Callsheet Africa 2 - 2020

ISSUE 02 | 2020

+ SHOOT YOUR FILM IN

SUNNY SOUTH AFRICA

Why South Africa Remains a Top Film Service Destination

+ A LIVING LEGEND

KZNFC’s Jackie Motsepe on Her Career Highs

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CONTENTS / 01

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02. Oliver Hermanus

06 10 18 26

Talks Moffie

04. Exclusive with

FILM DISTRIBUTION Benjamin Crowley of Gravel Road talks all things distribution.

BBC Producer Jonny Keeling

06. Ben Crowley weighs

in on Distribution

08. Industry Snapshot

Special: COVID-19 and Film

SHOOT IN SOUTH AFRICA

Katie Reynolds-Da Silva explores why SA Is still number one in Africa for service work.

10. Why Shoot Your

Next Production in South Africa

16. Film Incentives on

the African Continent

17. South African

Co-Productions 101

18. Daniel Snaddon

THE SNAIL AND THE WHALE

Director Daniel Snaddon shares his experience working on Triggerfish’s latest short for BBC.

Unpacks The Snail and the Whale

20. Film Tourism:

Leveraging Opportunities

24. Nelson Ikeja:

Filmmaking Despite Great Odds

26. Living Legends:

Jackie Motsepe

28. Location Spotlight

JACKIE MOTSEPE

In out inaugural Living Legends segment, we look at the career of KZNFC’s COO.

on Namibia

30. Association News 32. Directory of

Advertisers

02 / LOCAL CONTENT

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OLIVER HERMANUS

TALKS MOFFIE

Director Oliver Hermanus sits down with Zubenathi Malothana to talk about his new film Moffie, an Apartheid period piece, which was released in early March.

Director Oliver Hermanus surrounded by troops during the shoot of Moffie.

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film that tells the story of a young gay man drafted into South Africa’s military, Moffie has already received much critical acclaim on the festival circuit. After he was approached by the producers to find out what he thought of adapting the memoirs of Andre Carl van der Merwe, he began exploring SA’s conscription history, met the author, and the rest as they say is history. He sits down with Callsheet Africa to discuss the film in more detail.

What was it like cowriting the screenplay with Jack Sidey?

We were not the first screenwriters originally, there were others. But when we decided to take on the writing, we had spent almost two years working on Moffie. So, we started to solidify what the film

should be about. I live in a small town (in South Africa) and Jack lives in London, he came to South Africa and we spent a lot of time together and I think we share the same artistic and creative ideas, so the process was easy.

There are so many layers to Moffie – tell us about why you told the story in this way.

This is the first film I’ve made that’s a period piece, it’s in a time before I was born and that was a challenge. I have never made a film about Apartheid before, so there was an interest in exploring that world. When I realised that the film was very much going to be about shame and how shame is a weapon – and that’s why the film is called Moffie – I realised that theme of shame is something that is part of Apartheid for all South Africans and it became a very natural setting for this film.

Kai Luke Brummer portrays Nicholas van der Swart in Moffie.

How long did it take to film, and what were some of the challenges?

The elements were a big challenge for this film and the actors had to have a very thick skin. We decided to shoot the film in the summer because the story takes place during this time along the Namibian border, so one of the biggest challenges was that it was extremely hot. We were shooting in temperatures higher than 40 degrees Celsius, we had a lot of night shoots which offered up gale-force winds, and we did a lot of ocean shoots – and the ocean was freezing!

We also shot around Cape Town in an 80-100km radius and it’s amazing what you can do there.

Principal photography took just over five weeks.

Tell us about Moffie’s reception at its Venice Film Festival world premier last year.

Film festivals like Venice and Cannes are very stressful. It looks all fun and glamorous and in essence it is, but it’s because you’re showing something to the world for the very first time and it’s a very public space – all of the world’s most important press agencies for film are there.

So, you are very aware that the work that you’ve just made is going to be weighed, measured and judged, so you are very nervous as a film director going into that context. But Moffie’s reception was very good, the film received an overwhelmingly positive response and it’s an amazing feeling for the team.

It’s a nice feeling to have your work celebrated. All our actors are new, they’ve never made movies before, so it was a wonderful experience for them.

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04 / SPOTLIGHT

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EXTRAORDINARY ANIMALS IN

BBC’S SEVEN WORLDS Seven Worlds One Planet is BBC Earth’s latest show – and it is incredible, with one particular episode focussing solely on the African continent. Scott Alexander, Series Producer, and Jonny Keeling, Executive Producer, share their thoughts on this breath-taking new series.

Rhinos

B

BC Earth’s content is synonymous with raw, natural beauty. We’ve all been awe-struck by the Blue Planet and Planet Earth series and their fellow mates, but Seven Worlds One Planet is a breath of fresh air. Not only does it change the format to focus on a different continent in each episode, but the footage and stories told are both captivating and extraordinary, almost beyond belief. We hear more from Series Producer Scott Alexander and Exec Producer Jonny Keeling.

What’s the idea behind Seven Worlds, One Planet?

Scott Alexander: This is the first time we’ve done a series based on the seven continents at a time when the biodiversity of each of the continents is at its greatest. It comes at a pivotal moment because we could be entering biodiversity’s fastest decline – the sixth extinction. Normally we’ve broken up the natural world by habitat: this is an entirely new

Asian Monkeys

way to look at the planet.

It consists of seven standalone films because each continent has its own identity, its own characteristics and its own unique wildlife. This is first and foremost a wildlife behavioural show. We went out looking for the newest and latest stories, new species, and new behaviours.

Even where we show animals that you’ve seen before hopefully they will be doing things you haven’t seen them doing before.

Jonny Keeling: The other thing that’s really important is that we want people to relate to the animals, to feel for the animal, fall in love with it, and watch a characterbased story and experience a full range of emotions.

Would you give us an example of this?

Scott: A classic example comes in the Africa episode. The one I really like is the elephant story.

Everyone’s seen elephants but we’ve shown two particular

elephants that have learnt to stand up on their back feet and balance so they can reach higher up into the trees and get those last bits of fruit that no other elephants can reach. That’s very helpful in times of drought and it’s astonishing to see.

Take us through running a production of this magnitude. How long does it take to put it together?

Jonny: The whole production takes about four years – generally it’s about a year to dig up stories and leads, then about two years filming, and about a year in the edits. Then we bring in David Attenborough to do the narration, Hans Zimmer to do the music, so the quality of it is high because the people who work on it are at the top of their game.

We all come from a wildlife background – I have a PhD and have worked with animals for 30 years – and we’re working with 1 500 people around the world who have expertise and knowledge for shoots, which

are generally five or six weeks long. And although all of these are planned out, what’s lovely about the natural world is that something always happens that you’d never expect.

We film somewhere approaching 2 000 hours of footage or maybe more, and for each episode it’s about 300 hours of footage so it’s a huge undertaking. We’re on location for about 1 700 or 1 800 days, which is crammed into two years. At any one time, we would have four or five shoots out on location.

How has wildlife filmmaking changed in the last decade?

Scott: All the big talk is about the technological advances. You go from film to Beta, you go to HD then you go to 4K and on this series we’ve been shooting in 8K. But actually I think that where we’ve really evolved is in our storytelling and how we characterise our stories. I think we’re making the big advances by improving on our storytelling.

MOTIF STUDIOS / 05

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MOTIF STUDIOS ABOUT THE COMPANY Founded upon a desire to tell and realise stories that go beyond the norm, Director Craig Hunter Parker and Producer Jacques Bock have been forging the path for Motif Studios into its ninth successful year.

With a lean in-house team of talented 3D and VFX artists, animators and directors, Motif has produced award-winning work for big brands in advertising, motion graphics, TV channels and, primarily, visual effects work for both local and international features. We have a strong collective of artists with whom we work both locally and abroad to scale up for various projects.

SERVICES OFFERED Owing to our background in advertising, design and illustration, one of our strong-suits is being able to creatively collaborate with directors in realising their vision. It’s a skillset that’s a bit of an open secret when it comes to adding to the many offerings that we’re usually approached for. Some of which include: VFX supervision, 3D & 2D design, modelling, character animation, motion graphics, compositing and directing. From title sequences to music videos, short films to blockbuster features, Motif endeavours to deliver work of international standard.

WHAT WE DO Having cut our teeth working on countless commercials and contentbranding, we’ve moved into more narrative-based work since working on film and television series. To date, we have completed over 25 features and series in the short time that we’ve been operating. We pride ourselves in being key players in the local film industry and have helped on numerous local features and proof of concepts to get the spotlight on the multitude of talent South Africa has to offer. We are also developers of original content and are always looking to get more projects in front of the world.

MEET THE TEAM CV OF CLIENTS • • • • • • •

Warner Brothers Sony Pictures Universal Pictures Paramount Pictures 20th Century Fox Netflix HBO

• • • • • •

Fox BBC SyFy Channel Showtime Starz National Geographic

CONTACT US Tel: +27 110 0848 | Cell: +27 61 266 9062 / +27 71 203 8815 Email: craig@motifstudios.co.za | jacques@motifstudios.co.za info@motifstudios.co.za | Website: www.motifstudios.co.za

Craig Hunter Parker Director

Jacques Bock Producer

06 / DISTRIBUTION SPOTLIGHT

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BEN CROWLEY ON CONTENT DISTRIBUTION

Benjamin Crowley, Founder and CEO of Gravel Road Distribution Group, shares his insights into the distribution game in South Africa and beyond.

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Cape Town-based entertainment company that focusses on sales and distribution across all market channels and in all territories, Gravel Road has been growing its offering year on year. Founder and CEO Ben Crowley takes us through their highlights, the challenges of audience development, and the risks distributors take when signing a product.

First things first: what’s the latest from Gravel Road?

We have been fortunate in that our business has had year on year growth. It goes without saying that we have not been immune to challenges and obstacles – not one release is the same as another – so we are kept on our toes all the time. Our highlights have been releasing Apocalypse Now: Final Cut - this was one of my favourite films of all time and when I saw there was a new cut, I immediately went after it. Then there was Pavarotti, the biographical documentary by Academy Award winner Ron Howard, which ended up in being the third highest grossing documentary in SA of all time, and more recently the acquisition of the multi Academy Award winning film Parasite.

What are your thoughts on SA’s film and television sector from a distribution standpoint?

The industry is certainly on the up, but I think the biggest challenge is that of audience development.

We can produce the best films in the world, but without a paying

audience, we have no business.

Solving this is not an easy one, as it involves the entire industry coming together. It still perplexes me how there can be incentives to produce films, yet the benefit of these do not extend to marketing, distribution and exhibition. In France, for example, I can get match funding for my P&A on French films that I release in SA from the French government. If exhibitors and distributors worldwide are given some support (i.e. the risk for them to release is reduced), then I believe our films will reach bigger audiences, which in turn generates greater revenue.

When it comes to distribution, what are some of the challenges that the local industry struggles with?

There is no science to distribution, there is a lot of market data, risk mitigation and then some luck. I get the sense that often filmmakers think that their distributors are

failing them, but when the reality is that the distributor cannot guarantee the success in a film.

They can play a big part in it, but if you produce a film that no one wants to watch, then there is nothing the distributor can do to change this. Filmmakers need to work from audience backward, i.e. identify the audience and market trends, then develop and produce the product, and then release the film. Not the other way around, if you want to increase your chances of success.

What of COVID-19 – how are you dealing with this as a company?

This is certainly having an impact on our business, as it is on all businesses. The biggest effect it will have is on the theatrical window, and then the knock-on to PayTV. In many cases, the PayTV license is determined by the box office performance, so when this is down, so is the price

we are able to fetch further down the line. The marketing a theatrical release gets is also a big driver on product awareness which impacts EST and TVOD sales further down the line. So, in the immediate future, we have to look at how this impacts our planed releases, and we are working with all the stakeholders to find interim solutions that are beneficial to all. Then in the long term, depending on how long the lockdown from the virus lasts globally, we may end up in a situation where there is a content void. Which does mean that as soon as things return to relative normalcy there will be a boom in production and opportunities, and then it is a case of how this content is released into the market so as not to end up in an oversupply situation.

TOP THINGS TO KNOW ABOUT DISTRIBUTION 1. Know your target audience.

2. Engage with distributors as early on in the development process.

3. Take advice from distributors – they are the ones who are at the coalface of the market and audience.

4. Do what makes commercial sense and be realistic in terms of what you plan on spending versus what the revenue potential is.

GRAVEL ROAD / 07

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GRAVEL ROAD DISTRIBUTION GROUP ABOUT THE COMPANY Gravel Road Distribution Group is a Cape Town based entertainment company, that focuses on the sales and distribution of quality filmed content across all market channels.

Our titles include: Apocalypse Now: Final Cut, Pavarotti, The Square, The Bookshop, Keteke, My Life as a Zucchini, The Recce, Sheep & Wolves, Tulipani, Parasite, Azali, Hakkunde and many more African and international titles.

SERVICES OFFERED We provide all rights distribution throughout Africa. We annually attend major markets and festivals including AFM, EFM, Cannes Film Festival & Market, MIPCOM, DISCOP and Marche du Film Classic.

WHAT WE DO Sales & Distribution: We represent and distribute both long and short format filmed content across all available platforms globally.

Consulting: We provide a variety of solutions and strategies to help both seasoned and aspiring entertainment professionals meet their goals.

Video on Demand: Aside from distributing titles from our stable to leading global VOD platforms, we have also built a fast-growing network of Afrocentric VOD channels for consumption via mobile and OTT services on the continent of Africa.

Retro Afrika Bioscope: R.A.B is an initiative through which we locate, acquire, preserve, digitally restore and re-release lost African films to new audiences around the world.

MEET THE TEAM

My Life As A Zucchini

Benjamin Cowley Founder & CEO

Cynthia Hlanguza Acquisitions Manager

Aphelele Mantshiyose Media Traffic Co-ordinator

Jenna-Leigh Burns Distribution Assistant

Parasite

THEATRICAL RELEASES 2020 • Mrs Lowry & Son [Drama – UK] • Love Sarah [Drama – UK] • Santana [Action – South Africa] • Sodium Day [Comedy Drama – South Africa]

CONTACT US Tel: +27 87 742 2322 Email: info@gravelroadafrica.com Website: www.gravelroadafrica.com

• The Artist’s Wife [Drama – UK] • The Last Bus [Drama – UK] • 100% Wolf [Animation – Germany] • Sheep & Wolves: Pig Deal [Animation – Russia]

Tina Mbwale Intern

08 / INDUSTRY SNAPSHOT

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INDUSTRY SNAPSHOT ON

CORONAVIRUS

In a special Industry Snapshot, we look at how the novel coronavirus (COVID-19) outbreak has affected and continues to impact the film industry in Africa and across the world.

and the Commercial Producers Association has called for crew to assist producers in finding a solution to these issues. That said, there are production houses who are have ‘business as usual’ plastered on their doors.

Although internationals cannot

COVID-19 IN NUMBERS

© Fusion Medical Animation (via Unsplash)

I

t started as a trickle in December. We heard rumours of Sony, Universal, Netflix and others halting productions and closing offices, of international festivals being postponed or cancelled. But Africa only began to feel the real effects of the COVID-19 pandemic less than a month ago. On 27 March 2020, as the coronavirus victim

TELL YOUR CORONAVIRUS STORY Submit your news about COVID-19 and how it has affected you. Tell us your stories of success despite the odds, challenges you face, and how your business is innovating to stay afloat in this climate.

Send your stories to kim@filmeventmedia.co.za

count in SA started to grow exponentially day by day, President Cyril Ramaphosa enforced a nationwide lockdown for 21 days. This has resulted in businesses going bankrupt, commercial and film service work being postponed or lost completely, and has generally forced us to think very carefully about the high-contact group sport we call filmmaking and whether this is a new normal to adapt to like the power shortages or the water crises our country has faced in the past.

INTERNATIONAL FESTIVAL COUNT

One of the first major festivals to fall was SXSW, which was cancelled in early March just days ahead of its launch. This was followed by MIPTV moving to a completely online format amidst France’s clampdown on the pandemic spread. This has also meant that Cannes Film Festival

will no longer be taking place in May, nor will Cannes Lions in June. Locally the pandemic has already affected the Cape Town International Animation Festival which has moved its event to 2021, while local independent filmmakers like Motion City Films’ Boni&Wes have been hosting exclusive online premieres in the wake of cinema shutdowns.

Most government bodies and local associations have expressed their support of the industry during this trying time. This includes but is not limited to Wesgro, who has launched a COVID-19 support initiative (read more further in this magazine), the Documentary Filmmakers Association, the Independent Producers Organisation, the South African Guild of Actors, and many others.

The commercial industry has reported several cancelled jobs,

On 31 December 2019, the World Health Organisation (WHO) reported a cluster of pneumonia cases in Wuhan City, China. ‘Severe Acute Respiratory Syndrome Coronavirus 2’ (SARSCoV-2) was confirmed as the causative agent of what we now know as ‘Coronavirus Disease 2019’ (COVID-19).

Since then, the virus has spread to more than 100 countries, including South Africa. As of 1 April 2020, South Africa has: • Conducted 44 202 tests for coronavirus • Identified 1 380 positive cases • Seen 31 recoveries • Reported 5 deaths For daily updated stats and numbers, visit www.sacoronavirus.co.za Emergency Hotline in SA: 0800 029 999 WhatsApp Support: 0600 123 456

INDUSTRY SNAPSHOT / 09

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travel to SA, some are working remotely. With digital film work, the footage can be recorded simultaneously to hard disk in a format that can be immediately viewed on a monitor. Most post production houses will assist with delivering digitised rushes for the director, cinematographer, and editor to view – often transferred through the cloud.

Moonsport specialise in remote sport streaming technology, while Media Host’s Adstream efficiently and effectively integrates Digital Asset Management (DAM) workflow tools and a global asset delivery network all on a single platform.

IF YOUR BUSINESS HAS BEEN AFFECTED

The National Film and Video Foundation (NFVF) has invited the industry to submit funding applications for script development, animation, and post-production projects. The call for these applications was

supposed to have opened in August, but this has been hastened “to keep the industry busy during this downtime”.

The NFVF will also provide a once-off cash injection of R500 000 to the ten companies currently commissioned by the organisation.

A range of funds and assistance has been made available to South African businesses affected by the coronavirus. All business can claim tax breaks of up to R1 500 a month per employee who earns less than R6 500. As part of the special Temporary Employee/Employer Relief Scheme (TERS), money will be paid out to workers in distressed companies. The maximum benefit is R6 730 a month. Companies struggling to pay salaries due to the coronavirus crisis need to report this per email to Covid19ters@labour.gov.za.

For SMEs, there are two main government schemes

aimed at small businesses. The Debt Relief Finance Scheme and the Business Growth/ Resilience Facility. For both of these, companies first need to register at smmesa.gov.za.

For companies with an annual turnover of less than R50 million, there is an option to delay payment of provisional tax to 30 September 2021, while these same businesses can also keep back 20% of the payas-you-earn (PAYE) payments for the next four months.

The Oppenheimer family R1 billion will be paid out directly to employees of SMMEs as interest-free loans through banks. The Rupert R1 billion will be distributed as loans through Business Partners (www.businesspartners.co.za).

Many other options are also available and more will likely become available in coming weeks and months. Stay tuned to www.thecallsheet.co.za for daily updates.

HSRC AND SWIFT WANT TO HEAR FROM YOU The Human Sciences Research Council would like to hear from the South Africa public to find out more about how individuals, communities and businesses have been, and will be affected by the progression of this disease. You can do their survey completely anonymously, by going to this link: tiny.cc/HSRC Sisters Working in Film and Television together with the other industry bodies under SASFED, are compiling a list of members who are negatively impacted by the National Lockdown that commenced on Friday the 27th of March 2020.

If you have been impacted through a loss or postponement of work or income, please take the time to fill in the form: tiny.cc/SWIFTform

CREATURE SHOP T

he Creature Shop was established 26 years ago by Graham Press, who has more than three decades of industry experience and nothing beats experience!

The Creature Shop is your one stop solution to all special make-up effects, prosthetics and live action animatronics. We endeavour to stay on par with the best effects companies in the world in terms of new techniques and materials.

The Creature Shop is based in Cape Town, South Africa, and is available for all national and international Caveman prosthetic

business at competitive rates.

Our happy clients range from Feature Films to Commercials and Music Videos.

CONTACT US Unit 11 Montego Park, 3 Marconi Rd, Montague Gardens, Cape Town Graham Press graham@thecreatureshop.co.za Tel: +27 82 379 3937 Kaila McLoughlin kaila@thecreatureshop.co.za Tel: +27 73 250 6611 www.thecreatureshop.co.za Mechanical Lion

10 / FILM SERVICE

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Chapman’s Peak

SUNNY SOUTH AFRICA DELIVERS ON FILM SERVICE

Internationals have been flocking to SA once again over the 2019/2020 film season – and for good reason: we offer everything they need and more to get their productions off the ground. Katie Reynolds-Da Silva reports.

T

he residents of Claremont in Cape Town were awoken in recent nights by the unsettling and rather bizarre sounds of a musical band communicating with a dragon. While some people might have thought that the end is indeed nigh, the better informed residents knew that all was well, and it was merely the sounds of the night shoot for The Watch – an eight-part series based on the beloved Discworld series of books by Sir Terry Pratchett.

Film Afrika, the local production company working on The Watch, had kindly informed all the locals in advance that their slumber might be interrupted.

While some shoots can

cause a short-term bother, the long-term value of servicing international productions cannot be overstated. With pandemics, political turmoil, global recessions and the plummeting stock market has resulted in the zeitgeist of 2020 best described as suboptimal (to put it mildly), film production is one positive that keeps us buoyant. Cruising the streets of SA and seeing base camps, catering trucks, lighting and sound equipment, and all the associated film hullabaloo never fails to put the pep back into one’s step.

THE STATE OF SERVICE

“The financial year ending March 2020 was the most successful year in the studio’s

history,” says Nico Dekker, CEO of the Cape Town Film Studios. “We are fully booked until April 2021 with major international productions, including productions from MGM, HBO Max and various streaming series from Netflix.

The deals are signed and the deposits paid, however, the government’s response to the COVID-19 pandemic in the coming days may change things dramatically for us.

Netflix has already suspended productions in other countries, and it is very possible that is what will happen here.”

According to Producer Dylan Voogt, Stage 5 Films will be providing production services for their partners

COVID-19 AND FILM On the evening of March 15th, President Cyril Ramaphosa addressed the nation in a live broadcast.

Following an extensive analysis of the progression of the disease worldwide and in South Africa, Cabinet has decided on the following measures: • Limiting contact between persons who may be infected, and banning gatherings of over 100.

• Imposing a travel ban on foreign nationals from high-risk countries such as Italy, Iran, South Korea, Spain, Germany, the United States, the United Kingdom and China as from 18 March 2020.

• Cancelling all visas to visitors from those countries from 16 March 2020. Previously granted visas are also hereby revoked.

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Warrior

Bloodshot

The Watch

Sulphur & White

provided services for is Sulphur & White which had its theatrical release in the UK on the 6th of March 2020.

The film is directed by Julian Jarrold (Brideshead Revisited, Kinky Boots). Stage 5 Films also production serviced the South African leg of the productions with our friends and partners at EMU Films and AMG International Films

Stage 5 has the following co-productions in development: Apocalypse Now Now – SA, Canada and USA; and The Elephant Whisperer – SA, UK, France and Canada.

Another Film Afrika production is Around The World In 80 Days, now shooting in South Africa. The series began filming earlier this year. Starring David Tennant, Around The

“Είναι Ελληνικά για μένα.”

IT’S NOT GREEK US. “Είναι Ελληνικά γιαTOμένα.”

IT’S NOT GREEK TO US.

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TRANSLATIONS • TRANSCRIPTIONS • VOICE-OVERS INTERPRETING • SUBTITLING • LOCALISATION & SEO PROOFREADING • EDITING • COPYWRITING

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TRANSLATIONS • TRANSCRIPTIONS • VOICE-OVERS INTERPRETING • SUBTITLING • LOCALISATION & SEO PROOFREADING • EDITING • COPYWRITING

CONTACT CONTACT US US

AMG international films (UK) and EMU films (UK) for the feature film Prisoners of Paradise. Set in Mauritius in the 1920s, the film starts principal photography in June 2020. This brings the total of African countries that Stage 5 Films has worked in outside of South Africa to 14.

The previous AMG and EMU film that Stage 5 Films

World In 80 Days will air on BBC One. Other recent high-profile Film Afrika productions include Raised By Wolves and The Power.

Moonlighting Films has a formidable track record of servicing international film and TV projects, with credits that include Mad Max: Fury Road, Homeland Season 4, The Dark Tower, The Mummy, Safe House and Invictus.

+27 (0)21 426 2727 pziets@folio-online.co.za projects@foliotranslations.com +27 (0)21 426 2727 www.folio-online.co.za pziets@folio-online.co.za projects@foliotranslations.com @Folio_Online www.folio-online.co.za facebook.com/folioonline @Folio_Online facebook.com/folioonline

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Sulphur & White (left and right images)

Moonlighting has also coproduced several treaty co-productions, including Skin (the first UK / SA production), and Beauty (the first SA / France co-production which was in competition in Cannes). Recent service work includes Warrior Season 2 and Deep State 2, Hotzone, and Black Mirror Season 5.

A REGION THAT SELLS ITSELF

For those that still doubt the versatility and unmatched beauty of the Western Cape

once the lockdown is over. I suggest taking the following drive. Start in the Winelands and roll through the vineyards on your way to the coast, past the sprawling townships and crisscrossing highways, until you see the white peaks of the choppy ocean. You’ll see the infamous Seal Island in the distance, where great white sharks perform their aerial acrobatics, before you head South down Baden Powell drive, where the wind coats the road in white sand and it sometimes seems that the

ocean could swallow your car at any moment. Keep rootling south through Muizenberg and Kalk Bay – recently voted the coolest town in the world.

Continue hugging the coast until you reach the penguin colonies of Simon’s Town, then hook a right and begin the slight climb through Sun Valley until the endless expanse of Noordhoek beach appears to your left. Take a moment to marvel before you begin what is without doubt the most visually stunning drive in the world. You’ve made it to

Chapman’s Peak – beloved by car commercial productions and bemoaned by cyclists.

Once you’ve comprehended that there are certainly more than five senses needed to take this all in, cruise through Camps Bay, playground of the uber-rich and a perennial favourite of the life-througha-lens crowd. Lastly, pick a bar on trendy Kloof street in Cape Town CBD, order a beer, and call whoever makes the big decisions in your production company. Tell them you need to take them for a drive…

NOT A ONE TRICK PONY

While I have waxed lyrical about the visual splendour of Cape Town and the Western

LOCATION PERMIT STATS: • Film Cape Town (2018/2019): 7 675 permits issued, of which 405 were TV projects and 248 were feature film productions • Gauteng Film Commission (2018/2019): 153 permits issued • Durban Film Office (2018): 281 permits issued, of which 23 were TV projects and 23 were feature film productions Cederberg © Scott N Ramsay

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Cape, there are many other cities and towns that are ideal for film production. The province of Gauteng, home to the cities of Johannesburg and Tshwane, is the economic steam-engine of South Africa, of South Africa and lends itself to all manner of production.

The province’s airports offer easy access to SA’s multitude of wildlife parks and reserves.

The Northern Cape’s arid, stark landscape can provide a post-apocalyptic look without any set dressing at all, which is surely a relief for any line producer. KwaZulu-Natal is renowned for its diversity, and has its rolling hills and stunning seascapes have taken centre stage on multiple local and international productions.

South Africa has 72 ports of entry in the country which are land, sea and air ports. Of the 53 land ports, 35 will be shut down with effect from Monday 16 March. Two of the

eight sea ports will be closed for passengers and crew changes.

TIP-TOP TALENT

While our landscapes are enough to make any location scout salivate, our talent pool is equally tempting for casting directors. Our many ethnic and cultural groups make for a diverse and rich source to cast from. Any look can be found here, no matter how scarce. We also have an established and experienced pool of technical experts with extensive experience in working on international productions Imagine a production destination that is visually stunning and renowned for its ability to replicate almost any landscape or country on Earth. And now imagine having a full-service, Englishspeaking crew with the latest in industry know-how, waiting to service your production with cutting-edge technology

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and experience gained from decades of working on international blockbusters.

Now take into account the intricacies that come with a film, TV or commercial production. Think gear rental, accommodation, specialist vehicles, greening experts, stunts, casting, animators, post-production facilities, animal wranglers, turnkey

studios, catering, and more.

All in one place. There is no need to bring anything with you. Bring the idea and South Africa will bring it to life (at a cost that will whet the appetite of the most tight-fisted client).

Top it all off with a rebate that is on par with the most generous on the planet, and you’ve got a recipe for film excellence.

We act to ensure your film succeeds Our experience includes Sink, Shepherds and Butchers Tomb Raider, The Mummy, Warrior, Isibaya, Queen Sono, The Queen, Arendsvlei, Deep State, Knuckle City, Forgiveness Films and many more.

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14 / FILM SERVICE

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SUSTAINABILITY ABOVE ALL ELSE

WrapZERO has been very active in film-service work over the past few years.

WrapZERO provides advice and strategy around the sustainability process for productions, starting with the co-creation of a strategy and policy through an interactive workshop. Support is provided on the ground through implementation, data collection and communication to crew and cast. The third step is collating all the data into a sustainability and carbon footprint report which will guide future productions and can be used for carbon offsetting. Jointly this process adds value to protecting the environment, while providing a positive economic and social impact.

Over the last few months WrapZERO has seen a tremendous buy-in from cast and crew following on pro-active engagement and a communication campaign addressing issues such as energy efficiency, waste reduction and water conservation. New topics such as no-idling on set and meat free meals are actively being implemented on set.

To enable effective waste management it is critical to ensure that a three-bin system is implemented, with clear signage on the bins. It does however require more than just the bins and a full implementation system is

The Watch

needed to ensure that the compostable container goes through to composted and not land in landfill. The WrapZERO

team engages with local service providers to find the most optimal solutions for resources that can be repurposed.

OVER THE LAST FEW MONTHS WRAPZERO HAS SEEN A TREMENDOUS BUY-IN FROM CAST AND CREW FOLLOWING ON PRO-ACTIVE ENGAGEMENT AND A COMMUNICATION CAMPAIGN ADDRESSING ISSUES SUCH AS ENERGY EFFICIENCY, WASTE REDUCTION AND WATER CONSERVATION.

A FAVOURABLE EXCHANGE RATE

MAKE YOUR NEXT PRODUCTION SUSTAINABLE BlueWater is a local company which has helped to reduce the need for single use plastic bottles by providing drinking water on set which can be decanted as still or sparking water. They filter the water and serve it cold, so cast and crew only need to remember to bring their own water bottles.

The use of LED lights have shown to provide a big saving on energy consumption on set. The load is significantly lower compared to traditional halogen or tungsten lights and although it can’t be used in all circumstances, it is easy to use and has versatile colour options.

All these actions might seem small, but jointly they help to reduce carbon emissions and encourage resource efficiency, which has a positive impact on the bottom line and local community.

Low production costs and favourable exchange rates present considerable savings for filmmakers. It is up to 40% cheaper to make films here than it is in Europe and the USA, and up to 20% cheaper than in Australia.

Source: WrapZERO Blood Drive

FILM SERVICE / 15

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iSimangaliso Wetland Park

GET YOUR VISA SORTED

Foreign professional teams are required to have the correct visas in place before they travel to South Africa. Your local service provider will have access to FIVA – Film Industry Visa Assistance, and as a result significant waivers in the immigration regulations will apply to you.

These waivers include an

Umtamvuna Nature Reserve Red Desert

Oversight category which will allow a large portion of your production to travel to SA without requiring work authorisation. You will also have access to waivers which limit the amount of paperwork which needs to be submitted for Specialist travellers as well as a dedicated office to resolve any bottlenecks which might occur.

Please note that without a

FIVA letter obtained through your SA service company, you would require s11.2 Visitors Visas with work authorisation for your entire team if travelling to SA. All personnel would need to appear in person at the South African Consulate in your home country, please consult the individual South African Consulate website for your home country for more details.

ALL VISAS VOID DUE TO COVID-19 LOCKDOWN The ongoing COVID-19 pandemic has resulted in all approved visas being cancelled. Please check for updates on the relevant government websites and with your local production company.

FILM / SERIES

COMPANIES ATTACHED

LOCATION

Black Mirror S5

Moonlighting, Endemol

South Africa

Blood and Water

Gambit Films, Netflix

Cape Town

Bloodshot

Moonlighting, Sony

South Africa

Deep Blue Sea 3

Film Afrika, Netflix

Cape Town

Deep State 2

Moonlighting, Indoor Productions

Cape Town

Doctor Who Season 11

BBC Studios, Out of Africa Entertainment

Western Cape

Escape From Pretoria

Spier Films, Arclight Films

South Africa

First Dates South Africa

Rapid Blue

Johannesburg

Good Omens

Amazon/BBC, Salt River Studios

Cape Town, Atlantis Dunes

Leprechaun Returns

Out of Africa Entertainment, SyFy, Lionsgate

South Africa

May’s Kitchen

Ladies First Distribution

Egypt

Monster Hunter

Moonlighting, Constantin Film, Impact Pictures

South Africa, Namibia

Queen Sono

Diprente, Netflix

Johannesburg

Raised By Wolves

Film Afrika

Cape Town

Sacred Games Season 2

Filmad Africa Productions, Netflix

Nairobi, Cape Town, Johannesburg

Serenity

Identical Pictures

Mauritius

The Batchelor Australia Finale

Visual Impact

North West

The Boy Who Harnessed The Wind

Blue Sky Films, BBC Films, Netflix

Malawi

The Hotzone

Moonlighting, Fox

South Africa

The Professionals

Spier Films

Johannesburg

The Seal

Triggerfish Animation Studios

Cape Town

The Snail and the Whale (Post Production)

Triggerfish Animation Studios, Magic Light Pictures

Cape Town

The Watch

Film Afrika, BBC Studios

Cape Town

The Widow

Film Afrika, ITV, Amazon Prime

South Africa

The Yard

Currency Media

Kenya

Trackers

Scene23, M-Net, ZDF, Scribe Studios

Cape Town

Warrior Season 1 and 2

Moonlighting, HBO

South Africa

Why Not

Visual Impact

South Africa

16 / FILM INCENTIVES

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TAX REBATES FOR FILMING IN AFRICA

We bring you a basic guide to the South African Film and Television Production Incentive Programme and other rebates available on the continent.

The Foreign Film and Television Production and Post-Production Incentive provides an incentive

Image by Micheile Henderson via Unsplash

T

he film incentive programme offered by the Department of Trade and Industry (the dti) is aimed at strengthening and promoting South Africa’s film and television industry as well as contributing towards the creation of employment opportunities.

The Foreign Film and Television Production and Post-Production Incentive is available to foreignowned qualifying productions and post-productions as follows: • The Qualifying South African Production Expenditure (QSAPE) should be at least R15 million for shooting on location in South Africa, • The Qualifying South African Production Expenditure (QSAPE) should be at least R12 million for level one Broad Based Black Economic Empowerment (B-BBEE) contributor status service companies for shooting on location in South Africa; • The Qualifying South African Post-Production Expenditure (QSAPPE) should be at least R1.5-million for conducting post-production activities in South Africa.

• The Foreign Film and Television Production and Post-Production Incentive provides an incentive of twenty-five percent (25%) of the Qualifying South African Production Expenditure (QSAPE).

of 20% of the Qualifying South African Post-Production Expenditure (QSAPPE) of at least R1.5 million. An additional incentive of 2.5% of QSAPPE is provided for spending at least R10 million of the post-production budget in South Africa; or an additional 5% of QSAPPE is provided for spending at least R15 million in South Africa. The incentive programme offers a reimbursable grant to the maximum of R50 million per qualifying project.

MOROCCO FILM REBATE

To qualify for the rebate, projects must spend a minimum of 10 million dirhams, or approximately US$1 million.

The project cap is 18 million dirhams, or about US$1.8 million.

Productions must spend at least 18 work days in Morocco – a number that includes set-building.

Eligible expenses are capped at 90% of total expenditure.

Recent projects shot in Morocco include John Wick: Chapter 3, Aquaman, Hold the Dark, Beirut, Tom Clancy’s Jack Ryan, Mars, Game of Thrones and Mission: Impossible – Rogue Nation.

MAURITIUS PRODUCTION INCENTIVES

The Government of Mauritius introduced the Film Rebate Scheme in endeavour to develop new sectors of activity within the creative arts industry. The scheme allows 30% refund on all the Qualifying Production Expenditures (QPE) incurred by a film producer in respect of their

project in Mauritius.

Besides feature films, the Film Rebate Scheme applies to other categories of production such as commercials, TV series and documentary programmes.

The Film Rebate Scheme, implemented in 2013, was a first step towards the development of a film-service industry in Mauritius, under which filmmakers benefit of 30% rebate on all the qualifying expenditures incurred in Mauritius.

A new band of 40% rebate was introduced in the National Budget 2016/2017 on all qualifying expenditures incurred by a feature film in Mauritius (minimum QPE of $1 million). This new band has been extended, through the National Budget 2018/2019, to high-end television series with a minimum QPE of US$150 000.

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CO-PRODUCTIONS STRONGER TOGETHER

South Africa’s numerous co-production treaties enrich the production of films and television series, with countries partnering for the myriad benefits.

C

o-production is a general term that covers a variety of production arrangements between two or more production companies undertaking a television or film or television project. A ‘co-production treaty’ is an agreement entered into by two separate governments in the field of audio-visual production.

The effect of this agreement is that a film or television programme, which is approved as an official co-production is regarded as a national production of each of the co-producing countries, and is therefore eligible to apply for any benefits or programmes of assistance available in either country.

There are two types of international co-productions: • Creative control is shared between local and foreign partners, and there is a mix of local and foreign people in creative positions.

• A straightforward co-financing arrangement (finance only) in which one partner provides partial funding while another company undertakes the actual production.

SOUTH AFRICA’S CO-PRODUCTION INCENTIVE

The objectives of the South African Film and Television Co-Production Incentive, a subprogramme of the South African Film and Television Production Incentive Programme, is to support official co-productions and contribute towards

grant to the maximum of R50-million per qualifying project.

ELIGIBLE FORMATS

The following production formats are eligible for support: • Feature film • Animation • Tele-movies • Television drama series and mini-series • Documentary, documentary series and documentary feature • Digital Content

WHY WE WIN THE WORK

employment opportunities in South Africa.

The incentive is available to qualifying official treaty coproductions as follows: • The Qualifying South African Production Expenditure (QSAPE) should be at least R2.5 million • For documentaries, the Qualifying South African Production Expenditure (QSAPE) should be at least R500 000.

South African citizens as heads of departments (HODs) and procuring at least 30% of the QSAPE from 51% South African black-owned entities which have been operating for at least a period of one year. The incentive programme offers a reimbursable

A country with a unique blend of established production support and expertise, combined with a favourable exchange rate, English-speaking crew, the latest tech and gear, and topped off with the most beautiful scenery in the world, should be the tipping point in the favour of South Africa as your next film-service destination.

If not, adjust to the new normal and embark on a virtual tour. That is, until the pandemic is over and international travel restrictions are lifted. We will be waiting to host you!

The Incentive provides a rebate of 35% of QSAPE, and an additional 5% of QSAPE is provided for productions hiring at least 20% of black APOCALYPSE NOW NOW, A CO-PRODUCTION CURRENTLY IN THE MAKING © STAGE 5 FILMS

18 / ANIMATION SHOWCASE

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BEHIND THE SCENES WITH

DANIEL SNADDON Daniel Snaddon, the local director behind the BBC’s latest Julia Donaldson and Axel Scheffler adaptation, The Snail and the Whale, pulls back the curtain to what lies beneath Triggerfish’s latest collaboration with Magic Light Pictures.

T

he Snail and the Whale premiered to an audience of over 4 million on BBC One on Christmas Day last year. This is the latest to come out of one of the most successful animation collaborations in South Africa to date. Triggerfish have worked with UK-based Magic Light Pictures since their first adaptation, Stick Man in 2015. To date, they’ve done the animation for four other awzrd-winning shorts – Revolting Rhymes, The Highway Rat, Zog and now The Snail and the Whale. Daniel Snaddon,

Director at Triggerfish Animation Studios, takes us behind the scenes to show us what went into putting it together.

Firstly, give us the basics – what is The Snail and the Whale all about?

The Snail and the Whale is based on a children’s book by Julia Donaldson and Axel Scheffler, and it is the story about a little snail who wants to see the world. The film’s really about exploring the world, recognising how big and beautiful the world is, but then also starting to feel

your own insignificance in the face of that. And the snail’s journey coming to terms with who she is and what difference can she make in the world.

Tell us a bit about your partnership with Magic Light Pictures.

Magic Light Pictures first came to us to produce Stick Man, which I co-directed. They took a huge risk in deciding to come to South Africa and set this up with us because at that time, Kumba had already been finished for about a year and a half and the

whole team had gone elsewhere and gotten other jobs.

However, we were able to put together a team of animators from across South Africa in different fields who get the chance to really tell stories – which is what we’re all passionate about. It’s been amazing. There are very few projects where you get this much time, we get about a year and a half to make a twenty-minute film. That is very unusual. So I think that we’ve been very fortunate and blessed by this relationship.

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How long did it take to finish the production of The Snail and the Whale and what were the challenges you came up against?

The Snail and the Whale was started by my directing partner Max Lange. At the time we didn’t think we were going to do The Snail and the Whale because we were busy preparing

for SEAL Team. But that got pushed out. And then we suddenly had an opportunity to do The Snail and the Whale.

The reason we wanted to do this project especially is because in SEAL Team we have a lot of water, and water is very difficult to do in CGI. In The Snail and the Whale there was quite a lot of water – not as much as in SEAL Team, but we thought if we can do this short film, then we can build a VFX team specifically to tackle this challenge.

The first footage for the first shot – our test drive shot – we started in November or October 2018 and that same shot was only approved around May 2019! It was particularly difficult. Drove us all crazy then, but now it helps us solve a lot of big technical problems.

What would you like the audience to experience when they watch this movie?

I became a father while we

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were making The Snail and the Whale, and I was really happy when I read the book for the first time. I read it to my son when he was actually still in the womb, and I really had to unpack the message for myself. That’s very subtle in the movie. But it encourages people to not feel overwhelmed by the bigness of life’s problems; you shouldn’t give up.

from Triggerfish. I’m still very much part of Triggerfish.

But I am going to be moving to Sunrise Productions to work on a very exciting project that I’m definitely not allowed to say anything about yet!

But they’re putting together an incredible team and it’s a chance for me to learn from some amazing people.

We heard you may be leaving Triggerfish?

Why the move to Sunrise Productions?

I’ve been with Triggerfish since 2012, and I’ve had a wonderful time here and I’m going to continue working with Triggerfish. I’m developing a feature film with them based on a comic book that we kick-started call Kariba. I’m also working for development on some other projects. So I’m not really moving away

1:57 PM

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+27 (021) 201 4777 confessions@priest.co.za

DESIGNED BY AMELIA COHEN

20 / FILM TOURISM

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OPPORTUNITIES IN

FILM TOURISM

Musawenkosi Gebuza speaks to major South African stakeholders to find out if and where opportunities exist to capitalise on film tourism in the region.

Black Sails was shot in South Africa predominantly at Cape Town Film Studios © Starz Entertainment

F

ilm tourism is recognised as one of the drivers for the development and growth of international tourism industries for a number of destinations. Film-induced tourism comes in many shapes and forms, from studio and locations that fans can visit, to exploring the various places made famous by any particular film or television production.

Film tourism is a growing phenomenon worldwide, fuelled by both the growth of the entertainment industry and the increase in international travel. Marketing opportunities are generated when the film is being premiered and distributed as well as during each release window.

Additional businesses and services can be created through film tourism that, in turn, can encourage the extension and strengthening of the visitor season.

NEW ZEALAND: A SUCCESSFUL INTERNATIONAL CASE

New Zealand, after the launch of The Lord of the Rings in 2001, the country’s tourism industry has shown impressive growth. The release of the Tolkien trilogy and subsequent films have made New Zealand a place to be thanks to the incredible vistas found in each film instalment. Tourism New Zealand has itself stated that, “research shows us that film can influence travel choices.”

New Zealand now has its own fully-fledged set of organisations – Tourism New Zealand, the New Zealand Film Commission and Film New Zealand. All of these bodies actively work to promote New Zealand as a travel destination for fans of films made there, including The Lord of the Rings, The Hobbit and The Piano, to name just a few.

Another great and growing example is Ireland, which has

recently capitalised on hosting the majority of the production of Game of Thrones in country.

As revealed in their behindthe-scenes documentary on the show, film tours of the region and sets used have created new income options for extras and other film industry service providers who have worked on the GOT set.

CREATE TOURISM OPPORTUNITIES BY ATTRACTING MORE PRODUCTIONS

Tourism is a milestone for job creation and economic stimulation, a big boost for many hot spots due to the influence of pop culture and luxurious lifestyle filtered through movies and TV shows that bring forgotten and unknown corners of the world to the attention of the media-consuming masses. And tourism boards are increasingly using the passion

of fandoms to promote their countries and regions.

South Africa has thousands of beautiful, and diverse locations with vast potential. Lisa Mini, Wesgro’s Film and Media Promotion Officer, explains: “Over the last few years, our country has been dressed and redressed to masquerade as America, Europe, Hong Kong or the Island of Corfu. We have everything from forests and oceans to mountains, deserts and cityscapes alongside fabulous beaches. As highly a soughtafter film destination, many international films and TV series have been shot on location in Cape Town and the Western Cape – like Warrior, Black Sails, Dr Who, Black Mirror and Love Island, to name a few. Hosting productions like these entice tourists to visit our country to see the locations where these films were shot. Research has shown that after a successful

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series or movie, tourism can increase by up to 54%.”

Ultimately, the driving force behind film tourism is the ability to attract big budget productions to our shores. The compilation of databases of the resources available such as hotel companies, transport companies, catering companies, etc. that are easily accessible for producers who need them is a crucial part of this process. There needs to be a focus on the promotion of film service companies and skilled labour so as to reassure international productions of the country’s ability to fulfil their needs, says Nokuthula Shongwe, Acting Marketing and Communications Specialist at KwaZulu Natal Film Commission.

“In order to successfully position South Africa as a film destination, we need to ensure that local municipalities have the necessary skills and knowledge to package and showcase their locations to the film industry.”

OBSTACLES AND CHALLENGES TO IMPLEMENTING FILM TOURISM There are a few major challenges that South Africa faces ahead if it truly wants to leverage this multiplier for the tourism sector. One of these is lack of ownership. Although there are a number of massive productions that were shot in South Africa, locations may not have been properly credited. Examples of these have been Maze Runner:

The Death Cure, and Tomb Raider (2018).

Founding is also a major obstacle for film production in South Africa because very few companies can dedicate fulltime resources to development, therefore there are insufficient development of concepts and scripts, leading to many South African stories being told by foreign producer/director teams.

Shongwe explains further: “The biggest challenge right now is lack of film industry knowledge, especially from service providers and land owners. The inability to create film-friendly rates and the slow turn-around times when it comes to requests for permits has also posed a major challenge for big producers.”

Another challenge that needs to be addressed is how to market a destination that can replicate basically any other country across the world. Tourists would naturally rather flock to the actual landmark where a production was supposedly filmed than visit the actual production destination. This is a dialogue that needs to be explored more, or alternatively, our country has to wait for a chance when South Africa is shot as itself rather than another destination to capitalise on this tourism opportunity.

WHAT LIES AHEAD FOR THE BRAVE

Cape Town streets set against the foot of Table Mountain © Matt Halls (via Unsplash)

industries. Having a vibrant film and media industry – VFX, AR/ VR, Gaming and Edutainment as well as locations and studios will help drive growth from the creative producers and crew working in this industry,” says Mini, adding that, “We don’t know what the jobs of the future will be, but we do know that some of the most cutting-edge products are discovered on the job so the more work the country

attracts the more opportunities will be uncovered.”

4IR has already and will continue to change the travel industry and as such, this will filter into film tourism as well. And with the COVID-19 pandemic forcing us to rethink the way we do business in film and travel, we’re likely to see some new and exciting film tourism marketing opportunities arise in the very near future, too.

“The fourth industrial revolution opportunities lie in creative

ANOTHER CHALLENGE THAT NEEDS TO BE ADDRESSED IS HOW TO MARKET A DESTINATION THAT CAN REPLICATE BASICALLY ANY OTHER COUNTRY ACROSS THE WORLD. TOURISTS WOULD NATURALLY RATHER FLOCK TO THE ACTUAL LANDMARK WHERE A PRODUCTION WAS SUPPOSEDLY FILMED THAN VISIT THE ACTUAL PRODUCTION DESTINATION. Johannesburg cityscapes © Tembinkosi Sikupela (via Unsplash)

22 / WESGRO

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WESGRO CONTINUES PROMOTING

CAPE TOWN AND THE WESTERN CAPE

Wesgro has and will continue to promote and support the film and media industries in Cape Town and the Western Cape despite COVID-19 setbacks.

BERLINALE / EUROPEAN FILM MARKET

In February, Monica Rorvik, Head of Film and Media Promotion at Wesgro attended the 70 th edition of the Berlinale International Film Festival with its expansive European Film Market where she spoke on the inaugural Landmark platform about the opportunities that the Western Cape has to offer.

Over 50 South Africans took part in meetings and attended panels at the European Film Market’s Africa Film Hub. Five South Africans attended the 350-person cohort of Berlinale Talents where MasterCard fellowship awarded Western Cape’s Sydelle Willow Smith of Sunshine Cinema. Four of the five South Africans that attended were from the Western Cape, including Nozuko Poni, a distributor; Pierre De Villiers, a cinematographer; and editors Jacques De Villiers and Matthew Swanepoel. Wesgro was also part of the side meeting programmes such as WEP Film’s Junior Entertainment Talent Supported (JETS) supported by seven co-production countries including three National Film and Video Foundation (NFVF) projects from South Africa.

As always, the cutting edge of the future was present, including Artificial Intelligence (AI) filmmaking and wildly fantastic Pan-African Virtual Reality (VR) projects – with South African Electric South projects as well as a VR experience which

Film banner strip 2017.indd 2

required a trip on an African Space Makers bus to the Zeiss Planetarium. www.berlinale.de

SXSW CANCELLATION

Unfortunately, due to the rapid spread of COVID-19 (the Coronavirus), South by South West (SXSW), among many other global festivals and events, has been cancelled.

Wesgro’s Film and Media Officer, Lisa Mini along with Chief Business Officer, Yaw Peprah and Leisure Tourism Content Creator and Curator, Robert Peters, planned to attend the event in Austin, Texas, but remained home to reduce the risk of contracting and spreading the virus. For more information: www.sxsw.com

CAPE TOWN INTERNATIONAL ANIMATION FESTIVAL AND COMIC CON The ninth Cape Town International Animation Festival (CTIAF) has been postponed to 24-27 April 2021. The event will take place at the Cape Town Stadium and will be co-located with Comic Con Cape Town.

Both events were scheduled to take place in May this year, but have been postponed following the spread of the COVID-19 virus, and the South African Government’s ban on public events over 100 people as one of its responses to manage the pandemic. “We are obviously saddened not to be able to bring you the incredible programme we had lined up,

Head of Wesgro Film and Media Promotion unit, Monica Rorvik(left) and Canadian Producer, Natasha Vassell(right) at the 70 th Annual Berlin International Film Festival

but we are committed to being socially responsible and doing whatever we can to prevent the spread of the Coronavirus,” says Festival Director Dianne Makings. “The health and safety of our delegates, sponsors, staff and the population at large is and will remain our highest priority.

The good news is that next year CTIAF will be even bigger with an epic four days of events!”

Delegates will have a choice between refunding their ticket or rolling it over to the new dates in 2021. This process will be managed hand-in-hand with ticketing partner Howler. Visit www.ctiaf.com for updates

COVID-19 CONTENT CENTRE

The Department of Economic Development and Tourism , together with Wesgro, the City of Cape Town and industry partners, have activated the official virtual COVID-19 Content Centre which consists of sector specialists and communications experts, set up to develop reliable content to assist industry, and manage daily queries and business concerns. These FAQ’s, including film can be found on www.supportbusiness.com.

If you have any questions or queries, please send them through to supportbusiness@wesgro.co.za.

a great place to create

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SPOTLIGHT / 23

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RAND-AIR’S TWINPOWER

GENERATORS AND LED LIGHTING DO THE FILM INDUSTRY A ‘POWER’ OF GOOD

LED lighting

F

undamental to Rand-Air is the ethos of ultimate customer convenience, and this is especially relevant when supplying deadline-driven, high-profile sectors such as the film industry. To this end, RandAir has purchased four Atlas Copco TwinPower generators, the benefit of this arrangement being that there are two 550 kVA generators in each container.

This containerised generator solution gives a very compact footprint, unrivalled versatility, optimised performance and excellent fuel economy. In addition, the two modules

Twinpower generators

inside the container can be synchronised so that it is possible to supply either 1 100 kVA or 550 kVA – a versatile and portable cost- and fuel-saving option for the customer.

“Many of our customers prefer to have one self-contained unit on site, as opposed to two individual 550 kVA generators in sync,” explains Rand-Air Fleet Manager Craig Swart.

The footprint of the container is smaller than two individual 550 kVA generators; and having the generators in containers protects them against extreme weather conditions. The

WE ARE ABLE TO SUPPY AND SERVICE SOUTH AFRICA AND OUR NEIGHBOURING SUB-SAHARAN AFRICAN COUNTRIES.

company is able to supply the TwinPower solution to a wide geographic area.

“We are able to suppy and service South Africa and our neighbouring subSaharan African countries,” continues Swart.

The units are delivered to site and Rand-Air technicians make sure they are working to the customer’s complete satisfaction. “All the customer needs to do is switch the power on, and continue uninterrupted with their core business,” he continues.

Rand-Air also has another very relevant solution for the film sector, in its portable LED lighting units.

“Because these units are fitted with LED bulbs, they are remarkably economical and will run for days without requiring refuelling or any other attention. In addition, modern LED bulbs last longer

and fail less often than their earlier filament counterparts, and can handle harsh mining conditions without burning out prematurely,” Swart explains.

There are no trailing cables to either get cut, damaged or trip over, because the diesel engine, generator and lighting tower are all contained on a single trailer. Furthermore, as they are mounted on a robust trailer, moving them to new positions as filming angles change, takes a matter of minutes.

In addition, Rand-Air lighting units are all manufactured by world leader Atlas Copco and, as such, these units deliver the most cost-effective, lowest maintenance service.

24 / SPOTLIGHT

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THE ROLE OF CREATIVITY

POST COVID-19

Rohan Reddy, Executive Creative Director for the McCann Africa network, shares his thoughts and insights on this international health emergency.

A

t the time of writing this in Johannesburg, COVID-19, aka the coronavirus, has infected more than 190 000 people globally and claimed over 7 500 lives.* Just three months ago, most had never heard of ‘the coronavirus’, but now it is a household word.

THE BAD NEWS

In response, countries are shutting their borders, denying visas, grounding airlines. Schools and universities are closing, supermarket shelves are being emptied of everything from toilet paper to tofu, once buzzing restaurants are reduced to whispers. Businesses and some industries are scrambling to stay afloat, stock markets are crashing, and politicians are looking less presidential and more pathetic.

Our hands have never been cleaner, human contact is being frowned upon, people are getting sick or dying. We don’t care much about advertising or design anymore; mortality is our reality, we care about surviving.

When 2020 comes to an end, the world we live in will probably look very different from the one we said goodbye to in 2019. And it is impossible to predict what this new world will look like.

THE GOOD NEWS

Humanity will survive this virus.

And, something beautiful is bound to emerge. Because, we as humans have a primal desire to make our existence beautiful

again, and again.

Creativity will save the world. People will look to our poets, our artists, our musicians, our dancers, our inventors, our architects, our engineers, our writers and designers to redefine humanity’s purpose post-COVID-19. Businesses will look to their advertising agencies and design studios to redefine how we consume everything from food to fashion to travel.

Because, at the end of 2020, it will not be business as usual.

It will be something completely different. We will spend our money differently, we will save

our money differently and we will probably make our money differently too. We will have no choice but to adapt to and redefine the changes coming our way, big and small. But adapt and redefine we must.

History will not always want to remember the anxiety and sadness and sickness and death COVID-19 has infected upon us - important as it is. I believe history will ultimately want to remember how we picked up the pieces, rose above it all and brought humanity back together.

Because we belong together.

I call this belonging, culture.

So, to all my fellow creatives out there - prepare yourselves.

For when the time comes, there’s work to be done. There will never be a greater opportunity to lead the world forward, and not from a political front but a creative front. It’s not just our job, it’s our existential duty.

Get thinking. The present is not going anywhere. I look forward to seeing what we will all create. Our children will thank us later. *At the time of publishing, these numbers had escalated to 820 000 infected with 40 000 deaths.

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MGG ABOUT THE COMPANY Our beginnings in 2000 might have been humble, but our ambition to become one of the most established and respected suppliers of technical support and equipment to the live event, corporate production, and film and television industries was firm. Today, we are exactly that. Our services are customised and end-to-end, our execution meets the highest international standards, and we are recognised for being one of the biggest – and best – in the business. AV equipment. Lighting gear. LED screens. Rigging. Sets, structures and stages. Cameras. Projection. Power distribution.

The MGG warehouse boasts one of the most impressive inventories of top-end technical equipment not only in the country but across the continent, most of which is available for hire. This equipment is expertly rigged and managed by our team of creatives, night owls and geeks whose years of experience and sharpened skill sets are superseded only by their love for what they do.

SERVICES OFFERED At MGG, our multiple departments, including audio, AV and LED, lighting, structures and rigging, and printing and manufacturing, work closely to ensure the success of our projects. Their seamless collaboration is made possible by our in-house logistics systems and processes, which focus on efficiency and guaranteeing our clients peace of mind.

Over the years, we have put our extensive equipment to use at events and productions of every size and description.

Sporting events, concerts, conferences, exhibitions, festivals, film and television sets, and one-man bands have all been on the receiving end of our holistic services and our never-say-no attitude. We also use and supply live event generator power, so that we are properly prepared for any eventuality.

DEPARTMENTS

CONTACT US Unit A Linbro Crossing, 12 3rd Road, Lindbro Park, Johannesburg Tel: +27 11 608 4094 | Website: www.mgg.co.za Email: izel@mgg.co.za | rianda@mgg.co.za

26 / LIVING LEGENDS

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LIVING LEGEND:

JACKIE MOTSEPE

In a brand new segment called Living Legends, we profile the people who have moulded South Africa’s film history and find out how they have contributed to its growth and development. This issue, we shine a spotlight on Jackie Motsepe, Chairperson of the KwaZulu-Natal Film Commission.

up the role of Chief Operations Officer of the KwaZulu-Natal Film Commission, Jackie has lived and breathed the promotion of the region. But why is it such a great place for filmmakers?

Ever the marketer, Jackie

KZNFC HIGHS

A

powerhouse of a woman who grew up as the daughter of anti-Apartheid activists living in the UK, Brussels and Algeria, Jacqueline Motsepe is a force to be reckoned with. After studying Sociology and Psychology in Sutherland in 1989, her early career years are peppered with anti-Apartheid campaigns and steeped in South Africa’s early political movements.

This includes assisting in the promotion of the Release Mandela Campaign and working with the victims of Apartheid laws and political prisoners through the International Defence and Aid Fund in the UK. She’s even served as a Personal Assistant to the Chief Representative of the African National Congress

in London. But ultimately, it was not politics that beckoned her…

A CAREER BEYOND ANTI-APARTHEID

Since her return to South Africa, Motsepe has built a career spanning over 15 years in film, broadcasting and marketing. Her accolades in the media include overall Co-Chair of the South African Film and Television Awards, President of the Jury for Films and Television at the Pan African Film Festival (FESPACO), and Head of Jury for Feature Films at AFRIFF in Nigeria.

Jackie, as she’s better known amongst her peers, played an integral part in the inception and early growth of the National Film and Video Foundation,

where she was responsible for the formulation of marketing, communications and stakeholder strategies. She’s had several stints with the South African Broadcasting Corporation over the years, including GM of Acquisition for International Content for three stations, and through her work there has developed a co-production strategy for the public broadcaster. She’s even worked with the National Electronic Media Institute of South Africa to formalise and manage their marketing department.

PLACING KWAZULU-NATAL FILM ON THE MAP

Developing and implementing strategies for growth is clearly one of her strong points. Since taking

The KZNFC has had a tremendous impact on the local film sector. Here are just a few highlights from the last five years.

• Funding of 236 projects to the value of R250 million, of which 177 are in development and 59 are in production • KZNFC-funded films have screened at over 20 international festivals and scooped awards • 2 co-productions in development and production stages with Nigeria and UK respectively • 10 films to be developed through collaborations with indie filmmakers in Nigeria, Kenya and the UK to the value of R63.5 million • The Made for TV quality boost initiative has taken local producers through intensive mentorship programmes that include arranging pre-sale deals with broadcasters.

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responds with ease: “With its warm beaches and favourable weather, KZN has always been one of the leading tourist destinations in the country and there was a clear relationship between film and tourism and how these two industries can positively affect one another.”

She adds that although still in its infancy, the region’s film sector is definitely growing.

“In 2017 and 2019, KZNFC funded films have been the highest grossing local films at more than R17 million and more than R18 million respectively at the South African box office,” Jackie explains. “KZNFC-funded films have been screened in more than 20 international film festivals and some have scooped awards. KZN is also the home of two long running soapies: Uzalo and Imbewu. These have both put the province on the map and have a secure local workforce that is constantly upskilling.”

CREATING A FILM HUB OF NOTE

Since its founding in 2014, the KZN Film Commission (KZNFC) has been instrumental in the growth and development of the province. As they celebrate their fifth anniversary this year, Jackie turns an eye to the many initiatives that have assisted local filmmakers in sustaining a career in the creative fields.

“There are quite a few initiatives that are a source of great pride to us,” she says, “namely the KwaZulu-Natal Film Commission Bursary Scheme, which has had a total of 138 bursary students and the KwaZulu-Natal Film Cluster.” The cluster offers up a range of solutions including shared workspaces with highspeed connectivity, affordable access to equipment, postproduction facilities, sound studios, and training programmes.

“KwaZulu-Natal also hosts community screenings throughout

the province,” Jackie adds. “These are aimed at developing local audiences and ensuring that the local films are consumed by those who do not have access to cinema.” Last, but certainly not least, is their film fund, which has been a huge help in stimulating economic activity and providing jobs.

SCALING A MOUNTAIN OF CHALLENGES

Naturally, when tasked with the development of an industry still in its infancy, one has several major challenges to overcome.

It has been no different for the KZNFC, whose biggest problem to date has been the skills gap. “The commission has invested millions of rand towards the development of local filmmakers through free industry workshops and training programmes,” she says, adding that talent retention is another issue they have had to grapple with.

“There aren’t enough

productions to employ young filmmakers, but as the industry grows and local film producers shift towards producing more made-for-TV content, short films and feature films, we will begin to see a change. Since the film commission began operations, there are more graduates and filmmakers who are staying in the province and working in the industry. There are also filmmakers who have decided to relocate, with a few more seriously contemplating making the move.”

With two long-running soap operas based in KZN, Jackie stresses the ever-growing need for studio facilities. “The KZN film commission is working earnestly with its shareholder to ensure that we do have film studios in the near future,” she explains, saying that there is a real case for studios, and it’s only a matter of time before this becomes a reality.

28 / LOCATION SPOTLIGHT

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NAMIBIA: MORE THAN

SUNKISSED DESERT DUNES

Known for its dramatic, arid landscapes, Namibia offers a vast array of desertscapes for filmmakers to use, from the highest dunes in the world to its abundance of wildlife, Namibia is ready to welcome your film shoot.

D

ense bush and rugged mountains, rolling dunes and breath-taking coastal plains are the order of the day in Namibia. It has a rich history of indigenous and colonial German cultures that is reflected in its architecture and locations.

From the coastal dune belt to the Himba villages in Purros, to the Kunene River to the Ugab River, Namibia offersmuch to discerning filmmakers.

Locations like the Fish River Canyon, the largest canyon in Africa, continue to attract filmmakers and photographers, while Swakopmund is another favourite with its sandy beaches facing the Atlantic Ocean rich with colonial landmarks such as the Lighthouse and the Mole. Sossusvlei is well known for its salt and clay pan surrounded by high red dunes.

FILMS SHOT IN THE COUNTRY

Some of the most popular films shot in Namibia include Samsara, 10 000 BC, Beyond Borders, A Far Off Place, Flight of the Phoenix and The Young Black Stallion. American psychological thriller The Cell was also shot on location in Namibia, as was BAFTA awardwinner The Hunters, and Stanley Kubrick’s renowned sci-fi, 2001: A Space Odyssey.

Recently Namibia welcomed and assisted ITV with their first episode of Straight Talking

with Ant Middleton. MTV’s series The Challenge was shot entirely in Namibia, while LG shot part of their commercial for the new LG OLED TV at Deafvlei and Sandwich Harbour, both iconic locations.

In 2016 Tom Cruise’s Middle East scene for The Mummy was filmed in Namibia, while George Miller’s Oscar-winning Mad Max: Fury Road was also shot here that same year.

FILMING ON LOCATION

Visiting productions must apply for a General Film Permit from the Namibia Film Commission at

least three weeks prior to arrival.

Additional permits will apply for specific locations, shooting b-roll in cities, use of public space, national parks, drone filming, or filming with tribes such as the Himba and San people. An environmental officer is required to be on set each day of filming in a national park.

Guy Nockels CEO of Namib Film explains: It is easy to get permission to film in Namibia, as long as you are working with a local company such as Namib Film. The Namibia Film Commission has changed their regulations

CLIMATE Namibia has a subtropical desert climate characterised by great differences in day and nighttime temperatures, low rainfall and overall low humidity. Average sunlight hours range between 9 hours per day in February and 11 hours per day in August. The annual precipitation is 370 mm, with most taking place between January and May.

LOCATION SPOTLIGHT / 29

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WELCOME ASSIST

Welcome Assist offers you a complete solution to your gifting requirements. Our products are proudly South African and have been sourced from local businesses and community products, promoting the creative talent abound. Simply shop online www.welcomeassist.co.za or contact us directly. We can source anything for you, just send us your wishlist!

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71 Shortmarket St, Cape Town, 8001 T: +27 76 192 2527 E: Info@welcomeassist.co.za W: www.Welcomeassist.co.za

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for filming in the country and all foreign productions must work with a local facilitator.

The NFC has also formalised the industry with local companies registering with NFC. Registrations ensure that foreign productions only deal with companies that have the experience and skills to facilitate them. The NFC does not want just anybody to do such work, as our credibility as a country is at stake.”

Marinda Stein, Founder of RedHot Film Productions as well as a board member of the Namibia Film Commission elaborates, “Once companies have registered, they will be listed on the Commission’s website and all foreign productions will be expected to do their projects through listed film facilitators only.”

Namibian service providers go to lengths to ensure that

equipment is available and provided, and they can easily assist with sourcing equipment locally such as Arri Cams, Fischer Dollies and ABC cranes. Unit support equipment is easily obtained through local suppliers. It is recommended that film cameras are brought from abroad.

The ATA carnet system is the best approach for transporting equipment.

POPULATION 2.6 million (July 2020) Source: CIA World Factbook

ACCESS Hosea Kutako International Airport is the main airport in Namibia serving the capital city Windhoek.

• British Airways • Ethiopian Airlines • Eurowings flights • KLM flights • Lufhansa flights • Qatar Airways • South African Airways

CONTACT New Mission Films Tel: +264 81 289 5909 Email: newmissionfilms@gmail.com Web: www.newmissionfilms.com Namib Film Tel: +264 64 46 3371 Email: guy@namibfilms.com Web: www.namibfilms.com Namibia Film Commission Tel: +264 61 381 900 E-mail: info@nfc.na Web: www.nfc.na

FIXERS Guy Nockels Tel: +264 64 46 3371 Email: guy@namibfilms.com Miranda Stein Email: info@tshandukomedia.com

30 / ASSOCIATION NEWS

IPO NOTICE ON COVID-19 The Independent Producers Organisation on 18 March 2020 disseminated an notice from the Executive Committee on the COVID-19 pandemic and how the organisation will be assisting members and the industry at large.

“The IPO ExCo has decided to recommend that all our members suspend their ongoing production or delay any imminent production, and inform and consult with their lawyers, their channel CES and Business Affairs as to the best way of implementing their

decision. Action is required TODAY to reduce the exponential risk in virus spread,” the statement said.

The ExCo will be writing an urgent memorandum to all the broadcasters, as well as the department of health and the presidency to outline the specific challenges faced by our industry and to call for an urgent all industry response. They are also calling for urgent meetings – telephonic or video conference – with all stakeholders including SABC, eTV, Multichoice, other broadcasters and platforms, as well as NFVF, DTI, IDC, DAC, etc. to

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coordinate their actions.

They will also be reaching out to the relevant Minister in the National Command Council and ask for urgent and meaningful support measures, and are in the process of reviewing terms of trade, standard commissioning and coproduction agreements.

To read the full statement or to get in touch, visit www.ipo.org.za or email ipoexco@ipo.org.za.

CPA CALLS FOR RELAXATION OF INDUSTRY AGREEMENTS The Commercial Producers Association circulated the following request to crew in mid-March in the wake of the COVID-19 restrictions.

“Government restrictions have been implemented far more quickly than we anticipated however this is a good thing as these measures are clearly needed,” the statement said. “As you know, some jobs have already been cancelled while others have been postponed. While some companies have indicated that

ASSOCIATION NEWS / 31

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each person take personal responsibility for ensuring that they do not spread Covid-19 to others on set or in wider society,” CPA said, adding that each production company would individually advise on client cancellations or postponement policy.

To read the full statement on what crew can expect particularly from very recent cancellations, and accompanying fees and waivers, visit www.cpasa.tv.

SAGA LAUNCHES COVID-19 PROTOCOL FOR ACTORS The South African Guild of Actors has created a checklist for productions still shooting to assist Actors in preventing the spread of COVID-19. For actors on productions still shooting SAGA recommends: • Hand washing stations and hand sanitisers made available • Make-up and hair departments need to wear masks • Deep cleaning/disinfecting of brushes, etc.

• Use sponges that can be washed and put in boiling water • No communal brushes • Bring your own makeup • Bring our own plastic and nylon nailbrush for nail hygiene in bathrooms if you are risk • Sanitary use of props

They also recommend that producers implement the following: • Essential crew only during takes • Rest and holding spaces to allow for social distancing • Avoid crowded communal areas • Additional sanitary precautions at craft stations and meal times The SAGA team has also provided tips on general procedures at home and at work, general protocol for maintaining sanitary measures, and restroom protocol. To read the full protocol, visit www.saguildofactors.co.za.

Image by Gustavo Yoneya via Unsplash

they will be scaling back on all work, most CPA members want to continue working where possible. They will do this in line with Government recommendations and will provide the necessary facilities on set to limit the spread of the virus.”

Crew members who wish to continue working have been asked to report to the production company booking them if they have recently travelled to any high-risk countries, or if they have been in touch with any person who has tested positive for the virus.

“It is vitally important that

32 / DIRECTORY

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EMAIL

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film.permit.capetown.gov.za

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Gravel Road Africa Distribution

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Kwa-Zulu Natal Film

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MGG Productions

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Motif Studios

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Priest Post Production

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Rand Air

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The Creature Shop

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Tsogo Sun

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Value Film Fleet

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Welcome Assist Premium Product Solutions

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Wesgro

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CONTACT US Cover Image: Cover image Š David Condrey via www.unsplash.com Publishing Editor: Lance Gibbons lance@filmeventmedia.co.za Contributors: Katie Reynolds-Da Silva, Zubenathi Malothana Editor: Kim Crowie kim@filmeventmedia.co.za

Head of Design: Liam Abrahams design1@filmeventmedia.co.za Production and Digital: Cindy Jarvis cindy@filmeventmedia.co.za

Vector Image Credits: Illustrations used to create Film Feature headers on pages 10 - 22 Š Vector designed by kjpargeter via Freepik www. freepik.com

Editorial Assistant: Musawenkosi Gebuza admin@filmeventmedia.co.za Business Development Manager: Jennifer Dianez jennifer@filmeventmedia.co.za

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