ISSUE 11 | 2018
DISC
OP
AFM
+ LOWDOWN ON LOCAL TALENT The Latest Legislation and Movements
+ A NIGHT TO REMEMBER
Highlights from the Callsheet Wrap Party
CONTENTS / 01
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02. Prolific Director Keith
06 08 10 18
Rose Passes
06. Nina Pfeiffer Moves into Directing
TALES FROM TEACHER
Producer Nina Pfeiffer steps into the role of director in the latest from Tulips and Chimneys.
07. Zandi Tisani on Ka Mzolo
08. Karien Cherry: Making Incredible Ads
CONVERSATIONS WITH YOURSELF
Karien Cherry tells us about Sanlam, KFC and being a woman in a male-dominated industry.
10. The Lowdown on Local Talent
14. Industry Snapshot 16. Up Close and Personal with Frank and Fearless
17. Paul Raleigh Explains
THE LOWDOWN ON LOCAL TALENT
Industry bodies and experts speak on legislation, movements and trends in the sector.
Film Bonds
18. A Callsheet Wrap Party To Remember
22. DISCOP Johannesburg 2018
26. Location Spotlight: Ethiopia
28. Events to Diarise
WRAP PARTY DELIGHT
The Callsheet’s Wrap Party opening the season was a night to remember.
30. Associations News 32. Directory of Advertisers
02 / NEWS
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PROLIFIC DIRECTOR
KEITH ROSE PASSES Industry shaken by untimely death of Keith Rose, the director behind some of SA’s most iconic commercials.
Director Keith Rose | Images courtesy of keithrose.org
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man who is known for iconic adverts like BMW’s Mouse, and Allan Gray’s Beautiful, Keith Rose’s career in the commercial industry spans almost four decades. In this time he’s managed to consistently create unforgettable moments for the screen, a testament to his passion to crafting striking visuals. So it was with great shock in early October that the industry discovered his untimely death. He has played a large role in shaping the sector and in the lives of future directors and filmmakers, and has been awarded time and again for his contribution to the sector. Some of these accolades include his induction to the Clio’s Hall of Fame, the Creative Circle Hall of Fame, the Financial Mail Lifetime Achievement Award, the Loeries Hall of Fame and Lifetime Achievement Award, and being listed as one of the Top 100 best
directors of all time by SHOTS. “He didn’t like the big stage and he shied from being showered with praise, choosing to rather get on with working on his next project. He never thought of film directing as a job,” says Peter Carr, Co-owner and Executive Producer at Massïf. “Keith Rose was the golden
Keith Rose directed Allan Gray’s Beautiful for King James
director during what many believe was the golden age of television commercials,” adds John Hunt, Creative Chairman at TBWA\Worldwide. “Almost single-handedly, he dragged South African TV production to a level where it was benchmarked against the best in the world.” According to Bobby Amm, Chief Executive of the CPA, Rose’s most enduring legacy is how he propelled the industry forward. “He was a driving force whom others saw as an example, whom they sought to emulate, and he changed the way
commercials are made in SA. As we pay tribute to Keith Rose, our thoughts and prayers go out to his family, his friends and to our industry, which is feeling the weight of a great loss today.” A great loss indeed, but as Hunt says so beautifully, “Wherever Mr Rose is now, I guarantee he’s perfectly framed. And the lighting? Well, obviously, it’s perfect.” Memorials were held on 22 and 25 October to celebrate the life of Keith Norval Rose. To see more tributes visit www.keithrose.org.
ALMOST SINGLE-HANDEDLY, KEITH ROSE DRAGGED SOUTH AFRICAN TV PRODUCTION TO A LEVEL WHERE IT WAS BENCHMARKED AGAINST THE BEST IN THE WORLD.
04 / CAPE TOWN INTERNATIONAL FILM MARKET AND FESTIVAL
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CTIFMF:
BETTER AND BETTER The Cape Town International Film Market and Festival, which took place from 9-19 October at the V&A Waterfront, has grown immensely in 2018.
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his year, the Cape Town International Film Market and Festi val brought the industry together in the Mother City to see some incredible films, to partake in the extensive market programme, and to engage with peers, experts and leaders across the world.
INDUSTRY PROGRAMME HIGHLIGHTS
The ENGAGE programme saw a fascinating presentation on audience development strategy take place on 16 October, whilst Wesgro and CTIFMF partnered to create the Africa Halal Week Film and Media programme. Here, industry leaders came together to discuss how Cape Town and the Western Cape can better position itself as a Muslim-friendly film and media destination. On Thursday, 11 October, an electric panel discussion took place. Women of colour in key roles spoke about reframing gender and intersectionality in SA’s film industry, towards a greater inclusion and empowerment of black women. The panel was made up of Maganthrie Pillay (34 South), the first black female film director in SA, Bianca Isaac of Fig Jam Entertainment, a company that is focused on the practical empowerment of women in the film sector, Zoe Ramushu, a bright young filmmaker and spokesperson for SWIFT,
industry stalwarts Bridget Pickering and Jacky Lourens, and moderator Tiny Mungwe. Some of the topics they touched on was why there are so few black female directors and female cinematographers, collaborating with women on film projects, creating a database of women filmmakers across Africa, shift ing the mindset of crew on set, the SWIFT PSA debacle, and how everyone can be involved in making a change in the industry. The discussion on females in the film space continued on Friday, 12 October, with the Ladima Women of Influence panel, where panellists - Edima Otuokon, Co–Founder of the Ladima Foundation in Nigeria, Philippa Ndisi-Herrmann, Director of New Moon (Kenya), Tessa Boerman, Curator at Rotterdam International Film Festi val in The Netherlands, Mildred Okwo of The Audrey Silva Company in Nigeria, and Zoe Ramushu of Chiriseri Studios – shared their thoughts on pan-African collaborations and networks amongst African female filmmakers. Other highlights included meeting the directors and producers of films screened during the festi val, the ABCs of making applications to the NFVF and DTI, a masterclass on crypto-block chain in the film space, a focus on the European Film Market, and a panel on the Art of Curating moderated by Silas Miami.
IFFR PARTNERS WITH CTIFMF
The CTIFMF also announced the official partnership with the International Film Festi val Rotterdam (IFFR). As of 2019, their CineMart will be the European hosting partner for EAVE Indaba, the European Audiovisual Entrepreneurs’ programme that is being developed in collaboration with Market Director Elias Ribeiro. “Having gone through the EAVE training myself in 2014 and observed the impact of this programme in my professional path, I thought this should be made a priority,” he explained. “Producers who understand that their role goes beyond the making of films, and extends into trend setting, advocating for, and advancing the financial infrastructure in the territories they practice as well as delivering to audiences.” The confirmation of IFFR as official partners means that the CTIFMF will now be part of the on-going annual programme. The call for submissions for the first edition of EAVE INDABA is set for late March 2019. 5 African and 5 European producers will be selected to take part in a yearlong program where 10 audiovisual projects will be developed through two residential workshops and presented at CTIFMF October 2019 and at the 38th CineMart in January 2020.
A FEAST OF AFRICAN FILMS Some of the noteworthy South African films screened at CTIFMF this year include: • Cut Out Girls, by Nicola Hanekom • District 6: Rising from the Dust, by Weeam Williams • Epiphany, by Joseph Jones Umba • Everything Must Fall, by Rehad Desai • Kanarie, by Christiaan Olwagen • Sew The Winter To My Skin, by Jahmil XT Qubeka • Whispering Truth to Power, by Shameela Seedat Other African films at the festival were: • I am not a Witch, by Rungano Nyoni (Zambia) • Marie Madeleine: A Female Chief, by Florence Ayisi (Cameroon) • New Moon, by Philipa Ndisi-Herrmann (Kenya) • Rafiki, by Kanuri Kahiu (Kenya) • Supa Modo, by Likarion Wainaina (Kenya)
06 / NEWS
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NINA PFEIFFER MOVES INTO DIRECTING
Tulips and Chimneys’ Executive Producer Nina Pfeiffer took over the director’s chair for the first time with Tales From Teacher, a back-to-school campaign for Fruit of the Loom.
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hese three fun spots are part of a back-to-school campaign for Fruit of the Loom, with Nina Pfeiffer and her team animating a real note that a teacher sent home with a student – why Maya may have a worm in her pocket; how a boy got a nacho in his eye; and how Nikki’s friend accidentally ate her lip-balm. “As soon as we read the brief, we knew we were in for a fun ride,” says Nina. “The scripts were so wonderfully eccentric that within the first brainstorm we knew we’d have to design a world as quirky as the characters on the page. Nacho, Worm and So Hungry were a great opportunity to explore a brand new aesthetic with exceptionally vibrant colours, wonky designs, and characters that could melt the heart.” Nina worked with US agency Crispin Porter & Bogusky on the project, with Strange Beast producing. The campaign is a departure from the intricate, layered animations Tulips and Chimneys is known and loved for, like Cerebos’ Snow, which won a Gold Loerie in August, or The Curse of the Sad Mummy, their League of Legends music video that has over 16m views on YouTube. Nina fell into the role of producer when she joined the animation industry, but her background and education was more creatively rooted. “While she’s always been credited as the EP, the workflow of the
studio means she is always very involved creatively on all the projects,” says Producer Dianne Makings. “We’ve been waiting for a project where she could swop roles a bit, so the moment the brief came in, Nina knew this was the one that she wanted to lead creatively.” “I was very inspired by the surrealism of the piece and really connected with the stories,” says Nina. “Most of our pieces are usually quite detailed visually. They’re more about an explosion of visuals, whereas these pieces were very strongly driven by the characters’ performances. They are all supported by the visuals, but it was firstly about the performance or role the ‘actors’ had. We also loved that it had so much humour and we spent a lot of time thinking about how to bring the humour alive.” With nine weeks to complete this project, Nina’s producing skills also came into play. “We had to really make sure that every day was productive and that no process was delayed by a missing link in the chain or by miscommunicating anything,” says Nina. “Translating our designs into 3D had to be almost perfect with the first go, so Marc Moynihan, our lead production designer, made very detailed designs and notes upfront on what we needed to achieve, and for animation, we did live action performance videos as references for the animators, to make sure we left little room for errors.” Tales From Teacher
SPOTLIGHT / 07
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ZANDI TISANI ON KA MZOLO Arcade Content’s Zandi Tisani shares her thoughts and process for her latest project with Ford Figo.
Zandi Tisani, the director behind Ka Mzolo © Paul Botes:paulb@mg.co.za
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prolific director that’s going places, Zandi Tisani marries a strong understanding of narrative with a commitment to powerful imagery. In her latest project with Ford Figo, she showcased the best of Africa’s creative talent. She chats with the Callsheet and explains how Ka Mzolo came into being. Take us through how you worked with GTB Africa taking Ka Mzolo from script to screen. GTB approached me about helping them, firstly to select their Makers – young and upcoming creatives and artisans who were just about to break – and secondly to shoot a music video that would act as a vehicle for introducing these Makers to the world. This involved finding the singer/musician for the video, too. I came across Rhea Blek on social media and immediately went to her SoundCloud. After touching base with her, she generously shared some of her unreleased music with us.
Ka Mzolo was one of those tracks. While everyone loved the song, we all agreed the pace of the original track was a little laid back, so we worked with Audio Militia on an up-tempo remix. In the meantime, I had devised an Alice in Wonderland inspired story that would allow Rhea to move through a variety of scenarios, each introducing us to a Maker in a fun and imaginative way. I wanted it to feel a little dreamy but still be grounded in reality. The challenge was in trying to establish a cohesive palette across such a diverse group of Makers. I made the decision to follow the wardrobe, as it were. In this case it was led by the colours of designer Jacques Bam’s clothing, which were all pastels. This is why the predominant colours are all pastels and flashes of primary colours, for example the headpiece designed by Nikiwe Dlova in red. It’s an unusual combination but I really think it works. The parade at the end is the big moment of the video. Essentially everything is leading up to that – it felt like an exciting way to celebrate a mixture of styles and people. I think that was the most important part for me: I wanted the video to be a celebration of African creativity.
the objective while staying true to their own personal vision but also without letting their ego get in the way, you can usually end up with a project that satisfies everyone’s needs. What’s your favourite memory from working on Ka Mzolo? I think it was the moment before shooting the parade scene: everyone was standing in a group just before heading to set. Seeing everything together, pretty much as I had envisioned it in my head, was extremely gratifying. What are your thoughts on the intersect between brands and creating engaging content? Gosh, where do I start? To keep it simple, I’ll say this: don’t let your brand get in the way of a good story. It doesn’t look good for the brand and it doesn’t help the story you’re trying to tell. The audience/consumer experience is the most important, not your logo. I think brands tend to forget that. What are the elements for making great branded content? Tight concept, brave client and creatives, and time. We need more time.
How do you bring your own vision to life whilst still staying true to the client’s expectations? It’s a balance and not something you figure out right away. If everyone knows what their role is and keeps their eye on Rhea Blek Ka Mzolo
Tell us about some of your pursuits outside the commercial realm. I’m working on entertainment for kids, which I think is something that is often overlooked, particularly in this country. I’m also developing serialised work.
QUICKFIRE ROUND Bacon or Chocolate? Bacon Red pill or blue pill? Red Favourite quote? “Find what you love and let it kill you.” – Bukowski Favourite celebrity? Beyonce, duh. If I wasn’t a filmmaker, I would…….. Probably doing something in fashion. Describe the local commercial sector in one word. Limited All-time favourite movie(s)? In The Mood For Love, Do The Right Thing, Sans Soleil If you were president for a day, what’s the 1st thing you would do? Pay teachers and nurses more money
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KARIEN CHERRY ON MAKING
INCREDIBLE ADS Giant Films’ Karien Cherry shares her thoughts on the local commercial industry, on her place in a male-dominated sector, and her latest work with Sanlam.
Karien directed the KFC Keep Rolling advert © Giant Films
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e’ve been following Karien Cherry for a while and have shared some of her greatest moments with you, from SPCA’s Family Swap to New Balance’s Baby vs Dale Steyn. Since then, she’s only gotten stronger and gone on to do even more unforgettable work – most recently KFC’s hilarious Keep Rolling commercial which aired during the World Cup, and Sanlam’s Conversations with Yourself. We loved the KFC Keep Rolling ad that ran during the World Cup – hilarious and very topical. What was the process of taking the client brief from script to screen? It’s an incredible story really. People say this is possibly the most viewed South African ad ever, and it almost wasn’t made! The agency was sitting with this big idea, but they were struggling to get the ad made the way they
had imagined it for the money available. I’m a sucker for a good idea so when I heard about it I was determined to shoot it!. And we kept coming back to that - how to ensure the spot had the energy and scale it needed to stand its own amongst the World Cup advertising. On a filmmaking level, every creative decision we made had to answer to that. The shoot itself was grueling. Curveball deluxe. And it’s only thanks to collaboration and problem solving from everyone involved that the spot saw the light of day. Once you’ve pushed through so many obstacles, getting the kind of reception that this spot saw is so rewarding. And watching an ad you made fly around the world is a real trip! It took a while for the magnitude of it all to sink in. Going viral organically during something as huge as the World Cup soccer is unlikely to happen
Sanlam Conversations with Yourself. Image courtesy of Giant Films
more than once in anyone’s career - so I think it’s an experience we’ll all savour for a long time. In a recent interview with Free the Bid you spoke of the significance of a woman doing this kind of job. What are your thoughts on the local advertising industry, and what can we do to be more inclusive? Lack of diversity is high on the advertising agenda worldwide. And while it’s first and foremost an ethical consideration, having more diverse perspectives behind the camera is quite simply also better business. Worldwide, for example, women are the number one consumer group and make up 80% of product purchase decisions. It only makes sense to include them in the storytelling. The same goes for racial diversity. Now that there’s increased awareness around the issue, the next step is collectively finding
practical and sustainable solutions to a more inclusive industry. Internationally, Free the Bid is leading the way with a pledge system that offers agencies and clients the opportunity to commit to briefing at least one female director per pitch. A common misconception is that there aren’t enough high calibre female directors around, but the underlying problem is, in fact, a vicious cycle where exclusion from the pitch process means underrepresented voices don’t get the chance to build competitive reels. The Free the Bid pledge creates an opportunity for female directors to get their foot in the door and gain the experience and exposure needed to develop themselves. And the industry, it seems, is ready for it - Diageo, P&G, Twitter, HP, Coca Cola, 180LA, 72&Sunny, BBDO Worldwide, VML, Y&R Global, and Saatchi & Saatchi Global
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are just some of the names that have pledged internationally. In South Africa, we have the double whammy challenge of building both gender and racial inclusion. So for our industry in particular it requires a process of recognising internally sustained exclusion, and making the necessary behavioural adjustments to create sustainable change. It requires every one of us to be proactive in driving this change. My career is testament to the fact that there are already people doing this. I have been mentored, supported, and championed by people who have believed in me and created the opportunities for me to prove myself and develop my craft. No one wants a pity party. I don’t want to win a job because I tick a box. I want to win because I’m the best for the job. If you’re on the client or agency side, give underrepresented voices the opportunity to show you what they can do. If you’re on the production side, take time to mentor, guide, and teach at least one underrepresented voice. Show them the ropes, crit their work, introduce them to people, talk about them, take them onto set or into a pre-production meeting. This change requires that more people be given access, and for that we need grass roots action and top level commitment. You’ve just shot a new campaign for Sanlam, Conversations with Yourself. What were your initial thoughts on the concept? They had me with the idea - one guy, sitting down with various versions of himself talking about, well, their life. Who doesn’t want to know what happens twenty or thirty years down the line! But I was also attracted to the filmmaking challenges it presented. Executing the idea with creative integrity meant shooting with only one adult actor, and this would demand a level of technical shooting that I hadn’t worked at before. So, yeah, I was in! Being given the opportunity
technical breakdowns for each storyboard frame. The character interacts with himself at ages 10, 20, 30, 50, 65, and 80, and we had a lifetime’s worth of character nuance and backstory to build with the actor before stepping onto set. And designing the prosthetics played a huge part in selling the believability of the idea. The team at Cosmesis are real artists, and I’m incredibly proud of what they achieved.
Karien hard at work behind the scenes © Giant Films
THEY HAD ME WITH THE IDEA - ONE GUY, SITTING DOWN WITH VARIOUS VERSIONS OF HIMSELF TALKING ABOUT, WELL, THEIR LIFE. WHO DOESN’T WANT TO KNOW WHAT HAPPENS TWENTY OR THIRTY YEARS DOWN THE LINE! to shoot this job without having anything similarly technical on my reel is a real testament to the level of trust that King James placed in me. I’m very grateful for the relationship that we have. What was it like having 1 actor play 5 roles? It presented such a rich opportunity to sink my teeth into an entire lifetime’s hopes and fears. But I knew the technical accomplishments of the job would mean nothing if viewers didn’t like our hero! So the casting was, in fact, the biggest consideration. Our lead, Thami Buti, intrigued me from the moment I saw his initial casting tape. There is an unusually enigmatic quality to him, not to mention his wonderful voice. But he hadn’t done much work before this, and honestly, it was nerve wrecking to hinge the entire performance result of such a demanding campaign on a hunch! So we did a screen test with him and took him through a performance of every age. Thami did so well that it was that performance tape that really sealed the deal for us to confidently take the one actor route.
We developed character arcs and plotted the script beats for each age, writing the banter that brought the character’s relationship with himself to life. Once we got to set, the pressure was on. We shot one age per day to allow Thami to stay in character for an entire day. This compounded the technical complexities as it meant that we shot each character’s plate of the same shot on a different day. Each morning Thami would spend a couple of hours in prosthetics, and I’d sit with him running his lines, going over his beats and getting him into character. We were all blown away by Thami’s dedication and professionalism. Playing a performance scene by yourself, imagining the other characters using only eyeline markers, hitting your marks without slipping out of character, and acting different ages believably is no mean feat. After a countrywide search, we found our lead actor with little more than a week to go before shooting. From there it was a race against the clock to prepare all the elements for the shoot. We produced detailed floor plans and colour-coded
What were the intricacies of shooting this kind of job? At a glance, the technicalities of this type of shoot seem to involve little more than some basic green screen work. The first layer of extra complexity we faced on our set was the sheer volume we needed to wrap our heads around - we were shooting a campaign of 8 films. Not only was this was a huge amount to keep track of, but it posed the extra challenge of keeping each film fresh and original. When we designed the shot lists we needed to balance what could feasibly be achieved every day, while incorporating the trickier shots that bring the magic alive – group shots where more than one character interacted with himself, moments when they’d look at each other or in the same direction, physical interaction between characters in the same frame – these were all visual building blocks to anchor the believability of the concept. Technical shooting demands precision, and for that reason exacts more time on set - and our time constraints left no room for error. This placed massive pressure on our prep work to be flawless, and demanded incredible amounts of trust from client, agency, cast and crew once we were on set. The experience was mind bending, but I had the most amazing support from everyone involved. The creatives were especially focused and supportive throughout the shoot, and their contributions were invaluable. It was a real team effort, I loved the shoot.
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Still from the set of Samson with Greg Kriek as Caleb
Ayanda Makayi plays the role of Sol in MTV Shuga (via AFDA)
Jamie-Lee Money (Photo by Elena Kuznetsova)
THE LOWDOWN ON
LOCAL TALENT The local talent sector has been going through some major changes – but in the end, it is set to emerge stronger and more unified than ever. Kim Crowie reports.
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outh Africa’s film industry, despite the downturn over the last 12-18 months, has seen tremendous growth in terms of acting ability and star quality. Not only are more and more local actors bagging roles in the international productions that visit our shores, but they’re making waves in South African-produced films and television as well. “2018 has been a difficult year for actors and agents alike,” says André Dellow, Co-Chairperson at the Personal Managers Association (PMA). “Our economy is in a recession and we have grave concerns about the stability of the SABC. We trust the economy will improve and that 2019 will allow us to
continue with our work to improve the lives of actors.” There are, of course, stars who shine particularly brightly, says Casting Director extraordinaire, Bonnie Lee Bouman. This year has remained a busy one for her, having worked on three series, both local and international, as well as casting support roles for films like Bloodshot starring Vin Diesel. She cites Michelle Mosalakae in particular as one of the rising stars who is breaking beauty stereotypes. She is a role model and a living example that any woman, no matter their background or looks, can break into the world of acting and modelling. Her Instagram feed is testimony of this, having worked with Revlon and Marie Claire on
beauty campaigns recently. Other talent of note are Greg Kriek and Jamie-Lee Money, both of whom have had great supporting roles in large scale international productions – Samson and Troy: Fall of a City respectively. Kriek is also known for his lead roles in local films The Recce and Deep End, the latter of which premiered at Durban International Film Festival this year. Thuso Mbedu was catapulted into the global eye when she was the only African to be nominated in 2017 for an International Emmy. This was for her role as Winnie in Is’thunzi. Additional rising stars include Nic Rasenti (Alien Outpost, Sniper: Reloaded), Thabo Rametsi (Kalushi) and Ayanda Makayi (MTV Shuga).
LEGISLATION FOR PERFORMERS AN UPHILL BATTLE
The South African Guild of Actors and the PMA have banded together to tackle the task of changing current legislation for performers. According to Dellow, the Performers Protection Act (PPA) was passed into law in 1967, and it fails to recognise certain economic and moral rights of performers – particularly for the continued use of their work without the ability to earn residual income from sales and repeat broadcasts. “The PPA does not make any mention of audio visual and digital content because the original PPA was written before TV, the internet and social media existed. Owing to this, the majority of performers in South Africa are therefore often unable
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WHEN IT COMES TO NEGOTIATING A REASONABLE DEAL, ACTORS ARE OFTEN OFFERED TERMS THAT WOULD NOT PASS THE MINIMUM REQUIREMENTS OF THE BASIC CONDITIONS OF EMPLOYMENT ACT. THERE IS NO ROOM FOR NEGOTIATION AND, CLEARLY, ACTORS ARE IN AN EXTREMELY WEAK BARGAINING POSITION.
Thabo Rametsi as freedom fighter Solomon Mahlangu in Kalushi
to sustain themselves as full time performers,” he explains. Adrian Galley, SAGA ViceChair agrees. “The Amendment Bill currently before Parliament seeks to update the Performers Protection Act,” he says, “As Independent Contractors, all
that freelance actors can rely on to protect their interests is the contract they are able to negotiate. And, when it comes to negotiating a reasonable deal, actors are often offered terms that would not pass the minimum requirements
of the Basic Conditions of Employment Act. There is no room for negotiation and, clearly, actors are in an extremely weak bargaining position. Producers and broadcasters tend to exploit this asymmetrical powerbalance, offering contracts
that are far from ideal, on a ‘take it or leave it’ basis.” He says actors are currently unprotected by labour law and have no right to strike, they have no role in monitoring workplace safety, and they have no social security such as UIF.
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Nic Rasenti (Photo by Justin Munitz)
These contracts routinely include clauses relinquishing all rights to their own image, such as ‘in perpetuity, in all existing media and those yet to be invented, throughout the universe’. To this end, SAGA and the PMA hope to level the playing field by granting audiovisual performers certain inalienable rights by default in the Performers Protection Amendment Bill. Galley adds that the PPAB also seeks to align SA’s IP legislation with international best practice. “Collecting societies around the world recover and administer residual payments and royalties due to artists. For the first time, the PPAB and its companion draft legislation, the Copyright Amendment Bill (also before Parliament) make provision for a collecting society to recover monies due to actors for the further commercial exploitation of their work.” In 2018, SAGA National Chair, Jack Devnarain, and National Secretary, Carlynn de Waal-Smit will embark on a fact finding tour of Europe, sponsored by the International Federation of Actors. There, they will be visiting various countries to explore their models of Collecting Societies in order to make the best recommendations for local implementation.
Greg Kriek as the lead Henk Viljoen in the groundbreaking film The Recce
impacts felt by actors who are excluded from the mainstream economy due to their uncertain legal status,” Galley explains. According to Bouman, agents need to become more like managers and set a standard with actors in order to professionalise the industry. She says actors can also do more to be professional, and asks talent, “Are you acting fit?” Examples she cites is doing updated headshots, and being willing to learn and work on your craft while you’re waiting for the next role. Dellow says that technology will continue to play a bigger part in the talent industry, and as such, a performer’s rights needs to be properly protected. “Online content is more accessible with downloads, streaming, etc.… Performers need to know their value, their worth, and be paid accordingly.”
SHOKI MOKGAPA REMEMBERED
Michelle Mosalakae on set (via Instagram)
Thuso Mbedu (via Instagram)
CHALLENGES FACING THE INDUSTRY
Dellow and Bouman note that there are significant issues with best practices and standards in the sector. According to Dellow, the industry needs more regulating. “Our industry is not regulated in many ways and unlike our foreign counterparts,” says Dellow, “this has created a free for all environment at times. A major challenge is the lack of standardised contracts and minimum rates for actors.”
Other issues the talent sector faces are sexual harassment in the workplace, a problem that SAGA and the PMA are now working closely with SWIFT (Sisters Working in Film and Television) to eradicate. “Our members have also been invited to give talks and workshops with tertiary performing arts institutions to help prepare their graduates for the entertainment industry,” Dellow adds. In November, SAGA will be hosting a series of international workshops on the ‘Status of the Actor’ and on ‘Sexual Harassment in the Industry’. “These workshops are informed by a research project SAGA has commissioned into the real
It was with great sadness that the local industry saw the passing of Shoki Mokgapa, who took her own life on 25 September after a long battle with clinical depression. This according to a statement released by her management agency, Moonyeenn Lee Associates. “The South African film and television industry has suffered a loss in the passing of local actress Shoki Mokgapa,” they said, “She was a brave woman who had been seeking help but the disease proved to be stronger than she was.” A memorial service was held on 2 October at the Market Theatre in Johannesburg. Mokgapa was an awardwinning actress known for her work in productions like SINK, Ashes to Ashes, The Lab, Sokhulu & Partners and Intersexions. She also had a role in the BBC drama Silent Witness.
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PICTURE THIS...
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magine high-tech venues with vast halls totalling 21 000m² of space, perfect for building the most imaginative sets, a marshalling yard that make set-up and breakdown an ease, and accommodating staff who are highly experienced in working with film companies. The Cape Town International Convention
Centre (CTICC) can offer all this. The CTICC has already doubled as an airport, an airport hangar, a train station, offices and a hotel. Shoots here have also included restaurant, escalator and ballroom scenes. Almost anything else is possible too! In addition to the CTICC’s spacious offering, you also have
Everyone went the extra mile and worked together with our team as ‘partners’ to ensure the success of our Annual Congress event. Amanda Stops
CEO South African Council of Shopping Centres (SACSC)
several options within the venue to create any shoot scenario: • Two raked auditoria seating 1 516 and 612 delegates • Two terrace rooms accommodating between 330 and 450 people • 47 breakout rooms of varying sizes • A grand ballroom of 2 000m2
• Experienced and high performance staff • 4 000 prime hotel rooms within 10-minutes of the centre Offering a wide range of filming locations to choose from, the CTICC provides the perfect backdrop to bring any story to life, from small independent films to big international blockbusters.
Nestling in the shadow of the majestic Table Mountain, and overlooking the spectacular Atlantic Ocean, the CTICC is a magical place where the imagined becomes real, visions turn into strategies, consumers become customers, and strangers from across the globe become colleagues, partners and friends. So much more than a multi-purpose event destination, this African icon combines expansive venues, impeccable service, cutting-edge technology and the finest global cuisine, to transform your convention, conference, exhibition, banquet or meeting into an extraordinary experience. For more information, or to book your event at the CTICC, call +27 21 410 5000, email sales@cticc.co.za or visit www.cticc.co.za.
14 / INDUSTRY SNAPSHOT
Doctor Who S11 © BBC / BBC Studios 2018
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La Maison Noir, a visual album by Petite Noir © Tyrone Bradley/Red Bull Content Pool
INDUSTRY SNAPSHOT
We dig into the hot topics in the local film production, commercial and animation industries. FILM PRODUCTION
DR WHO CAST EXPERIENCE IN SA
Season 11 of Dr Who, the world’s longest sci-fi show, spent three weeks shooting in SA with Out of Africa Entertainment. “The crew over there are extraordinary,” says Jodie Whittaker, Doctor Who’s thirteenth Doctor - a super-smart force of nature, who can change appearance (and gender) by regenerating when near death. “We were so well looked after.” The weather proved to be a challenge, however, since the cast had moved from a freezing winter in the UK to a South African summer at its peak. This was particularly challenging because of their wardrobe. “I was wearing a Barbour jacket and a scarf, in forty-degree heat,” says Bradley Walsh (Law & Order: UK), who plays Graham O’Brien, one of the Doctor’s new friends. Chris Chibnall (Broadchurch), the new showrunner, says they came to South Africa because they wanted scale. “We created a couple of different
worlds in South Africa; we went there because there’s a different sort of scale, different types of landscapes.” “We were filming in locations that as a tourist I don’t think you’d necessarily get to see and that’s mindblowing in so many ways,” says Jodie. “Just the elements and nature and the epic landscape serving the story was great; they made our job a lot easier.”
RED BULL MUSIC CREATES VISUAL ALBUM
Petite Noir’s new four-part visual album, La Maison Noir (The Black House) is a story of struggle, life, death, and ultimately rebirth. The story unfolds in the Namibian desert, and explores Petite Noir’s identity politics of growing up in Africa, fame and “the noir wave experience” – his own description of his sound, which has snowballed into a cultural movement describing the focused intent of African artists claiming and creating high art through sound and visuals. The album is produced by Red Bull Music SA in collaboration
WE WERE FILMING IN LOCATIONS THAT AS A TOURIST I DON’T THINK YOU’D NECESSARILY GET TO SEE AND THAT’S MINDBLOWING IN SO MANY WAYS.
with Iconic agency in Cape Town. It was co-directed by Rharha Nembhard and Timothy Weyer. The film also features art direction and styling by longtime collaborator Gabrielle Kannemeyer, and original choreography and performance by Manthe Ribane. The film first screened at the Keyes Art Mile in Johannesburg on 27 September, followed by premieres on MTV Africa and BET Africa. The visual album made its global debut on 5 October.
VALHALLA LEADS ANNOUNCED
Award-winning actresses Erica Wessels (Die Stropers , The Book of Negroes) and Hlubi Mboya Arnold (Isidingo, Dora’s Peace) will star in the leading roles for
Nthibah Pictures’ first feature film, a crime thriller, with working title Valhalla. “The lead characters of the film are strong, determined women facing a daunting challenge. Erica and Hlubi have both starred in diverse roles in other projects and we believe they are the ideal actresses to lead the Valhalla cast,” says Director Donovan Marsh. “We conducted extensive auditions before the actresses for the lead roles were selected, as the film’s theme, a crime drama, requires deep insight into the characters from both women.” Hlubi first worked with Marsh on iNumber Number in a supporting role. “Donovan and I have unfinished business. I look forward to creating
INDUSTRY SNAPSHOT / 15
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STROOP: Pregnant rhino a victim of poaching © Susan Scott
Rafiki © Big World Cinema and Afrobubblegum Production
a dynamic, reflective and consciously relevant story with him and the team, this time in a leading role,” she says.
THE LEAD CHARACTERS OF THE FILM ARE STRONG, DETERMINED WOMEN FACING A DAUNTING CHALLENGE.
FESTIVAL AND SCREEN FOCUS
STROOP SCREENS AT ILLEGAL WILDLIFE TRADE STROOP: Journey into the Rhino Horn War is the shocking documentary exploring the ongoing poaching of rhinoceros and the trade in its coveted horn. The film screened at the UK Government’s international conference on the Illegal Wildlife Trade (IWT) which took place in London on 11-12 October. The conference brought global leaders together to find ways of eradicating illegal wildlife trade and to better protect the world’s most iconic species
from the threat of extinction. “We see this conference as an ideal platform to show the film to the right people who hold change-making positions,” says Producer and Presenter Bonné De Bod. “This could hopefully lead to further dialogue on key findings in the film.” Stroop has already seen great reviews and has picked up a number of awards since its US premiere. It had its European premiere at Rotterdam International Film Festival on 24 October, and will premiere in SA in February 2019.
RAFIKI TOP PERFORMING FILM IN KENYA
During the week that it was unbanned in Kenya, Rafiki was the top performing film, beating Hollywood films like The Nun and Night School. It is now the second-
highest grossing Kenyan film of all time, despite having only a seven-day, court-authorised theatrical run in three cities. Over 6 500 people watched Rafiki during this time, with hundreds of cinema goers turned away from venues due to full houses. The film grossed over US$33 000 in the week ending Saturday, 29 September. Wanuri Kahiu, Director of Rafiki said, “Thank you so much to all of you who came out and watched the film. Thank you for celebrating Kenyan film with us! We are so grateful. As we return to court to argue
for freedom of expression, we carry you with us.” Rafiki made history earlier this year as the first Kenyan film selected for Cannes Film Festival, and in October was screened at festivals in over 20 countries. It is currently in cinemas in France and Belgium, and will be followed by theatrical releases in the USA, Japan, Switzerland, The Netherlands, Scandanavia, and South Africa. The filmmakers are in the process of further court action to have the film permanently unbanned in its home country.
16 / SPOTLIGHT
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UP CLOSE AND PERSONAL WITH
FRANK AND FEARLESS The Callsheet catches up with prolific writer, director and producer, Gray Hofmeyr, and actor Themba Ntuli to find out more about their upcoming film.
What’s your secret to making good TV or a successful film? (Gray Hofmeyr) 1. Tell a great story. 2. Structure the cliff hangers. 3. Get great dialogue, the tighter the better. 4. Cast good actors. 5. Support the actors so you get great performances. Everything else is secondary.
Gray Hofmeyr
Themba Ntuli and Leon Schuster
Why is Frank and Fearless different from the other films you’ve worked on over the years? Gray Hofmeyr: It is certainly different from any film I have done with Leon. We have put big effort into a strong crossover storyline which will hopefully take it into the international market. It is a bit like when we made Sweet & Short all those years ago, the first film I did with Leon, where we departed from the Oh Schucks movies of Leon’s early career into solid storytelling.
has taught me a lot about our cinematic legends and just how long it took them to build and create their legacies and brands. What I enjoyed the most working in the Frank and Fearless movie with firstly laughing at Leon’s gags and seeing them in real life. Also, working with a strong and willing crew. Everyone we worked with was lovely and passionate about the job and we were all a big, big family. So that was a nice touch to the film’s experience.
What was it like working with Leon, what did you enjoy most about this film? Themba Ntuli: Working with Leon was a dream come true, not only for myself, but even for my family. Being a short individual, I have always looked up to the Alfred-Leon collaboration and I have always had a desire to one day be in collaboration with the both of them – and it finally happened. This film
How was the concept thought out and built on? Gray Hofmeyr: We have been working on this script since 2013, when we thought, “Let’s make a story around an old reprobate, a rural kid, his big dog, and a baby rhino.” Like all good stories, it started with something simple. Then we got Australian writer Geoff Newton involved, and we started really brainstorming. After 14 drafts of the script, we were ready.
What was your favourite moment from the production? Gray Hofmeyr: Seeing the first 3D animated shots of Reini, our baby rhino, coming through the process. I thought, “We have cracked it!” Tell us about going from a more serious production like Meerkat Maantuig to a comedy? Themba Ntuli: It’s been quite the challenge. But the beautiful thing is that even though Meerkat was a serious fantasy film, you had lots of light-hearted moments and the fact that my character was also a very hopeful character that thoroughly enjoyed life, and now shifting into the Fearless character felt like putting on another pair of gloves. Both films and characters have been such a perfect fit that the transition wasn’t too difficult. The demands [of going] from one film to the other were quite extreme in comparison, but as a disciplined actor, one needs to learn to pace oneself, develop to fit into any role, and do the best that you can.
How healthy would you say the South African film industry is right now? Gray Hofmeyr: Within the confines of a struggling economy, we are doing okay. We are still making movies and there are talented young writers and directors coming through all the time. We have a lot of talent, new talent, black talent, coming through – that’s great! The dti and other government departments are doing good work in supporting the industry. Thanks, because without them we would be nothing. What we need is a stable economy. Frank and Fearless will be in cinemas nationwide from November.
JUST FOR FUN We asked Gray what his favourite things were … Favourite animal? Rottweilers Favourite food? Seared tuna Favourite book? Shantaram by Gregory David Roberts Favourite film? Phantom of the Paradise
SPOTLIGHT / 17
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PAUL RALEIGH ON
FILM BONDS
Film Guarantor Paul Raleigh offers his expertise on completion guarantees.
A
man with a wealth of experience as a producer, Paul Raleigh now works with Hollard Film Guarantors, bringing productions through the final leg in their often arduous journey from script to screen. In the last three years, the team – made up of Paul Raleigh, Buyisile Kubheka, Moroba Nkawe, Gail Radnitz and Wesley Raleigh – has bonded over 60 films with budgets totalling almost R1 billion. We speak to Paul to find out more about this process and how things work behind the scenes. How has 2018 been for you at Hollard? Our financial year runs from 1 July to 30 June. We target around 30 films annually, although we are focussing on bigger budgets, and it’s encouraging to see that producers are moving into bigger budget territory (relatively speaking) and we have several projects in the R20- to R40-million range. We are close to closing a US$27 million TV series, and in order to compete internationally, budgets have to increase – and so, too, the star value. This is sometimes a controversial subject, but sales agents will always ask ‘who is in it?’ What’s a typical day in the life of a film guarantor? We generally have about six projects in prep or shooting at any one time. This keeps our team on our toes as the monitoring process is critical to the successful completion of every film. There are two distinct divisions to a Completion Guarantee. The first is the management or
monitoring of the production. This is the company that interfaces with the producers, assesses the production, and documents and lives with the production until the film is delivered. The second is the company that underwrites the Guarantee. From an investor’s perspective, this is a critical component. The reason insurance companies are the underwriters in the film business is that they have strong balance sheets and understand risk. The underwriter is the key to this business and can command 40% of the premium. In addition, we have re-insurers who stand behind the primary insurer where the budget is very big and the risk is perceived to be uncomfortably high. This slices off another piece of the pie. It’s not surprising, then, that there are only a handful of these businesses around the world. How hard is it for filmmakers to find the finance to complete a film, and where does a guarantor fit into this process? One of our challenges in the film industry is to attract an investor pool from the private sector. Generally, the financiers of local films are the same institutions, in different combinations and all government, with the exception of M-Net, who are active in funding local content. In order to attract new investors, we have to show commercial successes regularly. One swallow does not make a summer and we need more swallows! We like to interface with producers early on in the process so that we can walk the walk with them.
then unlock those tabs on the app. The producer will then see a list of documents that will be required and these are populated as they become available. There will be lots of interaction through mails and calls until we get to the point where the lawyers will commence drafting the Completion Guarantee and the Producers Undertaking.
Paul Raleigh
What types of films are being made or requesting assistance from Hollard? For the past ten years there has been this belief that budgets of R6 million are the magic number and R10 million is ‘high’. For ten years, budgets have hardly moved and if we wish to produce ‘export’ films, we need to resource producers far better. Most of the films we produce rarely see a screen outside of South Africa – and there are markets internationally that will consume good content. The USA is now 30-40% of the market, so even American producers need to sell their films in the rest of the world. Thirty years ago, the USA was 60% of the market. Times are changing. Take us through the basics of how a completion guarantee works. As an opening bid, we ask producers for a budget, script and a finance plan. This is uploaded to our online app. Based on these documents, we are able to determine what other documents are required, and we
What are your thoughts on the local film industry? William Goldman (the screenwriter of Out Of Africa) in his book Adventures in the Screen Trade, said that ‘nobody knows anything’. What he meant was that there is no sure-fire hit and no recipe for success. Trends are mostly set by gems that break the mould and in the process set new trends. These are not easily predicted in advance. There is a school of thought that suggests that we are making too many films and we should put more resources into fewer productions. I’m not entirely persuaded by this argument, as the final arbiter will be the market. Bad films won’t get screens and that will be the filter that ultimately determines the number of productions that get made. In terms of development and finding stories, this is the deep level mining of the business and this is where we should apply our resources to find those gems. We have a wealth of story material but buying options and developing scripts is time consuming and expensive – in many cases beyond the reach of local producers. The result of this is that some of our best material is snatched up by international producers with no guarantee that they will make the stories better than we would.
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A CALLSHEET WRAP PARTY TO REMEMBER
In late September, the Callsheet hosted one of its greatest events to date. It was a true celebration of the industry, and a fitting opener for the 2018/2019 film and commercial season.
LANCE GIBBONS WELCOME
Publishing Editor at Film & Event Media (The Callsheet)
“In my 20 years of film, I have not experienced this much excitement and collective input to create a growing, sustainable industry for all. The two-day sustainability workshop gave us the opportunity to share our concerns and understanding of how each and every one of us can contribute to the success of this industry. The City of Cape Town has heard our cries for help and Alderman JP Smith has mobilised the City, developing valuable interventions for our industry. Huge thanks must go to JP, Leo and the rest of the team, and a special thanks to sponsors: The City of Cape Town, FCBT Entertainment, Silverline 360, Inspire Furniture and all the others who have made this event so memorable.�
Callsheet WRAP PARTY
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PATRICIA DE LILLE REASSURES INDUSTRY OF CITY’S SUPPORT FOR FILM Executive Mayor of the City of Cape Town
This is the start of Cape Town’s film and commercial season. The industry has had a tough year; we as partners of the City of Cape Town are ready to tackle, with you, the new season with increased drive and enthusiasm. There is always opportunity when you’re faced with a crisis or a downward turn. We can reinvent and redesign ourselves and take the film industry to new heights. The City of Cape Town’s role is to look into the future, and to create a globally competitive, forward-looking Mother City. We recognise the value of the film industry, and we want to continue to engage with you. We want you to thrive and to create more jobs in our city. In the last six months, we have been listening to valuable feedback, and also learning at the same time. We’re here to help you thrive by doing three things: 1. Making it easy for you to do business, and obtain and acquire the necessary permits. 2. We provide the necessary infrastructure within the city. 3. Film Cape Town is the city’s tactical intervention, designed to help shape the next chapter for the film, TV, commercial, animation and gaming sectors. Film Cape Town shines a spotlight on what defines Cape Town as the premier film and media destination. Beyond our world-class skills and infrastructure, Cape Town has the ability to innovate and creatively solve the problems that set the city apart from other locations around the world. We work from the premise that the world owes us nothing. And together, we are thinking of innovative ways to bring new investment and new projects. It’s this approach that adds value, and saves time and money.”
FEATURE / 19
ELIZABETH ESTMENT AND SIMON CLAYTON ON TRAVEL SOLUTIONS TO SUIT YOUR BUDGET
Business Development Managers, FCBT Entertainment The average production company spends up to 80% of their travel budget on accommodation. This needs to change if the entertainment industry in South Africa wants to remain sustainable. FCBT Entertainment understands that challenge and is on hand to help. This is especially since South Africa’s R7.2 billion entertainment industry has gone through a bit of a crisis in the past year. FCBT entertainment has recognised the unique travel requirements and logistics that this industry requires and hence we have a division solely trained and focused on managing travel. We have built personal relationships with suppliers across the country, taking our supplier negotiations to the coalface. We get to know each of our suppliers and build strong relationships with them so they’re at the end of the phone when we need them. These include meeting requests like transporting animals across borders, moving sets, meeting the demands of stars and dealing with fixers across the country. We can deliver travel savings to the industry through our global buying power and specialist travel expertise. We understand the entertainment industry is not a 9-to-5 industry. We know your life is filled with late hours, last-minute travel requirements, group arrangements, last minute changes in crew and VIP service – all within a restricted budget. We’ve gone so far as to tailor our business model to support this, so you’ll never get a bill with R150 per afterhour phone call. In fact, we even managed to save one of our recent clients R48 500 in after-hour calls alone. Our team of travel experts at FCBT Entertainment live, breathe, eat and sleep the film and entertainment industry, so that you can be assured you’re working with the travel voice of the entertainment industry in South Africa.
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All images © Daniele Peplouw, except the three bottom images on page 20, which are © Three Crowns Studios
22 / DISCOP JOHANNESBERG
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DISCOP JOHANNESBURG 2018
Taking place from 14-16 November, DISCOP Johannesburg is the leading content, adaptation rights and project market dedicated to Africa and the Middle East.
D
ISCOP Johannesburg promises to be on the pulse this year, and will bring more than 1 500 delegates together, including over 400 acquisition and development executives representing broadcasters, premium cable channels, mobile operators, and streaming platforms from across SubSaharan Africa. The show will also attract 200+ global and regional distributors
who will be showcasing their latest offerings and seeking new representation deals. Africa and the Middle East are the world’s most coveted entertainment and media marketplaces, encompassing 70 countries with a combined population of 1.5 billion. With increasing internet connectivity, fast-growing smartphone reach, the ever-falling cost of data, DTT, and streaming platforms, video entertainment is more
readily available and has put hundreds of millions of potential customers in play – 75% of them under the age of 25. DISCOP is engaging this market in strategic regional events annually. The show delivers meetings between content buyers, sellers and producers seeking to acquire, license and fund anything from finished content and adaptation rights, to works in progress and projects in development.
CANADA AS GUEST COUNTRY The market has announced Canada as the guest country this year, and will highlight the recently launched incentive for the co-development of audiovisual projects between Canadian and South African producers. The total amount of funding available through this incentive is around ZAR1 200 000, with the Canada Media Fund (CMF) and the National Film and
AFRICA AND THE MIDDLE EAST ARE THE WORLD’S MOST COVETED ENTERTAINMENT AND MEDIA MARKETPLACES, ENCOMPASSING 70 COUNTRIES WITH A COMBINED POPULATION OF 1.5 BILLION. WITH INCREASING INTERNET CONNECTIVITY, FAST-GROWING SMARTPHONE REACH, THE EVER-FALLING COST OF DATA, DTT, AND STREAMING PLATFORMS, VIDEO ENTERTAINMENT IS MORE READILY AVAILABLE AND HAS PUT HUNDREDS OF MILLIONS OF POTENTIAL CUSTOMERS IN PLAY – 75% OF THEM UNDER THE AGE OF 25.
DISCOP JOHANNESBERG / 23
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All images courtesy of DISCOP Markets
Video Foundation (NFVF) each contributing half of the funds. “In the past 20 years, we’ve seen content produced between Canadian and South African creators hit international markets with great commercial success and critical acclaim. Producers in both countries have partnered to tell stories that are culturally-relevant to audiences in both countries and around the world,” says Valerie Creighton, President and CEO of CMF. “As we aim to create yet more partnerships between Canadian and South African producers, we look forward to participating in DISCOP Johannesburg 2018 where Canada will be Guest Country.” Shadrack Bokaba, Acting CEO of the NFVF, says it is encouraging to witness South African content markets like DISCOP honour relationships like that of SA and Canada. Two important sessions scheduled in DISCOP’s Next Gen development and knowledgetransfer programme will examine co-production and distribution opportunities between the two countries. CMF will be hosted at the ‘Made in Canada’ pavilion.
NEXT GEN AND DISCOP CONVERSATIONS
The Next Gen conference stream covers a range of topical discussions and places the spotlight on innovation, public service broadcasting, developing
the right format for international distribution, and co-production relations. Other topics of note include ‘Is There a BRICS CoProduction model?’, ‘Africa’s 150-million People Strong Swahili-Speaking Audience’, and ‘The Ladima Women of Influence Global Digital Dialogue’, in which DISCOP delegates directly engage with top women from the entertainment and media industry. DISCOP Conversations will cover global animation trends, the rise of block chain solutions for the entertainment industry, and why mobile will be king – examining the impact of mobile-based content viewing on the distribution and consumption value chain.
DISCOMICS AND ANIMATION HIGHLIGHTS
The DISCOMICS Joburg segment, organised by African Animation Network and DISCOP Markets, was recently launched to bring comic books, animation and video-gaming talents under the sight of international buyers and producers. Twenty creators, graphic artists, game developers and animators will be offered the possibility to attend DISCOP and enjoy VIP privileges including a Producers’ market badge, a meeting pod in the DISCOMICS umbrella, meeting organisation assistance, access to the Next Gen programme, and up to five programmes and projects featured in the
NIGERIAN ANIMATORS ARE NOW STEPPING UP TO IMPROVE QUALITY AND AVAILABILITY OF CONTENT. ‘ANIMATION PROGENY’ WILL BE EXPLORED BY THE AFRICA ANIMATION NETWORK (AAN). THEY HAVE SELECTED SOME OF THE BEST ANIMATORS FROM ACROSS THE CONTINENT TO BE PART OF THE SESSION, WHICH WILL CLOSE THE NEXT GEN PROGRAMME. DISCOP Club online library for 12 months – among other perks. DISCOMICS will host a talent showcase for key industry players seeking fresh talent, with the FUPiTOONS Festival also taking place during DISCOP. A strong focus will be given to animation, with two Next Gen sessions on the subject taking place on Friday, 16 November. At 9am, ‘Wham, Pow, Boom’ explores Nigeria’s animation, comic books and gaming industry. Thanks to a growing interest in the country, Nigerian animators are now stepping up to improve quality and availability of content. At 5pm, ‘Animation Progeny’ will be explored by the Africa Animation Network (AAN).
They have selected some of the best animators from across the continent to be part of the session, which will close the Next Gen programme. There will also be an ‘Animation Du Monde’ pitching competition, the grand finale of which takes place on the final day of DISCOP. A DISCOP Conversation session will bring together globe-trotting animation experts to discuss the emerging trends and future outlook of animation in ’The United World of Animation’. Using their countries as case studies, panellists will paint a vivid picture of the opportunities, pioneering spaces and potential collaborators in this field.
CONGRATULATIONS TO CONGRATULATIONS TO EVERYONE WHO MADE EVERYONE WHO MADE THE PECKING ORDER THE PECKING ORDER Loeries Official Rankings will be released Loeries Official Rankings will be released late October 2018. late October 2018. Visit loeries.com for the 2018 listing of the best brands, agencies, Visit loeries.com for theand 2018 listing ofacross the best brands, agencies, production companies individuals Africa and the Middle East. production companies and individuals across Africa and the Middle East. @Loeries @Loeries
@loeries @loeries
@loerieawards @loerieawards
loeries.com loeries.com
STUDIOS, SERVICES AND SUPPLIERS / 25
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STELLA TALENT
THE CALLSHEET
A new, fresh Direction Films! We are three years young! We work hard to achieve the shared goal with the client, with attention to detail, no matter the size of the job. Based in Cape Town, we have filmed locally, in Switzerland and the USA. We know no boundaries. We service and produce online and TV content. Director Willem Grobler brings his creative vision to life with a strong storytelling ability.
Stella Talent is a small agency based in Cape Town. We represent professional actors for film, tv, radio and theatre work in Cape Town and Johannesburg.
Bring your business before the eyes of industry leaders and stakeholders – advertise in The Callsheet, Africa’s leading film industry magazine. With over a decade of experience, our aim is to connect people through content that’s on the pulse, and with an extensive international print and online distribution.
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DIRECTION FILMS
Producer: Anco Henning T: +27 83 235 6720 E: anco@directionfilms.tv W: www.directionfilms.tv Cape Town, South Africa
Our aim is to manage our artists with great personal care and assist in building careers with great commitment. Ormeau Cott age, 146 Kloof Street, Tamboerskloof, Cape Town T: +27 21 422 0276 / +27 82 825 5722 E: suzanne@stellatalent.co.za W: www.stellatalent.co.za
2 Dingle Avenue, Kenilworth, 7708, Cape Town T: +27 21 674 0646 E: joyce@filmeventmedia.co.za W: www.thecallsheet.co.za
THE ONE CLUB COMES TO CAIRO
The One Club for Creativity has established its first international chapter in Cairo, Egypt.
I Enas Rashwan, President of The One Club for Creativity-Cairo
n line with its mission to support the global creative community, The One Club for Creativity has established its first ever international chapter – The One Club for Creativity-Cairo. Enas Rashwan, President of Cairo Ad School and a creative director with over a decade of experience, will head up the new chapter. The organisation will offer creatives in Egypt an array
of initiatives across creative disciplines which fall under four key pillars: education, inclusion and diversity, professional development, and gender equality. “Putting Egypt on the global creative map has long been my aim, and the existence of The One Club in Egypt is a dream come true for me. Our country has always been the hub of creativity in the Middle East, and we have
many great creatives who are known across the region. With The One Club-Cairo, we’ll now be able to connect our creatives to the global community,” says Ms Rashwan. “Cairo has long been a creative leader in the region, and we are thrilled to work with Enas and her team as they have become our first International chapter,” adds Kevin Swanepoel, CEO of The One Club for Creativity.
26 / LOCATION SPOTLIGHT
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Lalibela, Ethiopia © Trevor Cole via Unsplash
ETHIOPIA An extraordinary land with much to offer the filmmaker who’s in search of the otherworldly.
H
istorically, Ethiopia has not been considered a film destination, but in recent years, it has grown its offerings and now has a vibrant film sector similar to that of Kenya. The country is a wealth of undiscovered cultures and locations and beckons filmmakers to explore a world of opposites – rushing rivers and arid desertscapes, cool forests, and the hottest inhabited place on earth: Dallol. Locations of interest include Lalibela’s rock-hewn churches with their ancient facades, the incredible spectacle that is the Blue Nile Falls, Fasilides Castle, Nechisar National Park, and the Siemen Mountains which are home to Gelada baboons. Another interesting place is the Lower Valley of the Omo, a UNESCO World Heritage
Site and prehistoric region near Lake Turkana. Here, the discovery of fossils has been of fundamental importance to the study of human evolution. The local film industry is currently working towards becoming more competitive and attractive, and with over 100 films produced in Ethiopia annually, there is certainly a growing market for local productions. There are currently around 300 filmmakers and production companies operating in the region, and 39 cinemas in the capital of Addis Ababa. That said, local directors and producers still face many struggles in order to get their films in front of audiences.
FILMS SHOT IN ETHIOPIA
Some of the most recent productions to come out of Ethiopia are the post-apocalyptic
surreal story of Crumbs (2015) and the beautiful, heart-wrenching Lamb (2015). Difret, released in 2014 and executive produced by Angelina Jolie, won the World Cinematic Dramatic Audience Award at Sundance, as well as the Audience Award at the 64th Berlinale in the Panorama section. Older hits set and shot in Ethiopia include The Athlete, Teza, The Best of Enemies, Time to Kill, Mother: Caring for 7 Billion, Town of Runners, and A Walk to Beautiful.
FILMING ON LOCATION
There are no set fees or film incentives at present in Ethiopia, however locations, local talent and support crew are generally inexpensive. Enough time should be given for local fixers to liaise with regional governing bodies, who may charge location fees. Locations in national parks are
generally higher than average, particularly for aerial shoots. These require pilots with flight permits from the Ethiopian Civil Aviation Authority. The best time to shoot during clear, sunny days is from January to March, with the rainy season running from April to September. Although the country has a small pool of local directors, videographers and stills photographers, Kenya is the closest place for sourcing key crew from abroad. Customs can take a while, according to local fixer Zabalon Beyene. “Have your locations manager wait with a customs clearance paper in hand for the crew’s arrival. If not, the crew will lose at least a day sorting customs clearance,” he says. Malaria precautions are also important, as is the need to stay hydrated in hot regions.
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CLIMATE
ACCESS
Ethiopia’s climate is mild and tropical, with average temperatures in the highlands and major cities like Addis Ababa below 20°C, and exceeding 30°C in the lowlands.
Addis Ababa Bole International Airport is the main access point, with a number of other commercial and connecting airports serving the region. Airlines include:
Average annual rainfall 400 mm 300 mm 200 mm 100 mm 0 mm
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Feb
Mar Apr May Jun
Jul
Aug Sep
Oct Nov Dec
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United Turkish Airlines Avianca Brasil Air China South African Airways Air Europa Air India
• • • • •
Asiana Airlines Kuwait Airways EL AL Israel Airlines Qatar Airways ANA (All Nippon Airways) • SAS
Precipitation www.weather-and-climate.com
Average annual sunlight hours
Ethiopia Tourism Organisation Email: info@ethiopia.travel / social@ethiopia.travel Web: www.ethiopia.travel
300 hr 250 hr 200 hr
FIXERS
150 hr 100 hr 50 hr 0 hr
Jan Feb Mar Apr May Jun
Jul
Aug Sep Oct
Nov Dec
Sunshine hours www.weather-and-climate.com
30 0C 23 0C 15 0C 8 0C Jan Feb Mar Apr May Jun Max temp
Firew Ayele | Across Abyssinia Tel: +251 913 497 607 / +251 118 503 923 Email: firew.ayele@yahoo.com / info@adventureabyssinia.com Web: www.adventureabyssinia.com Hridas Saudamad | Prepare2Go Tel: +251 115 540 79 Email: info@prepare2go.com Web: www.prepare2go.com
Average annual temperatures
0 0C
CONTACTS
Jul
Aug Sep Oct
Nov Dec
Min temp
Israel Seoane | Independent Filmmaker Email: israseoane@gmail.com Web: www.israelseoane.com
www.weather-and-climate.com
POPULATION
Solomon Abrha | Independent Fixer Tel: +251 912 623 170 Email: solomonabrha20@gmail.com
105 350 020 (July 2017 estimate, CIA World Factbook) Yared Tefsa | Hahu Film Production Tel: +251 930 491 280 / +251 937 926 000 Email: yaredtesfa@yahoo.com Yohannes Feleke | Independent Filmmaker and Fixer Tel: (+1) 202 403 9226 (USA) / +251 911 378 976 (Ethiopia) Email: josamrawi@yahoo.com Zablon Beyene | Zab Tours Ethiopia Tel: +251 118 608 564 Email: info@zabtoursethiopia.com / zablon@zabtoursethiopia.com Web: www.zabtoursethiopia.com ZeroShama Media Tel: +251 929 003 295 Email: info@zeroshamamedia.com Web: www.seroshamamedia.com
Addis Ababa, Ethiopia © Daggy J Ali via Unsplash
28 28 // SPOTLIGHT EVENTS TO DIARISE
NOVEMBER THESSALONIKI INTERNATIONAL FILM FESTIVAL 1 – 11 Thessaloniki, Greece LEEDS INTERNATIONAL FILM FESTIVAL 1 – 15 Leeds, United Kingdom CARTHAGE FILM FESTIVAL 3 – 10 Carthage, Tunisia FORT LAUDERDALE INTERNATIONAL FILM FESTIVAL 5–7 Florida, USA
NAPA VALLEY FILM FESTIVAL 7 – 11 Napa, USA LONE STAR FILM FESTIVAL 7 – 11 Fort Worth, USA CUCALORUS FILM FESTIVAL 7 – 11 Wilmington, USA STOCKHOLM FILM FESTIVAL 7 – 18 Stockholm, Sweden
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HAWAII INTERNATIONAL FILM FESTIVAL 8 – 18 Hawaii, USA KOLKATA INTERNATIONAL FILM FESTIVAL 10 – 17 Kolkata, India BLACK NIGHTS FILM FESTIVAL 11 – 27 Tallinn, Estonia AFRICA INTERNATIONAL FILM FESTIVAL 11 – 17 Lagos, Nigeria
DOC NYC 8 – 15 New York, USA
BARCELONA INDEPENDENT FILM FESTIVAL 12 – 18 Barcelona, Spain
AFI FEST 8 – 15 Los Angeles, USA
DISCOP JOHANNESBURG 14 – 16 Johannesburg, South Africa
INTERNATIONAL DOCUMENTARY FESTIVAL AMSTERDAM 14 – 25 Amsterdam, Netherlands INTERFILM FESTIVAL 20 – 25 Berlin, Germany INTERNATIONAL FESTIVAL OF INDIA 20 – 28 Goa, India DELHI INTERNATIONAL FILM FESTIVAL 20 – 28 New Delhi, India
EVENTS TO DIARISE / 29
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JANUARY CAIRO INTERNATIONAL FILM FESTIVAL 20 – 29 Cairo, Egypt
PALM SPRINGS INTERNATIONAL FILM FESTIVAL 2 – 15 Palm Springs, USA
WHISTLER FILM FESTIVAL 28 – 2 December Vancouver, Canada BAHAMAS INTERNATIONAL FILM FESTIVAL 28 – 6 December Harbour Island and Nassau, Bahamas SINGAPORE INTERNATIONAL FILM FESTIVAL 28 – 9 December Singapore FESTIVAL INTERNATIONAL DU FILM DE MARRAKECH 30 – 8 December Marrakech, Morocco
GOLDEN GLOBE AWARDS 8 Beverly Hills, USA NEW YORK JEWISH FILM FESTIVAL 10 – 23 New York, USA
INTERNATIONAL FILM FESTIVAL OF ROTTERDAM 23 – 3 February Rotterdam, The Netherlands
DHAKA INTERNATIONAL FILM FESTIVAL 12 – 20 Dhaka, Bangladesh
SUNDANCE FILM FESTIVAL 24 – 3 February Park City, USA
MONACO INTERNATIONAL FILM FESTIVAL 7 – 10 Monte Carlo, Monaco
LONDON SHORT FILM FESTIVAL 12 – 21 London, United Kingdom
SLAMDANCE FILM FESTIVAL 25 – 31 Park City, USA
METRO MANILA FILM FESTIVAL 25 – 7 January Manila, Philippines
TROMSØ INTERNATIONAL FILM FESTIVAL 14 – 20 Tromsø, Norway
GÖTEBORG FILM FESTIVAL 25 – 4 February Gothenburg, Sweden
DECEMBER FESTIVAL INTERNACIONAL DEL NUEVO CINE LATINO AMERICANO (HAVANA FILM FESTIVAL) 6 – 16 Havana, Cuba
Singapore | Photo by Christian Chen - Unsplash
TORINO FILM FESTIVAL 23 – 1 December Torino, Italy
30 / ASSOCIATIONS NEWS
SA SIGNS CO-PRODUCTION MOU WITH BRAZIL The National Film and Video Foundation has announced the signing of South Africa’s first co-production treaty with fellow BRICS nation the Federative Republic of Brazil. The treaty signing took place at the South African Cultural Week (9-17 September 2018) in Brazil and was attended by South Africa’s Minister of Arts and Culture Nathi Mthethwa; Brazilian Minister of Culture Sergio Sa Leitao; NFVF Acting CEO Shadrack Bokaba; and South African Ambassador to Brazil, Ambassador Mashimbye, amongst others. “The journey towards the signing of the treaty has been a lengthy process which was initiated in 2014, led by the NFVF and Brazilian Film Agency, Ancine. Since then, there have been
numerous engagements to ensure that the treaty comes into fruition,” the NFVF said in a statement. “South Africa will continue to enter into co-production treaties with various countries for the advantage of the industry and as this is the 10th co-production treaty South Africa has signed, we look forward to more robust engagements and cultural exchanges that will move both the South African and Brazilian industries forward,” Bokaba said.
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SACIA HOLDS STRATEGY WORKSHOP Every two years, the board of the Southern African Communication Industries Association hosts a strategy workshop to assist in plotting out SACIA’s future activities. The event provided valuable input from both members and invited non-members, and included members of the Event Safety Council, ProAV, Broadcast Industry Group, TPSA, Education Council, Content Creation Council and others. The facilitator for this year’s event was Dr Anton Baumohl of Kaboodle Leadership in the UK. Kevan Jones, who heads up SACIA, opened the event, sharing some of the highlights of the last two years, followed by feedback from the various SACIA councils.
Key challenges include: • A failure to embrace a commitment to professional standards and safe working practices • Disappointing support for transformation and black economic empowerment • The complexity of securing funds from government bodies, whose prime purpose relates to training and skills development • A reticence by the freelance community to participate more fully in association activities For more information on the movements of the association, visit www.sacia.org.za.
ASSOCIATIONS NEWS / 31
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As part of their Madiba centenary celebrations in July, the Film industry Fund handed a new classroom to Umzomhle Early Childhood development Centre in Khayelitsha. The donation was to the value of R100 000. Breadline Africa match funded this project. Much of a child’s cognitive development takes place before Grade 1 and this is why it is so important to support these institutions. Mama Elizabeth, the principal of the school, has been running it for 21 years. She says the new addition will allow them to split their PreGrade Rr and Grade R classes to better provide for the 160 students. The students also received a small lunch pack consisting of three fruits and a small packet of sweets.
SAGA ASKS INDUSTRY TO SIGN PETITION
MATHE OKABA NAMED NEW ACA CEO
The SA Guild of Actos has requested that the film industry sign their petition for the Performers Protection Amendment Bill. It will protect actors by enshrining among others, the following rights: • The right to collective bargaining so that actors are better able to negotiate their contracts • Statutory Royalty-Sharing, so that actors can be adequately compensated for their work • Ratification of the Beijing treaty which will defend the economic rights of actors
Mathe Okaba has been appointed to the position of CEO of the Association for Communication and Advertising. Her appointment follows a rigorous and robust selection process and comes in the wake of the resignation of Odette van der Haar, who held the position of CEO for eleven years. Van der Haar has been widely credited with building the ACA into the highly respected organisation it is today. Okaba, a seasoned business professional and entrepreneur, will leverage over 23 years’ experience spanning the advertising, media, sponsorship and events industries in her new role. With a passion for strategy, planning and project management, she has built a solid reputation as a successful leader and team player. Commenting on the appointment, ACA Chair,
Should you wish to sign the petition in order to help create a statutory framework that underpins the actor’s moral and economic rights in AV contracts, visit www. saguildofactors.co.za/petition.
James Barty, says, “We welcome Mathe to the position of CEO and look forward to working with her as she takes the organisation forward into a new and exciting era. She brings a great deal of sector experience and knowledge to the position, ensuring that the marketing and communications sector continues to enjoy strong, dedicated and effective leadership.”
Praia do Arpoador, Brazil: Photo by Shot by Cerqueira on Unsplash
FILM INDUSTRY FUND DONATE CLASSROOM IN KHAYELITSHA
32 / DIRECTORY
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DIRECTORY OF ADVERTISERS COMPANY
TELEPHONE
WEBSITE
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CTICC
+27 21 410 5000
sales@cticc.co.za
www.cticc.co.za
13
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+27 21 556 3204
info@filmfest.capetown
www.filmfestival.capetown
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+1 323 782 13 00
info@discop.com
www.discop.com
22 - 23
Direction Films
+27 83 233 6720
anco@directionfilms.tv
www.directionfilms.tv
25
Durban Film Office
+27 31 311 4243
sharon.ngcobo@durban.gov.za
www.durbanfilmmart.co.za
03
FEUSA
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kathy@feusa.co.za
www.feusa.co.za
05
Global Bodyguard Solutions
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+27 31 325 0200
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Loeries
+27 11 772 1220
info@loeries.com
www.loeries.com
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+27 11 719 4000
info@sasanistudios.tv
www.sasani.co.za
15
Stella Talent
+27 21 422 0276
suzanne@stellatalent.co.za
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Visual Impact
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CONTACT US Cover Image: Behind the scenes of La Maison Noir: The Gift and the Curse, part of Peti te Noir’s new visual album. Produced by Red Bull Music South Africa in collaboration with Iconic agency. www.lamaisonnoir.com. Image © Red Bull Content Pool/ Tyrone Bradley
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Thomas Brodie-Sangster stars as Newt in Maze Runner: The Death Cure | Location: The Old Cement Factory in Philippi, Cape Town © 20th Century Fox, Out of Africa Entertainment, Unit & Special Still Photography by Joe Alblas | African Photo Productions