer to our commissioning brief: www. nhuafrica.com/commissioningbrief 85th Annual Academy Awards – Best Foreign Language Film Award South African Call for Entry
The Annual Academy Awards has opened the call for entry for Best Foreign Language Film Award. South African filmmakers are invited to submit their feature films for consideration for the 85th Annual Academy of Motion Pictures Arts and Sciences Awardsfor Best Foreign Language Film Category. – Deadline for submissions is 10th of September 2012 16h00. A foreign language film is defined as a feature-length motion picture produced outside the United State of America with a predominantly non-English dialogue track. Films must have been released in South Africa for a period of at least seven consecutive days beginning no earlier than 1st of October 2011 and no later than 30th of September 2012. For more information visit www.nfvf.co.za
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POLLEN MAKE SPOT FOR ONE SHOW INTERACTIVE
Tim Robinson from Pollen chatted to The Callsheet about their new offices in Cape Town (they’re moving to Woodstock) and the visual and conceptual theme they developed for The One Show earlier this year.
nown primarily for their post work, Pollen jumped at the chance to produce the spots for the international advertising showcase in New York. Pollen secured the project after he met with South African expat and president of The One Club, Kevin Swanepoel in at One Show Interactive in May 2011. After seeing Pol-
they had a balloon team of between five and 10 people depending on the work. Tim said they started the project in July 2011 and delivered it at the beginning of March 2012, so they had plenty of time to work on it. “It was a fantastic job to work on, everyone felt honoured to get it and from day one everyone approached it with gusto and it was nice because we had time on the job.” Tim says the One Show Interactive spot has been very well received. He revealed that they did internal casting because they were working on a limited budget. Of the 11 characters in the piece, only three of them were actual actors, while the rest were friends and staff. On the night of the event people were raving about the casting in the piece. Tim said: “That’s a sign of a good team, a good director and a good executive producer.” He felt that Graeme and Bridget were able to draw the required
“That’s a sign of a good team, a good director and a good executive producer.” len’s reel they offered them the job. He only saw the client again two nights before the project went live when they went over to New York. Tim revealed that while working on the One Show project
34 | The Event
responses from people who had no previous acting experience. He also mentioned the DOP, Graham from their subdivision Heyfever, saying his amicable nature made it a pleasant working environ-
ment. Heyfever, a subdivision of Pollen, is a young team that does production where the job calls for it. He said: “Because Pollen primarily does animation work, Heyfever is a company of talented individuals who do mostly production work. They fall under the Pollen group; we have a shareholding agreement with them. It suits us two-fold, one we have a great team we work with, but we also help to grow the industry – which is a big part of our mandate.” Tim revealed that Heyfever has just won Ad of the Month for a commercial they did for Standard Bank called Pigeon Jazz in the City. The spots for The One Show have resulted in an increase of international service work. Tim said: “The big success for us for One show was that a little agency in Joburg could be chosen over top New York to do this job and that we did everything (aside from the sound) from concept to final project. I think this speaks to the fact that small agencies can do the big jobs.” Tim said the ease of working remotely is exemplified by the way they worked on The One Show. He said that they communicated with the client on the One Show job via email, Dropbox, phone and Skype – and says they had no problem getting the job done. Tim also chatted about
the app development and mobile work they do. He revealed that himself and business partner Graeme both come from an interactive background. Tim said: “The starting point is the same, but when it gets to production it becomes difficult. Clients have the same expectation as they have for a TV job, they don’t understand that for an app there’s something like over 1000 screens you have to design for. Then you have to take your browser into account. That changes the approval process quite a bit.” He added: “Agencies are realising that they have to adapt to the new digital creative environment. “ Tim thinks the digital is going to revolutionise the industry though, saying with things like analytics there is a lot more accountability. When asked about their move to Cape Town, Tim revealed that it’s been no problem doing work from Cape Town in Joburg, they feel that opening an office in the Mother City will make it easier for Pollen and for their clients. He said that the relationships they have built with clients from Joburg have been carried down to Cape Town. He says the move will also give them a chance to speak to producers they don’t currently speak to. The One Show Interactive project has been submitted for this year’s Loerie Awards.
BOEREMEISIE GOES TO IDFA SUMMER SCHOOL IThe Callsheet caught up with Lucian Barnard and his director, Annalet Steenkamp, to find out more about their trip to Amsterdam to attend IDFA Summer School.
ucian and annalet were the only South african team with a project (Boeremeisie – afrikaner Girl ) in editing stage selected for the Summer School. The Summer School receives hundreds of entries are received each year and this year only six projects (in editing stage) made it. The project, supported by the iDFa’s Jan Vrijman Fund, is called Boeremeisie – Afrikaner Girl. This is the second time the project has gone to IDFA, it was first at iDFa in 2009 when the project was in the story development phase. Lucian studied filmmaking at allenby but only seriously
world and experience a very big documentary culture, makes you feel more hopeful about your project. it feels as if over there your project might be seen by thousands, whereas if it had to only stay here, it might only be seen by a couple of hundred people. The massive interest in documentaries from viewers in amsterdam is tremendous though.” annalet, how has been working on the film for eight years, explained that the project is a very personal one, “This is my first feature length film, it is a film about my family and i have been documenting their lives on traditional Boer farms in South africa over the past 9 years, it is the story of 4 generations of one family caught between past and future.” Lucian summed it up as: My take is that it is a family portrait of farmers in the
“The film is in its post production phase and the initial trailer won the Britdoc Foundations Catalyst and Mobility Awards in 2011.” got involved in editing later, when he worked at Binary Film Works. He was blown away by the experience of attending iDFa Summer School. Lucian said: “Going to the summer school was an eye opener, and a huge burst of inspiration. To see the importance of documentaries in the first
Free State over eight years and the transitions from the old to the new. How the older generation passes the torch to the younger generations to take over the family heritage which is farming. in essence it is about the love of the land.” Annalet added: “The film is in its post production phase
iDFa Summer School.
and the initial trailer won the Britdoc Foundations catalyst and Mobility awards in 2011. We are going into an 8 week edit in Sept and Oct 2012.” She added: “Whenever one attends a great international platform for documentary, one’s perception of the world of factual storytelling shifts tremendously. There is a vast array of stories all over the world and truth seekers that portray untold stories. Whatever the story, one has to further the art of the documentary, this is our purpose, to not make educational boring films but films that are vehicles of entertainment. To create illuminated truth and to be brave.“ Lucian feels like going to iDFa was a great chance to learn more about long form post production - an area many feel is overlooked in South africa. Lucian says, long form post isn’t necessarily overlooked, the budgets are just way smaller for long form projects in this country, and obviously compared to commercials, because there is a brand attached. i do believe we should however look
into innovative ways to do product placement cleverly in long form. Thereby we can have budgets considerably higher, to spend more time crafting the films, and creating higher quality work, which would in turn lead to higher vested interests, which leads to more funding. The days of blatant product placements are over and it can work very well subliminally and also the days of forcing the viewer to watch anything are over, So we better make it beautiful, interesting and entertaining, then you’ll see it pick up.” annalet has ambitious plans for the movie; say she would like to achieve “Film festival release in Europe as well as theatrical release. This is going to be a character driven story that will be a real portrait of the complexity of being an afrikaner on the land. “ Lucian concluded: “i really hope we make a film that would be premiere at iDFa in amsterdam, and hopefully travel even further. But most of all i hope to do this epic film justice, and create a piece of art.”
The Event | 35
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36 | The Callsheet
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37 | Th e Cal l sh eet
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Published on Sep 19, 2012