The callsheet July 2012

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

pg9

pg14

pg18

NFVF FILM CRITERIA THREATENS CO-PROS GENERAL INDUSTRY The National Film and Video Foundation (NFVF) took to the road in June and July 2012 to address industry on the proposed South African Film Criteria. They held feedback sessions in Port elizabeth, Durban, Cape Town and Johannesburg. The Callsheet attended the Cape Town session, which took place at The Victoria Junction hotel, Green Point, on 29 June 2012.

T

HE NFVF was presenting their criteria for South African film, a document which sets criteria for South African film based on a point system. The criteria apply to local productions and official co-productions. The NFVF have introduced these criteria in the interests of transforming the South African film industry. Although there were less than 30 members of industry in attendance, they were vocal in their concerns about the application of the revised criteria. The area of co-productions and particularly minority co-productions were a cause of grave concern for the industry members who were present.

Proceedings kicked off with a brief introduction from the NFVF’s head of development and production Clarence Hamilton, who stated that he hopes the changes will come into effect within the coming months. The NFVF’s presentation was made by Mawande Seti, the organisation’s legal and policy officer. She revealed the criteria were first tabled in 2009 followed by a round of industry consultations last year. She said that this final version

Clarence hamilton

has been tabled with the industry’s input in mind, and revealed that this would be the final round of consultation on the document.

She said they are still open to public submissions, so the document presented is still a work in progress.

Mawande then went over the industry concerns that were tabled at the consulting session in September 2011. The first was the absence of other government stakeholders, including the Department of Trade and Industry (DTI), The Industrial Development Corporation (IDC) and treasury who were not present at the first round of consultations. The second issue raised by

industry was the usage and point allocations to key criteria - industry was very concerned about the points allocated to director and writer positions because they felt it would be impractical with regards to minority co-productions. There was also the issue of language.

Some industry members felt that Afrikaans should be excluded from the languages for eligibility. It was also felt that there should be a subsection that catered to servicing companies and that there should be points allocated to training and mentorship. They also called for the criteria to contain irreducible minimums of about 30%.

Following industry’s recommendations during the first round of consultations, the NFVF consulted with the DTI and with the Department of Communications (DOC) as well as the Department of Arts and Culture (DAC). The DTI came down in support of the criteria - feeling it would ease the administration burden they currently find themselves with.

The DTI felt that the criteria would help them to decide if a co-production is deserving of the rebate - as they feel they don’t have the necessary expertise to assess this.

The NFVF also met with the DOC, who were in support of the criteria on the grounds that it would result

in true transformation of the film industry. The DAC was also firmly in support of the criteria, feeling that these criteria would play a large role in regulating the industry. The NFVF feels that the government departments that deal with film will experience stronger relations thanks to the film criteria.

The NFVF revised the criteria based on the input from industry.

Changes include points for historically disadvantaged individuals (HDIs) including black people, white women and disabled people. However there are no points allocated to servicing companies as they feel servicing companies are not real co-production partners based on the ideas of cultural exchange. The NFVF also disagreed with the recommendation to allocate points based on training and mentorship on the grounds that this will place an unnecessary burden on government in terms of administration and ensuring that training does actually take place.

The changes between the first and the second draft include: the revision of the allocation of points for key creatives, no more sub totaling and a revision of the points allocated for actors. Eligibility for co-productions and South African productions has been lowered too. The NFVF will be taking industry input, ahead of submitting a final proposal for approval by council. The document will also have to be gazetted by the government. Filmmakers will be given a grace period for when the criteria will come into effect.

Continued on page eight

PAGE 2 PIN-UP: ATANDWA KANI (MOONYEENN LEE) Singh’s Long Walk to Freedom.

A

ACTING

0 2 | The Cal l sh eet

AtAndwA Kani, son of the legendary John Kani, is currently playing a young nelson Mandela in Anant

TAndwA says acting was an obvious choice of career after a childhood steeped in the arts.

He says having helped his father practice his lines as well as attending theatre productions, premieres and openings with him, enrolling at the wits School of the Arts after finishing high school was an easy decision.

When asked about his first big role, Atandwa says his career has had many ‘firsts’, explaining: “In theatre, my first big role was playing Ariel in The Tempest, alongside Sir Antony Sher (Prospero), dr John Kani (Caliban), Ivan Abrahams, Jeremy Crutchley, nick Pauling and Tinaarie Van wyk Loots, to name a few. In TV my first big role was in the American series Life is Wild on the Cw network, Paramount Pictures.

I am currently shooting my first big film role in Long Walk To Freedom, playing Young Mandela.”

Atandwa says it is great fun and an incredible honour to be working on Long Walk to Freedom. He says it’s a wonderful experience to be watching many of his favourite artists in action and then he reels off a list of names - Fana Mokoena, Tony Kgoroge, S’thandiwe Kgoroge, Jamie Bartlett, Thapelo Mokoena, Thomas Gumede, Terry Pheto and Lindiwe Matshikiza. when asked to reveal more about the role, all he can say is: “I play the ‘Young Nelson Mandela’, from his traditional Xhosa initiation years, through to his move to Johannesburg. So I am playing the younger version of Idris Elba. It is both an honour and a pleasure to be involved in such a huge production. It’s a mark in the film world

that I can proudly sit back and say that I was part of. I am also excited to be working with Anant Singh and the director Justin Chadwick (The First Grader).

The young actor has worked in all three mediums, but insists that theatre will always be his favourite.

He explains: “Theatre is my first love as I was born and bred in theatre.

I have watched so many theatrical productions and been involved in quite a number of them already. I love theatre because of its spontaneity, the live aspect of it. It’s raw, unpredictable and you only have one shot at it and it will never be the same the following night.”

Although he adores working in the theatre, Atandwa has extensive experience in local and international television productions. He has appeared in local drama series 90 Plein Street and Heartlines. He has also appeared in Wild at Heart and Life is Wild.

On the differences between working on local and international productions the father of twins, says: “The differences between the shows were budget and the story telling for completely different audiences. Wild at Heart and Life is Wild have more money to shoot their episodes, which affords them the luxury of time. We would shoot about five to seven scenes a day, taking as much time on those scenes, which allows the cast and crew the chance to get closer to ‘The perfect take’. South African shows have less budget so we don’t have time to mess about and we shoot many more scenes a day, but this also never lets the acting get too stale and boring.

Our local content is interesting to the people that live here. we have a more politicised or politi-

cally aware audience so the content has to cater for that. International shows are, more often than not, shooting in other exotic locations, showing other landscapes and attempting to tell other people’s stories.”

Atandwa, who describes his mother as his inspiration and mentor, has several projects to look forward to in the coming months. He says: “I have a few things lined up for the near future. I am involved in a Sylvaine Strike production of Milier’s The Mizer which will be showing at The Market Theatre later this year. nat Ramabulana (an amazing actor and good friend) has two shows that we put on at different theatres and institutions, Hayani (‘Home’ in Venda) and IDentity Pending, directed by warren nebe. we will be performing Hayani at the ‘Arts Alive’ Festival in September. Next year in January, Nat and I will be performing The Island at the Market Theatre, directed by the legendary dr John Kani.”

The Callsheet | 03

LOCALS TO JUDGE INTERNATIONAL EMMYS

Roberta Durrant, Nathaniel Brendel and Denis Lillie

EMMY AWARDS SOUTH Africa played a major role in this year’s International Emmy Awards with judging rounds for the two categories held in Cape Town.

C

ape Film Commission (CFC) members were selected as judges for the english Speaking animation and english Speaking Documentaries categories by the academy of International Television arts and Sciences. In addition, South african actor Sean Cameron Michael will participate in the first round of judging for the Best performance by an actor category.

The judges for the Kids animation category were paul Meyer from Luma, Nuno Martins from the animation School, anthony Silverston from Triggerfish, Bruce Legg from Strika entertainment, Wayne

0 4 | The Cal l sh eet

Thornley from The Crucial project, Stuart Forrest from Triggerfish, Denis Lillie from the Cape Film Commission and David Hecker from Sunrise productions.

The judges for the english Speaking Documentary category were: Simon Taylor from periphery Films, Carolyn Carew of Born Free Media, Heather Blumenthal from Spirit Sister, Lauren Groenewald from plexus TV, Kaye anne Williams from penguin Films, Clive Morris, Richard Matthews of Wild Images, Roberta Durrant from penguin Films, Weaam Williams from Tribal alchemy, Vuyokazi Matu of Okuhle Media and Denis from the CFC. The judging of the animation and documentaries categories took place in Cape Town from 9-10 July 2012. The proceedings were overseen by the International emmys Director of Judging Nathaniel Brendel.

At a press briefing during

the judging, Nathaniel said that people are under the mistaken impression that the International emmy awards source work from all over the world, but revealed that in reality the work they watch is that which is submitted. He urged South African filmmakers and production companies to submit their work for consideration.

Nathaniel said: “Obviously when you are participating in a competition, the ultimate goal is to win. However, I have been told by multiple entrants that they like to submit their work because they know that the jurors we select are the best people in their field from around the world and these people are going to watch their work. They feel that even if their work doesn’t get selected, they get exposure.” ahead of the judging Denis said: “This opportunity is a very important one for the South african industry as it not only recognises the growing stature of our local industry but, through the rigorous adjudication process in selecting a judge, recognises the experience and expertise of our local industry representatives.”

“If we didn’t have all our active members with the academy who invite us to judge in their countries this wouldn’t be possible. We have 600 members, but in order to present your programme or judge programmes you don’t need to be a member of the academy - as we want to be sure that the best work from all over the world is recognised by the industry. It is very important for us to be everywhere, and we’re very proud to be in South africa this year.”

Bruce Legg from Strika entertainment said: “It’s a huge hon-

our to be a juror of the emmys in South africa and a great honour to have them in South africa.

Instead of spending the entire day looking at our own work it’s been great fun watching other peoples’ work.”

Sean, who has over 30 theatre productions and 50 television and film productions under his belt, will be attending the International emmy World Television Festival, as well as the 40th International emmy awards Ceremony, which takes place November in New York. Sean’s impressive CV includes the lead role as Fergus Buchan in Regardt van den Bergh’s multi-award winning Faith Like Potatoes, as well as television roles in Ella Blue, 24: Redemption, The Final Verdict and many more.

Upcoming releases include Death Race: Inferno for Universal and opposite Sienna Miller and Toby Jones in The Girl for HBO. Of his experience, Sean said: ”although I was aware that the CFC would be hosting the judging panel for the Kids animation and Documentary categories for the 2012 International emmy awards, I was actually contacted directly and independently by the emmy Judging Director, Nathaniel Brendel, mentioning that I had been selected by the academy and was invited to be a juror in the first round of judging for the Best performance by an actor category.”

He added: “I was truly impressed by the standard of work being produced around the world and at the same time felt inspired and confident that SA indeed has the ability to compete in this arena. Having spent the last couple of years working specifically

on local short films for aspiring writers, directors and producers, and also on teasers and trailers for already established filmmakers in our industry, seeking to get finance for full feature film productions to be shot here in Sa, I aim to use the opportunity of attending the International emmy World Television Festival in NY in November, to try and help market these projects.”

Semi-final judging will be taking place all over the world, with rounds already taking place in paris, Berlin and Budapest. Upcoming rounds will take place in Miami, Sydney, panama, Copenhagen, Quebec City, Kiev, Buenos aires and Rio de Janeiro.

South africa has had several International emmy award nominated tv series including Sokhulu and Partners; Home Affairs and Hopeville. Individual nominations include those for art director Sylvain Gingas and set decorator emma eunson (Gettysburg, 2011), costume designer Jo Katsaras (No. 1 Ladies Detective Agency, 2009), set dresser emelia Weavind and casting director Christa Schamberger (Generation Kill, 2009), and sound mixer Colin McFarlane (24: Redemption, 2009) Local emmy wins include those for special effects supervisor Max pullman and costume supervisor abigail Metcalfe (Gettysburg, 2011), DOps Richard Matthews (Great Migrations, 2011) and Lee Doig (Survivor, 2010), special effects coordinator anthony Stone (Generation Kill, 2009), and underwater cinematographer Charles Maxwell (Blue Planet, 2001).

Kate Hodges

PULE TO APPOINT PRODUCTION ADVISORY BOARD

T

Dina Pule

GENERAL INDUSTRY South African minister of Communications, Dina Pule, has called for

nominations for the South African Broadcast Production Advisory Body (SABPAB).

HE role of the SABPAB will be to advise on the production and display of local content - and how these ends can be supported by the government and private sector. The SABPAD will be made up of 12 members appointed by the minister. The body will be funded by the Department of Communications. The body will be comprised of members from government, the regulator, industry, civil society, consumer groups, and organised labour. Members will be required to have experience across a wide range of skills.

These include: content creation and development, production, marketing, distribution, acquisition, policy and regulation, intellectual property, legal, cyber security and any relevant content industry expertise. Members must be South African citizens who are “committed to fairness, public consultation and accountability”.

The public will be consulted during the nomination process and every appointment will be published in the government gazette. The minister will appoint the chairperson of the board.

According to the nomination document, the chief objectives of the SABPAB will include making recommendations to the minister to determine: policy and strategies to give effect to the production and display of local content; financing strategies to support the production of local content, policies to enhance the production of local content for the multichannel and digital broadcasting environment and to consult with the NFVF and the broadcasting industry prior to submission of recommendations to the minister.

Functions of the body include

advising the minister on how the development, production and display of local television and radio content can be supported; the establishment of the local digital content industry; fostering cooperation amongst stakeholders in the content industry and in particular digital content to develop shared knowledge and promote innovation and excellence; production of broadcast materials that meet the cultural needs of South Africans; the distribution of local content through electronic platforms; distribution and exhibition of local content in foreign markets; encouragement of entry by players from historically disadvantaged individuals in the local content production industry; development of legislation and policy development for combating the distribution of illicit content and the development of the human resources to provide skills and training of local content providers especially amongst historically disadvantaged groups including the youth, women and people with disabilities.

General functions of the body will include: fostering relationships between government and industry; promoting co-operation among the different sub-sectors of the content industry and mobilising content for content initiatives.

Members of the SABPAD will serve a term of five years in office.

They are eligible for re-appointment after their term has been served, however they may not serve more than two consecutive terms in office.

According to the policy document released by the department “once the Advisory Body is established it must appoint a sub-com-

mittee responsible for providing advice on strategies to give effect to local and digital content development and cyber security.

The board will meet four times a year, and meetings of members will be governed by a majority vote of voting members present at any duly convened meeting, provided that a quorum of one-third of the voting members are present at that meeting.

All administrative, financial and logistical matters related to the Advisory Body’s work will be managed by a dedicated Secretariat provided by the department. The secretariat will be responsible for organising the meetings, taking minutes and logistical arrangements of the Advisory Body.

Members of the body who are not in full-time employment of the state will be paid the remuneration and allowances determined by the Minister with the approval of the Minister of Finance and in accordance with the National Treasury Regulations.

The department will retain ownership of information, documents, programmes, advice and reports collected and compiled by the Advisory Body in the execution of the work carried out by the body.

Nominations must be made by 20 July 2012. Nominations can be sent to: The Minister of Communications, for attention: Ms Sewela Letsoalo, The Department of Communications, P/Bag X860, Pretoria emailed to: sewela@doc.gov.za or faxed to: 012 427 8030.

Kate Hodges

The Callsheet | 05

THE BIOSCOPE DOES IT DIFFERENTLY I N D E P E N D E N T CINEMA LocaLLy made films that previously had no chance of making it to the big screen are now gaining an audience through the Bioscope in downtown Johannesburg.

T

HE independent cinema recently celebrated its second birthday and has built up a cult following by showing local movies and foreign documentaries with a niche appeal too small to woo the major movie houses.

Co-founders Russell Grant and Darryl Els have made it fun too, with a café selling pizza and drinks that can be taken into the cinema, Asian movie evenings where the price includes a box of noodles, and regular music evenings.

The 68 seats are gradually being replaced by funky refurbished car seats, and one of the managers briefly introduces the movie and hands out blankets on chilly evenings. The single-screen cinema is equipped with a High-Definition video projector and is open every day.

Russell and Darryl both studied film at Wits University, and Darryl wrote his thesis on whether an independent cinema was viable in Johannesburg. Believing it was, they began monthly screenings in the Maboneng Precinct, a multiuse precinct being developed in a formerly run-down area of the city. The developer wanted to add a cinema to the mix, so after a successful pilot the pair took over premises previously used by panel beaters.

“We wanted to be in the city and there was a lot of excitement around the precinct,” says Russell.

“We were able to finance it ourselves and it’s been going for two years and still getting stronger.”

Its regular audience includes cinema-going suburbanites looking for something edgier than cinemas in shopping malls all screening the same movies, and the crowd is generally a welcome mix of colours and cultures.

One of its biggest aims is to grow an audience for local content and to provide a theatrical release for smaller films that won’t receive a national release. Being independent, it has the freedom to show exciting, risky or provocative work that mainstream movie houses won’t risk.

“It’s a truly independent cinema with films from around the world and local stuff that people in Johannesburg have never had the chance to see before, so people can get an appreciation and become a healthy audience for these kind of films,” Russell says.

There are definitely enough

good local movies to fill its programme, he says, and the quality is getting better. “We can be that successful stepping stone for someone who has made a film that doesn’t warrant a nationwide release. It’s nothing to do with quality, it may be a documentary that focuses on a rather niche market, but you can put it on at the Bioscope so for the first time films that wouldn’t have made it to the screen have a place to be shown.”

The pair initially had to seek out good local films, but as its reputation spreads more filmmakers are asking for a run at The Bioscope.

“We work hard at getting good content. The struggle is always to stay on our toes and be able to read the market, and to make sure that when we get a film the right people get to hear about it.”

Partnerships with organisations actively interested in a particular film or genre are helping to spread the word, with a documentary about women in the media, for example, winning support from feminist groups that promoted it to their members.

The Bioscope is a full time job for Russell and Darryl, who have also employed a cinema manager, café manager and kitchen staff.

For now their aim is to make the current location all that it can be, Russell says. One project is a weekly screening for inner city school kids in partnership with the Goethe Institute, to introduce youngsters to the art of filmmaking, and to spark interest and discussion about various topics.

In September and October the Bioscope will introduce the Home Movie Factory, an initiative by French filmmaker Michel Gondry that has already taken place in Paris, New York, and Rotterdam.

The fun event will invite the general public to shoot and star in their own movies using backgrounds, props and costumes made available in Maboneng Precinct.

“People will spend two to three hours in the exhibition for the joy of creativity as they make their own films,” says Russell. Michel Gondry will visit Johannesburg for the event, staged in partnership with The National Film and Video Foundation, The French Institute and the Department of Arts and Culture.

The Bioscope also hosts filmmaking workshops, award ceremonies and special screenings for media-based schools in Johannesburg.

Lesley Stones

DRAFTFCB BUYS HELLO COMPUTER DIGITAL award-winning digital agency HelloComputer has been acquired by DRAFTFCB, a subsidiary of a New York Stock Exchange listed company Interpublic Group.

T

HE digital agency, which won a Grand Prix at The Loerie Awards last year in the Interactive Tools and Applications category, will absorb Draftfcb’s current digital arm, Mesh Interactive. This move will boost the agency’s staff to 80 members based in Cape Town and Johannesburg.

HelloComputer has won more than 60 awards since the company was launched by executive creative director Mark Tomlinson in 2005.

Managing director David Moffatt said: “Hellocomputer has always subscribed to the principle of integrated communications. The

0 6 | The Cal l sheet

timing, opportunity and cultural resonance with Draftfcb make this deal the optimal next step in our history.

“While we will continue to be defined by creatively inimitable, sublimely crafted solutions that achieve compelling results, our ambition has expanded to one of becoming a world-class interactive agency. We know working with Draftfcb’s integrated agencies will help us achieve that goal.”

Draftfcb CEO John Dixon added: “Apart from its undoubted creative pedigree, HelloComputer possesses comprehensive strategic skills and development capabilities in web and mobile, measurement and analytical skills, and social and emerging media prowess. It also happens to be comprised of really nice people, which is critical to us.”

The Callsheet | 07

NFVF FILM CRITERIA FILM CRITERIA Industry in Cape town raised some serious concerns about the nFVF’s film criteria.

T

here were ample questions from industry following the presentation. The first came from Kim Williams, the co-production manager at DO Productions. He asked about the relationship between proportionality and irreducible minimums. Mawande responded that the irreducible minimums were regarding the casting criteria.

Clarence revealed that despite the prevailing perceptions there are examples at present where SA producers are the majority co-funding partners. He cited the historical issue that in the past we didn’t have enough funding to attract top tier talent to a project if the funding came from South Africa. He claimed that this is no longer true, adding that most of the money for a co-funding project can originate here if producers “do their homework and source the right kind of partners.” He said: “Initially in order to qualify for a co-production the scoring had to be around 70%, but we felt that might be onerous in the beginning but it might happen in future.”

The next question came from Glenn Gillis from Sea Monster. Glenn asked “What’s to happen with minority co-production opportunities in the mean time. I accept that there’s a need to commit to transformation in the industry and the need for acceleration is noted, but in reality it’s this journey that we’re on moving from service to minority and eventually into majority co-productions.

However, I’m not certain how we’re going to make minority co-productions work in the interim. If we’re bringing 25% of the cash from the rebate, but we’ve got to be 60% of the creative.” The NFVF responded that whether you make up the majority or the minority, you should be able to make up the 60% within the value chain, whether or not you’re able to make it up in the key creative positions. Marvin Saven, partner and financial director at Moonlighting Films and the representative from the Independent Producers Organisation (IPO) said: “The IPO also ran the model through our historic coproductions and we came up with a pass rate of two percent of our projects that qualified. Even addressing the points Clarence has raised, there are still insufficient points to achieve a 60% minimum. There is a fundamental flaw in the mathematics behind the current methodology. So we completely agree with your sentiment of how shocking the pass rate would have been and how shocking it’s going to be going forward.”

Another member of industry pointed out that all the co-production treaties we have directly state that the amount of creative control

08 | The Cal l sh eet

and copyright we have is directly proportional to the amount of funding we put up. None of our treaty partners have any cultural criteria.

When the negotiations were carried out for these treaties in good faith, there was never any mention of this kind of position. In effect what is being proposed here today might require renegotiations of most of those treaties.

Marvin questioned the wisdom of these changes in the face of the strength of the industry. he said that the drive for transformation will endanger an industry that’s worth r1.3 Billion over the last few years and creates 25 000 direct jobs. He said it’s puzzling that a strategy that’s going to address transformation is essentially a strategy that’s going to kill a thriving local up and coming industry. “ The NFVF stressed that they want industry to look into other ways of doing business. They were emphatic in stating that should the round of consultations indicate that the criteria are not workable, then they would revise them once again. At this point many of the members present stated that they’re not and suggested a working group comprised of representatives from industry and the NFVF once again. On behalf of the NFVF Mawande agreed to consider such a recommendation.

At the beginning of his presentation on behalf of the IPO Marvin stressed that industry shares the NFVF’s transformation goals.

His presentation addressed the co-production points system and the local film system.

Our first objection is that it is too punitive and it’s unrealistic in terms of the current labour landscape of the co-production sector. The minimum has increased from 47% to 60%.” he reiterated that when members ran past projects through the system, only two percent of the projects would have passed.

They also felt that there were no bonus points or tolerance levels - a system that is present in the criteria of many of our co-production partners. The IPO felt there were insufficient points for the other producer, saying: “The other producer has their own minimum targets to hit, and if you’re reserving 60% for South African elements they simply don’t have enough to make their targets.”

He also felt it didn’t recognise a lot of the key personnel they felt it should, like stunt artists, special effects and ADs. Marvin pointed out a series of mathematical anomalies in the model.

A version of the film assessment criteria are available on the NFVF website. Interested filmmakers companies and industry bodies would do well to read them and feed back to the NFVF ahead of their submission to council.

Kate Hodges

MAKING WAVES IN DURBAN Surfing and Sharks

Surfing and Sharks

Come Hell or High Water

Year Zero

Come Hell or High Water

WAVESCAPE WaVesCape, presented by the durban International Film Festival, with principal funding by the National Lottery Distribution Trust Fund, brings an ocean-conscious message through films that remind us of the aesthetic value and life-giving force of our earth’s precious body of water.

I

T kicks off with movies and music at the Wave House, Gateway Theatre of Shopping on 21 July 2012 followed by a beach clean up and an outdoor screening at the Bay of Plenty on 22 July, and five days of surf films at Sterkinekor, Musgrave Centre from 23-27 July 2012.

There is a veritable feast of surfing cinema on offer and also includes snowboarding and shark stories. The diverse line-up includes the poetic El Mar, Mi Alma (The Sea, My Soul), for a unique Chilean experience, and the endless treasures of Pichilemu. The Africa Project documents an epic trip around Africa, including mad Namibian wave Skeleton Bay. Minds In The Water follows free surfer Dave Rastovich on his quest to save whales and dolphins, featuring Paul Watson of Sea Shepherd, the Oscar-winning The Cove, and epic waves.

Wave House, at Gateway Theatre of Shopping, is hosting two events featuring surfing films: On 21 July 2012 from 7pm there are

Flowrider demos, followed by the film Year Zero, a post-apocalyptic burst of Mad Max mayhem as renegade surfers trip through dry lands to satiate a primordial thirst for surf – the evening culminates in performances by celebrated local bands Gangs of Ballet and Anti Retro Vinyls. On 27 July 2012 well-known surfing journalist and curator of the Wavescape Festival, Steve Pike aka Spike, will give a presentation on Weather and Waves at 6.30pm followed by two films Rebel Sessions, which focuses on the filthy slab they call the Dungeons down in the Cape, and Come Hell or High Water, a 16mm celebration of bodysurfing, the first form of wave riding.

This year a large number of films and shorts in the DIFF are proudly South African: the short Go Pro film about a day in the life of a dog, who visits the ocean can be seen preceding the Africa Project, a quintessential surf trip around Africa. Another SA film Surfing and Sharks will be shown at the popular outdoor beach screening at Bay of Plenty on Sunday, 22 July 2012 at 7pm. This doccie explores the uneasy truce between surfers and sharks and examines the opinions of scientists, shark experts, shark bite survivors and surfers. This is a free screening and public are invited to bring their families, a picnic basket and blanket and enjoy the movie under the stars.

Staying with the adrenalinpumping action of many of these

films, the festival presents The Art of Flight, a high-tech film has jawdropping hD panoramas in what has been described as the best snowboarding film ever. The film pushes boundaries to music that includes the trippy Deadmau5 track Ghosts ‘n Stuff and promises a visceral, immersive experience.

Ocean-aware folk are invited to join the Wavescape team and the Durban Beach Cleanup Crew at the Bay of Plenty in Durban on Sunday, 22 July 2012 at 2pm for an afternoon of cleaning up the beach. “It’s up to all of us to start looking after our oceans and our environment.” Says Steve Pike. “The alarming amount of plastic and rubbish being tossed into the ocean is killing our sea life along with the ocean birds that are feeding their chicks plastic and killing them in the process.” For more about the clean up go to Facebook Durban Beach Cleanup.

Wavescape’s films take place at Sterkinekor at Musgrave Cinema from Monday 23 July to Friday 26 July. For details visit www.wavescape.co.za or www.durbanfilmfest.co.za.

GLENN GILLIS ON THE STATE OF THE INDUSTRY

OPINION Sea Monster managing director Glenn Gillis writes about the state of the film/media industry in South africa.

S

ouTh Africa has clearly demonstrated an ability to deliver stills, commercials and films on an international level. Every year, dozens of European, American and, increasingly, Asian stills and commercials are made throughout South Africa.

Recent successes such as Safe House and District 9 prove that we can even deliver high-end hollywood productions.

In the industry this is called service or facilitation work, and essentially it means that we execute other people’s ideas and stories. We are, without question, world-class builders when it comes to servicing stills, commercials and films. unfortunately, experiences from around the world (from spaghetti Westerns mostly shot in Spain ironically, to the more recent Australian experience) demonstrate that this is an unsustainable basis on which to build a film industry. For many reasons film service has a somewhat limited lifecycle.

For example, the service industry is at the mercy of fluctuating exchange rates and film incentives, and is constantly in danger of being passed over for the next “flavour of the month”. To our credit, we have moved beyond this point as far as being a service destination is concerned. We are now on par with the best “runaway” film destinations anywhere. So how do you build an industry that is sustainable and, critically, can attract serious private capital? And more importantly, perhaps, how do we unlock the store of artistic talent that we fundamentally believe exists across South Africa? The underlying question here is how we move from being builders to being the architects of our own stories. Further, why has this not happened in SA, to the extent that it could have?

Animation provides a curious solution to this problem in that the creative process (the means by which the ideas are executed) is so intimately linked to the people delivering the work that, even when you service someone else’s ideas, you are inherently influencing the story. You are a builder who must have the insight of an architect.

To a slightly lesser extent, televi-

sion production has a similar ability. one only needs to look at the titles of “director” and “producer” and see how they apply in different sectors. In TV, the producer greatly influences the content, the stories, and how the show is put together, while the director is largely the executor of this vision. In film, the producer is far more of an organiser and facilitator (due apologies to our film production friends!), with the director driving the creative treatment. Another important question is whether we are able to complement our work-for-hire or service-only industry, with one where we create our own content. In other words, how we can we start to move out of the kitchen and into the dining room.

Related to this are questions of how one creates industrial capacity within this business. And how does one attract serious private capital into film companies and, more broadly, the media industry?

Without these things, the businesses will tend to stay small, existing essentially in survival mode, by going from project to project.

In the best case these businesses can be quite lucrative, but almost always only within a small business context. Certainly the saleability of these companies will always be rather limited.

More importantly, it won’t necessarily see us delivering on the potential that exists in SA, either from a creative and/or cultural perspective, or from a business and job creation perspective.

I would argue that it is not a lack of money that holds us back, - this statement is used as an excuse to mask the underlying issues: there is limited knowledge about the sales and distribution aspects of the industry; our market size and our ability to access the paying market is very low; and intentionally or unintentionally, the processes of the national broadcaster take us into the global arena with not one but both hands tied behind our backs.

Key to transforming this situation is either formal or informal coproduction between various countries as we move to develop our own ideas. This is primarily because our market is simply too small to be able to recover the full costs of most productions.

This is particularly true in animation, where very few countries make animation exclusively for their own consumption (the uS and Japan are exceptions), or where these products tends to be heavily subsidised (in France, for example).

We have a very small market, relative to our co-production partners in France, Canada and Germany, so when we sit down to negotiate, they invariably suggest working within national markets and subsidies. This leaves us at an immediate disadvantage. Another challenge is that there are very low

levels of certainty when it comes to dealing with our broadcasters.

Processes take extremely long, contracting sometimes happens even after productions have been delivered, and most critically, the broadcasters are locked into a commissioning mindset. What this means is that they see themselves as the owner of the intellectual property, and not as co-owners with local production companies. our suggestion is that the broadcaster moves immediately from a commissioning to a licensing mindset, on almost all shows. Ironically, it makes very little difference in practice to them. For the same capital investment, they will allow the filmmakers and production companies to then go out and find other partners, to increase the variety, the quality, and the relevance, of productions.

In consequence, those with the only real incentive to sell the show (i.e. the production company) effectively can’t, because they don’t own their own content. It also prevents the virtuous circle that sees the profits from one show being reinvested into the business, and thus into the development of other shows, other ideas, and other stories to an international standard.

The privately-owned broadcasters have a massive role to play in this process too. eTV and DSTV alone could profoundly change the filmmaking landscape in SA by aggressively partnering with local production companies to develop and encourage indigenous content. This could also ensure sustainable returns for their own businesses for many years to come. Just one example of this would be the development of South African formats that could be sold worldwide, rather than having to import formats from abroad.

So what’s the big idea here?

Forging aggressive collaborations between broadcasters and production companies, rather than maintaining the existing supplierbuyer relationship. Broadcasting and film distribution generally is changing dramatically; prices are coming down in almost all western markets. In South Africa, we could capitalise on this disruption if we focused on the markets (not the products) and how to extract value together, rather than existing in an antagonistic relationship.

As in every industry (and country), attracting capital to start or grow your business is massively challenging. In the film and media industry in South Africa, we have an exaggerated version of this challenge. This is because in this industry, more than most, your investment is in people and ideas.

There are however changes taking place in the media landscape, and how businesses can develop business models that

attract capital and create an industrial base for unlocking international opportunities.

Recently, there have been fundamental shifts in traditional media business models and the channel structure, from film, to TV, VOD and animation and gaming. As witness, consider the effect that iTunes has had on the music industry, or how NetFlix has blasted Blockbuster out of existence in the united States.

The traditional funding model means that project investments (equipment, people and facilities) are made up front. These costs are recovered slowly as revenue trickles in (from ticket sales, to licensing deals and app and game income) over the course of months or even years. When the model was such that you could commission/license the product to a broadcaster or distributor, they would effectively take the risk. These entities would provide the cash, and would have their own mechanisms to recover the money over time, usually through advertising or selling formats/rights.

This is not unique to our industry.

For example, a hotel might cost R50 million to build, and the costs would only be recouped incrementally, one night at a time over the course of 20 years or more. However, two things exacerbate our challenge.

Firstly, in some sense our product is virtual. It exists as a story, which someone either will or won’t watch.

The creative process is just that, and even the most well planned productions or projects require a leap of faith in ideas, people, systems, talent and money. unlike a building or factory, it is worth nothing if it doesn’t sell.

Secondly, because of the abovementioned changes in the nature of our industry’s business processes, the equivalent of people arriving at the door and paying at a hotel is no longer true in our industry.

The idea that a brand will pay a few rand or dollars per thousand viewers, with the hope that the target audience will see their message, which indirectly subsidises the TV station they’re watching – is simply no longer true! It’s not true for those who are lucky enough to have access to uncapped ADSL and large storage devices, and as it turns out, it’s also untrue for those in a lower income bracket who simply refuse to watch the national broadcasters’ programming when they aren’t relevant. So how do we grow businesses in this rapidly changing, dynamic, and increasingly unpredictable industry? Perhaps most importantly, disintermediation (getting rid of excess layers in a distribution channel) means that we have equal access (in theory at least) to YouTube and other similar channels. Ironically, the high cost of bandwidth in this country is one of the largest limiting factors to our ability to share and spread content, but we must persist

Glenn Gillis

in populating and patronising these channels as far as possible.

As traditional routes fall away, we also need to find new funding models, new media forms, and new stories that connect brands and their customers. This need for brands (and others) to connect with the communities has not disappeared, and never will. We’ve seen the rise of branded entertainment, advertising-funded productions, experiential marketing, and viral marketing. We should continue to use our core storytelling skills to create richer and deeper connections, which is ultimately what filmmakers have always done.

Additionally, we must find ways to raise money and attract serious funding into the industry. Enlightened broadcasters and distributors should be aggressively seeking out partnerships with production companies, rather than simply reapplying formats from other countries in South Africa (although this doesn’t mean that there isn’t a place for these too).

We need to find ways to strengthen the balance sheets of production companies, to mitigate their risks, and to help them raise funding to be redirected into the development of new stories.

A possible solution is for banks to recognise the value of software on the balance sheets of small animation companies. In an animation company, for example, owning R2 million worth of software is actually a punishment, rather than a reward for having reinvested in your own capacity.

We should also learn from industries, like advertising, software designers and creative industries around the world, who have overcome their business fundamentals while creating significant value for investors everywhere. one can only hope that even in these dark and uncertain times, investors can see the upside of nurturing local talent, taking calculated risks, and putting relatively modest amounts of money into strategic opportunities.

This op-ed first appeared on the Animation South Africa website

The Callsheet | 09

1 0 | The Cal l sheet

DFM TO DEVELOP AFRICAN FILM

© Chris Bloom/Flickris

GENERAL INDUSTRY The 3rd edition of Durban FilmMart takes place from 20-23 July 2012 during the Durban International Film Festival at the new venue Blue Waters hotel on the Golden Mile of Durban’s beachfront.

C

REATED as a partnership project between the Durban Film Office and the Durban International Film Festival, the Durban FilmMart is positioned to facilitate the development of African film content and ultimately create further business and employment opportunities within the sector. “It is with great excitement and much anticipation that we announce the countdown to the Durban FilmMart,” said Durban Film Office’s Toni Monty.

In May the official selection of Durban FilmMart projects comprising 11 feature films and 12 documentaries was announced. Filmmakers who are not in the official selection still have an opportunity to register and attend Durban FilmMart as delegates. Delegates will have the opportunity to partake in a majority of the Durban FilmMart’s events, said Monty.

“This will be a unique informative platform for delegates seeking stimulation and growth within their

professional careers,”.

The Durban FilmMart 2012 programme will be presented in three strands – the Finance Forum, Master Classes and Africa in Focus.

Delegates of the Durban FilmMart will have full access to the Master Classes held with leading experts in the areas of Finance, Marketing, Distribution, Project Packaging, co-production, New Media and other topics. Delegates will also have the opportunity to attend the Africa in Focus range of seminars and panel discussions featuring local and international filmmakers and industry experts with a special focus of African issues and initiatives. Delegates seeking coproduction partners will also have a chance to interact during several scheduled networking sessions.

Partners and supporters of the Durban FilmMart 2012 include International Film Festival Rotterdam’s (IFFR) CineMart, the International Documentary Film Festival Amsterdam (IDFA), the Berlinale Film Festival as well as Dubai Film Connection, and several others.

Also on board this year is the Hot Docs Documentary Film FestivalNorth America’s largest documentary film festival, which through the inaugural Hot Docs - Blue Ice Fund Group initiative will be facilitating a financing and mentorship program to six African film grantees,

awarded earlier this year. The initiative, which was founded in 2011, will fly in the grantees and a highly acclaimed panel of film experts to join in the Durban FilmMart 2012 programme.

So far 18 broadcasters will be in attendance at the Durban FilmMart 2012. These include the presence of a delegation of African broadcasters facilitated through the Canal France International (CFI) as part of the French Season in South Africa involvement with the Durban International Film Festival. A dozen African broadcasters will by visiting South Africa attending CFI’s annual conference and these African broadcasters will attend the Durban FilmMart DOC Circle pitches and take part in the one-on-one meetings.

A number of European and North American financiers and coproducers will take one-on-one meetings with selected projects at the Finance Forum. International guests confirmed so far include Kisha Cameron Dingle (Completion Films), Joslyn Barnes (Louverture Films), Alice Ramsey (Bankside Films), Meinolf Zurhorst (ZDF Arte), Remi Burah (Arte France), Simon Kilmurry (Point of View), Kate Townsend (BBC Storyville), Cynthia Kane (ITVS), Zanele Mthembu (etv) and Dominique Young (Al Jazeera).

Heading up the expert panel

this year are facilitators from the European Audio Visual Entrepreneurs – EAVE a professional training, project development and networking organization for producers within the audiovisual sector.

The Durban FilmMart is excited to be building a new partnership with EAVE who aim to provide training opportunities and bring producers of different regions together in order to facilitate co-production relationships. EAVE representatives attending the Durban FilmMart include EAVE president Alan Fontain, Roshanak Behesht Nediad who will present a masterclass on Finance and Jacques Akchoti who will present a masterclass on script writing.

Peter Rorvik, director of the Durban International Film Festival added that this year’s line-up would add value to the development of African Cinema. Said Rorvik; “With this our third edition, the Durban FilmMart is set to spread its wings and build on its already significant contributions to the development of the African film Industry.”

The Durban FilmMart Finance Forum, taking place from 22-23 July 2012 in South Africa, will offer selected African filmmakers an opportunity to participate in a two-day pitching and packaging master class.

The Durban FilmMart also comprises a series of Master Classes and seminars held with leading experts in the areas of Finance, Marketing, Distribution, Project Packaging, co-production, New Media and other topics. Master Classes are open to all delegates of the Durban FilmMart, who may also attend master classes in the Talent Campus Durban.

Some of the highlights include: Getting to Green Light with Independent Producing; Working between Africa and Europe: Co-production and Finance with EAVE’s Roshanak Nedjad; Africa In Focus: The Inside Story of International Co-Producing in Africa; Pre-visualisation to Virtual Production: Technologies Revolutionising the Way Films get Made; NFVF Sediba Masterclass on SPARK Scriptwriters Training; Going Global with Your Film - The Importance of Film Critics and Been There, Done That: Real World Distribution Case Studies.

This year’s event will also see the launch of the KZN Film Commission and a chance to engage with the National Film and Video Foundation (NFVF). In addition all delegates will be able to attend the Durban FilmMart Opening and Closing night dinners, evening cocktails and Durban International Film Festival screenings from 19 to 29 July 2012 in venues around Durban.

The selected projects of this year’s edition of the Durban FilmMart Documentary projects in the 2012 selection are: Bread and Angels (Egypt), directed and produced by Rachid Biyi; Conversations with Mandela (South Africa), directed by Khalo Matabane and produced by Carolyn Carew; The Devil’s Lair (South Africa), directed by Riann Hendricks and produced by Neil Brandt; EMBO (South Africa), directed by Ayanda Mncwabe-Mama and produced by Madoda Mditshwa; Gold Dust (South Africa), directed

by Odette Geldenhuys and produced by Neil Brandt; Jan Smuts - An International Icon Ahead of His Time (South Africa), directed by Neville Herrington and produced

by Sandra Herrington; Logs of War (Kenya), co-directed by Anjali Nayar and Hawa Essuman and produced by Anjali Nayar; Mother of the Unborn (Egypt), directed

by Nadine Salib and produced

by Fawzi Saleh; Sands of The Skei Queen (a working title) (South Africa), directed and co-produced

by Ryley Grunenwald and Pascal Schmitz; Shattered Pieces of Peace (South Africa), directed by Nonhlanhla Dlamini and produced

by Sakhile Dlamini; The Soweto Messiah (South Africa), directed

by Francios Verster and produced

by Michael Auret; Underground/ On the Surface (Egypt), directed

by Salma Eltarzi and produced by Mohamed Eltohami.

The selected fiction feature projects are: A Shot at the Big Time (South Africa, Australia, UK), directed by Stephen de Villiers and produced

by Magda M. Olchawska; Djin (Kenya), directed and produced by Hawa Essuman; Flatland (South Africa), directed by Jenna Cato Bass and produced by David Horler; In Silence..& In Tears (Nigeria), directed by Didi Cheeka and produced by Ikechukwu Omenaihe; Jabu (South Africa), directed by Philani Sithebe and produced by Bonnie Sithebe; Jambula Tree (Kenya), directed by Wanuri Kahiu and produced by Steven Markovitz; Live from Zimbabwe (Zimbabwe), directed by Rumbi Katedza and produced by Jackie Cahi; Papwa (South Africa), directed by Catherine Stewart and produced

by David Selvan; The Mercy of The Jungle (Rwanda), directed and produced by Joel Karekezi; The Number (South Africa), directed by Khalo Matabane and produced

by Carolyn Carew; Repeated Stopping (Egypt), directed by Marouan Omara and produced by Hossam Elouan; The Visit (South Africa), directed by John Gutierrez and produced by Imraan Jeeva.

DFM 2011

The Callsheet | 11

1 2 | The Cal l sh eet

The Callsheet | 13

SPOTLIGHT ON INTERNATIONAL FILM INCENTIVES

SHORT & SWEET FILM FESTIVAL RETURNS © Michael Currin

Popular UK Film Location Dartmoor

FILM INCENTIVES Film incentives and tax rebates are not just a hot topic in South Africa - local administrators in California and the UK are being forced to take a closer look at their incentives in order to compete with the lure of international destinations for film and television productions.

I

N Los Angeles, the Legislative Analysts’ Office has cast doubts on the findings of two separate reports that claim the state economy has been boosted by its filming tax credit.

The eight page report by analyst Mac Taylor claims that Cali-

fornia’s three-year-old tax credit incentive programme is not generating enough revenue. This follows a steady decline in the number of productions being shot in the state.

According to Variety, “Currently, the state of California provides $100 million in annual tax credits for productions, but demand far exceeds supply, with 28 projects selected by lottery out of more than 330 in the most recent round earlier this month.”

Mac is disputing the findings of a report by the Los Angeles County Economic Development Corporation and financed by the Motion Picture Association of America and another study conducted by UCLA’s Institute for Research on Labor and

Employment as part of The Headway Project. Following heated debate in the legislature, California’s location filming tax credit was granted a two-year extension to 2015.

In the UK the government has just launched a consultation process in order to up the ante with their tax incentives for television, animation and games. These incentives will be modeled on the tax relief structure feature film productions - a 25% tax credit. The incentive, which will come into effect in April 2013, has been created in order to deal with runaway production.

A statement from the treasury website said: “The U.K. is a world leader at producing animated programs, high-end television and video games and the government is keen to provide the necessary support to maintain this status. Without government support for these industries, there is a risk that underinvestment will lead to valuable productions moving overseas or not being made at all.”

The fact that two of the world’s production hubs are closely analysing their film production incentives and going to great lengths to retain productions indicates that destinations like South Africa, South America and Eastern Europe are doing a good job.

It is now up to us to remain competitive in order to retain the business we have gained and continue to grow the industry.

© Michael Currin

SHORTS Short and Sweet film experience returns to Cape town for a second year: every Tuesday evening from 31 July to 4 September 2012.

T

HE film experience sees screenings taking place every Tuesday evening for six weeks at the Wunderbar Theatre in Hope Street. Short and Sweet is part of an international movement, which features short films being screened every week in locations all over the globe. The festival started in London in 2006 and now takes place all over the world in locations as diverse as London, Leeds, Bristol, Mumbai, Toronto, Cape Town, Copenhagen and Melbourne.

According to the festival’s vision statement “Short film can change opinions, create conversation, bring people together.

Showcasing work from established directors and newcomers, Short and Sweet’s curation is structured around themes with intentional arcs and programmed breaks in which guests are encouraged to

interact with one another and meet at least one new person.”

Short and Sweet curator Julia Stephenson discovered her love for short film while working at London’s top ad houses and as an agent for commercial and music video directors.

She received director’s showreels from around the world and was amazed to discover so many incredible creative works with little-to-no screen time!

This inspired the birth of Short and Sweet as a way to bring short-form cinema events to an appreciative and loyal audience.

Each city brings its unique flavour to the event and this winter Short & Sweet will host a series in both Cape Town and Johannesburg.

Julia is calling for entries for this year’s festival, and has asked for submissions of short films, music videos and short animations of 15 minutes or less.

Send submissions to submit@ shortandsweet.tv Kate Hodges

ZAMA ZAMA FEATURES ALL-STAR CAST

LOCAL FILM Set

for

release

on

1 4 | The Cal l sheet

24

August

2012 Zama Zama explores the hidden world of South Africa’s illegal underground miners.

Zama Zama features an all-star cast, including Tsotsi star Presley Chweneyagae and Lindani Nkosi. Deep under

the surface of the Witwatersrand – South Africa’s gold mining region – there exists a brutal, alien world, the subterranean dimension of the Zama Zama, illegal miners that make a living by mining the ore in both operational and abandoned mine shafts.

Theirs is a world of secrecy, criminal cartels and extreme violence in utter darkness. Zama Zama is the personal narrative of two brothers – Malcolm, a successful businessman in the mining industry and his long lost brother Joseph, one of those who work in the underground tunnels – playing off against the tension of the mines’ punitive actions against illegal miners.

The film explores themes of guilt, forgiveness and reconciliation taking place in this subterranean milieu.

When Malcolm finds out about that his alienated brother is one of the intended victims of a planned raid against the Zama, he decides to risk his high standing in society by acting to

save Joseph.

Zama Zama is an action packed thriller where the plot revolves around moral choices: social standing and success versus loyalty to and love of family, extending to solidarity with those at the bottom of society that struggle to make a living in one of the most dangerous environments on earth. Zama Zama stars Lindani Nkosi as Malcolm Phiri, Presley Chweneyagae as Joseph Phiri and Khulu Skenjana as the cartel boss Manto. Featuring Israel Makoe, Fumani Shilubana, Justin Strydom, Lebogang Inno, Masoja Msiza and Fundo Mdlalose as supporting leads. The original film score is by Zethu Mashika. Zama Zama’s theme song, featuring Bongo Riot and Mylowe, was composed and produced by Zethu Mashika.

Zama Zama will be released nationally through Nu Metro Films nationwide on 24 August 2012 by Kokamoya Productions.

DSTV FINANCIALS PROVIDE INSIGHT INTO SA MARKET Yet MultiChoice also wants to grow its subscriber base and reach.

MultiChoice is therefore clearly aware of competition, increased competition, churn, and that subscribers have more choices than before which is forcing the company to increase its subsidy on decoders – the single biggest barrier to entry for ordinary consumers in the take-up of subscription television services. For the first time in years MultiChoice also talked about digital terrestrial television (DTT) in its financial year report, meaning that MultiChoice is aware that in south Africa, it needs a strong pro-active strategy to maintain and grow market share when and before this tsunami of new television hits.

Why it matters: MultiChoice is pro-actively trying very hard to lower the biggest single barrier of entry to pay TV uptake in south Africa as well as the rest of Africa (where DTT already exists, but also where it hasn’t commercially launched yet). if MultiChoice can sew up more new entrant subscribers, it “removes” those people from trying a DTT decoder later when DTT becomes available. it grows the captive audience before they’re given the chance to be lured away. TopTV’s ongoing 100% subsidy on installation and 90% on the decoder also clearly promoted MultiChoice to respond to the changing market conditions and new subscriber perceptions in south Africa around pay TV. DStV online CEo John Kotsaftis

PAY TELEVISION South Africa and Africa’s largest pay tV operator, MultiChoice just released its provisional financial year report for the year ending March 2012 – but behind the numbers lies interesting developments, trends and “secrets” not so selfevident at first glance.

W

hilsT MultiChoice continued its strong subscriber growth to now reach 5,6 million subscribers on the continent and says its now strongly focusing on entering the lower end of the market with cheaper offerings, MultiChoice’s financial numbers reveal fascinating changes, challenges and trends. here’s what they are – and why it matters.

DStv’s programming cost has almost doubled over the past 4 years - monthly subscriber fees have not MulTiChoiCe’s programming costs have almost doubled over just the past four years from R3,2 billion to R6,037 billion. Yes. That’s with a “b”. This is the cost - largely attributed to the escalating cost of international sports rights. (MultiChoice’s supersport will have to negotiate a new Premier league contract towards the end of the year by the way which will be its first new big sports rights negotiation.)

These programming costs also do however include costs associated with the roll-out of new TV channels, as well as investment in local TV content which were made over the past year.

This is a huge amount of money. That it almost doubled over just four years is very important (at an average 16% per annum increase for the last 4 years which is massive).

Why? Well, unlike eskom or most other companies who simply pass their cost straight onto the consumer, its interesting that MultiChoice - although it is a business and not a charity and has a profit motive as its bottom line – did not almost doubled their monthly subscriptions in the past four years. in real terms Dstv subscrib-

ers are actually getting more for their rand, since MultiChoice has been paying incrementally more per year for content that what subscribers do.

Why it matters: While Dstv subscribers have come to almost automatically assume that MultiChoice will just have and show everything - especially sport – it is conceivable, given the very sharp continued rise in programming costs, that a point will come where even MultiChoice will just not be prepared to buy the broadcasting rights to a certain event anymore.

To contain this cost or to keep it down, MultiChoice might reach a point where it refuses to pay and play ball when rights of sports events or other programming, simply becomes priced out. Programming costs – irrespective of who the broadcaster or pay TV provider is, can’t continue to rise like this without some major difficult decisions at some point - sooner rather than later - in the future.

DStv is very well aware that there is competition – and is reacting to it. soMe griping subscribers refer to MultiChoice as “MonoChoice” - a jab at the south African pay TV provider they would say is out of touch and behaving like a monopoly. Not really true. MultiChoice has in the past year significantly increased its decoder and installation subsidy from what it was before (also for the hD PVR - its most expensive model, so it is not just subsidising the lowerend of the market). surprised?

You should be. if MultiChoice had a choice it would prefer not to subsidise its decoders or definitely not increasing its subsidies.

MultiChoice knows that the more a new subscriber is willing to pay for the hardware and installation, the lower the eventual churn (subscribers who sign up and cancel their subscription at some point).

Market research shows that when a customer feels they’ve paid for a high-end or luxury or quality service or product, they’re much more inclined to keep it or keep paying for it since they value it more, even during economic difficult times.

Why a video store franchise in South Africa is definitely no longer a good idea. iN one line, almost underplaying its great significance, MultiChoice announced that its new Dstv BoxOffice service introduced in July 2011 (with a disastrous commercial launch which actually makes the “recovery” and achievement even more spectacular), now rents in the region of 300 000 movie titles per month. At R25 a pop per movie, that’s R7,5 million in additional new revenue for MultiChoice per month.

Why it matters: only 40% of all PVR subscribers are registered so far, who are using DStv BoxOffice.

A big number, but that’s actually less than half. it means that these figures can still more than double in future. if you run a normal video shop or a movie cinema where people throw popcorn and talk loudly on their cellphones, you had better start doing something fast about your positioning, brand experience, offering and marketing mix, since it’s very clear that Dstv BoxOffice is very fast starting to lure DVD renters and cinemagoers away. This is clearly very quickly having an impact on DVD rentals and cinema ticket sales in south Africa. Niche video shops with hard to find titles and extensive alternative genres is what video shops will have to become in order to survive. The moviegoing experience in south Africa will also have to move to (or move back to olden times) “luxury” experience.

Both ster-Kinekor and Nu Metro are already seen reacting to this trend by rolling out glamarama theatres making “going to the movies” the big screen experience it used to be.

A little bit less attention to the top end subscribers?

MulTiChoiCe’s Dstv Compact bouquet is performing exceptionally well, so much so that by the end of March 2012 Dstv Compact has added 293 000 new subscribers (out of a total of 492 000 new subscribers). MultiChoice is also saying it has and will have a strong focus on the lower end of the market in an aggressive ongoing attempt to enter the mass market.

Why it matters: MultiChoice has lacked and Dstv is far behind

the rest of the world in the roll-out of high definition (HD) TV channels. it’s mostly due to limited remaining satellite bandwidth and MultiChoice needs to wait for the next intelsat. With hD channels still the privileged domain of Dstv Premium subscribers, does it mean that with more attention, effort and money going to the lower end of the market, that Dstv Premium subscribers are getting less innovation and value-added services although they pay top rand for more bells and whistles? When will Dstv Premium be making another leap to differentiate the top bouquet which indeed got somewhat diluted the past few years by the addition of a myriad of new TV channels being sold through on Dstv Compact? There’s two ways most companies make money: Big margins on the expensive products (you make more money per single customer per big ticket item), and/or smaller profit on the cheaper items but which you sell much more of. Whilst MultiChoice is now strongly focused on the lower end of the market, the company would do well to not completely forget the sizeable chunk of Dstv Premium subscribers who do and are willing to pay for the “so much more”.

Get ready for major growth in time-shifted viewing (tSV) MulTiChoiCe’s PVR is now in a further 177 000 more TV households in south Africa after another year.

There is now a total of 675 000 PVR households. This is major growth, which MultiChoice only mentions in a one-liner, for a once considered – or possibly still – luxury item.

This is building to and advancing a seismic shift in not just the way south Africa TV viewers consume television (time-shifted viewing will surely continue to grow, although from a small but significant base) but also how viewers interact and increase the level of familiarity they feel with this TV technology. it slowly but steadily chips away at the way of traditonal linear TV watching.

Why it matters: The strong growth suggests that increasingly a PVR and PVR technology is no longer seen by the south African consumer and TV viewer as a luxury but as a must-have necessity to enhance their TV watching experience. Possible new entrants in the pay TV sphere as well as existing players (will) simply look old-school and dodgy for not having PVR capability as a standard-default design in decoders. Viewers and pay TV subscribers now definitely know about this technology, is figuring out how it works, and loves it. it would also be prudent for the advertising community to educate themselves about the growing relevance and influence of timeshifted viewing (TsV) in south Africa. it’s here, it has staying power and its radically changing the TV watching landscape. the value that consumers are placing on paying for (better) television in SA is increasing PAY TV is of course discretionary spending. With the south African and African consumer under increasing pressure with a shrinking disposable income, it is very interesting that they choose to use some of that money to pay for television. Despite tougher economic conditions, a huge amount of people still decided to keep, and to get pay TV for the first time.

Why it matters: This means that TV, watching television, and being willing to pay for subscription television is, or has become, an even bigger priority to average consumers, relative to all the possible monthly expenses they could incur. since consumers are not getting richer (thanks to petrol price increases, electricity and food price increases) it means that consumers are deciding to keep

and get pay TV, and are possibly letting go of spending on other luxury items. it means they value their television and their pay TV subscription more in relation to the value they perceive they’re getting from other things.

Broadband is blocking what MultiChoice – as a platform-agnostic – wants to do and be. iN a sense MultiChoice is a slumbering giant. Too expensive, inadequate, too slow and in some cases non-existent broadband and broadband penetration is a big problem for MultiChoice. MultiChoice which is now operating in 48 countries in Africa including south Africa, is working to provide its Dstv pay TV subscribers with “content anytime, anywhere” and on any device. But broadband access and speeds still needs to grow considerably. interestingly MultiChoice’s financials shows that the slumbering giant when it comes to being a truly platformagnostic pay TV provider is deeply investing in this, although the returns on this investment is not evident now, and probably won’t be for a few more years to come.

What it means: MultiChoice is working to create the foundation – and a strong one at that – to be geared to take full advantage and use the opportunities as broadband roll-out across the continent and in south Africa grows. From internet protocol television (iPTV), mobile television and video-on-demand (VoD) services, it’s clear that the pay TV operator is like the proverbial duck gliding over the surface while the flippers are furiously flapping under the water. MultiChoice is clearly very aware of what overseas operators are doing and moving into – especially within the sophisticated American pay TV market.

MultiChoice is clearly aware of, and moving towards the situation where it becomes commercially possible to allow subscribers to watch content on different devices in the same home (in America pay TV subscribers can stream their same TV content on the iPad for instance without additional costs beside broadband usage).

Africa and South Africa is a high growth market for pay television expansion.

MulTiChoiCe’s financial numbers underscore what the rest of the world is waking up to. With pay TV growth starting to flatten out in America and Western europe, Africa (and Asia) is where it’s at. For the year ending March 2012, MultiChoice had the second highest subscriber growth number of the past four years. (last year with the World Cup soccer it was highest.)

What it means: Remember that competitor TopTV in south Africa is also still selling decoders and growing its subscriber base. it shows robust growth in south Africa as well as the rest of Africa of consumers who want better television, are increasingly willing to pay for it, and has the ability and income to pay for it. Tellingly, several international content providers have quickly started to institutionally shift their focus to make Africa and south Africa a big(ger) priority. BBC Worldwide now has Africa and south Africa in a whole new region (marked as “high growth”).

Fox international Channels Africa not only opened an office in South Africa but dispatched an executive to come hold the fort. A litany of others from Discovery Networks international to sony Pictures Television international and a raft of others have started to make serious investments in south Africa, clearly seeing the continent, MultiChoice and the pay TV business in south Africa as a new growth area they simply now need to be in.

Thinus Ferreira The Callsheet | 15

1 6 | The Cal l sh eet

ONLINE NEWS HIGHLIGHTS Cannes Press winner Billy by DDB

•

peace - Miriam & Michael & Daughter & Reunited Bronze for Ogilvy Cape Town for Kraft Foods South Africa/ Stimorol Taste Twist - Choir

South African Direct Promo and Activation Winners: • Gold for Retail & E-Commerce, including Restaurants / Silver for Best Use of Live Events and/or Stunts: Wimpy Braille Burger by Metropolitan Republic JHB • Bronze for Direct Response – Digital Mobile Marketing, and PR - Best Use of Sponsorship: SAB – Be The Coach by Ogilvy Cape Town • Bronze for Direct Response Print or Standard Outdoor, including Inserts: Volkswagen The Bluemotion Label by Ogilvy Cape Town

GENERAL NEWS GENERAL news from the South African film and commercials industry.

You can load your own stories to our website at www.thecallsheet. co.za SA film wins at Sunnyside SouTh African filmmaker Francois Verster’s The Dream of Shahrazad was awarded the Best Documentary in Progress award at the Sunny Side of the Doc market held in La Rochelle, France. The film was chosen by a jury of international commissioning editors, distributors and sales agents out of 20 projects in various stages of postproduction which had been selected for the “Docs in Progress” section. The latter happened for the first time this year as part of the long-standing and prestigious yearly documentary event.

The film, which deals with the legacy of The 1001 (or “Arabian”) Nights in context of recent political events in the Maghreb and Middle East, is being produced

by Undercurrent Film & Television and by Fireworx Media, together with French co-producer Mandra Films and Egyptian co-producer Middlewest Films. It was represented at Sunnyside by director/ producer Verster and co-producer Lucas Rosant.

Verster says: “This is a very important and very happily received boost for our film, and it is very affirming that there seems still to be space on international TV platforms for a film such as this which does not fit the normal brackets.”

Both The Dream of Shahrazad and other South African project I am a Man (by Mayenzeke Baza) were supported by South Africa’s National Film and Video Foundation, who had a stand at the event.

Congratulations to SA Cannes Lions Winners South African Film Winners: • Ogilvy Cape Town won Gold in the Branded Content & Entertainment category for their Be The Coach for SAB. • King James Cape Town won Bronze in the Film Lions category for their Sir Sneaky for

Santam.

South African Press Winners: • Gold for DDB South Africa Johannesburg for McDonald’s South Africa/Kids Birthday Parties - Tiffany & Billy & Theodore (Product & Service) • Gold for DDB South Africa Johannesburg for McDonald’s South Africa/Kids Birthday Parties - Billy & Theodore (Craft/ Illustration) • Silver for Tiger Brands/Enterprise TBWA\Hunt\Lascaris Johannesburg - Mommy’s Boy & Mother-in-Law (Product & Service) • Bronze for TBWA\Hunt\Lascaris Johannesburg for City Lodge Hotels/Road Lodge Alarm & Nature’s Call & Late Night Television (Product & Service) • Bronze for Draftfcb Cape Town for Media 24/Die Burger Newspaper - Blanket (Product & Service) • Bronze for DDB South Africa Johannesburg for McDonald’s South Africa/Kids Birthday Parties - Cuckoo Clock & Trophy (Craft/Copywriting) South African Radio Winners: • Golds for Net#work BBDO Johannesburg for MercedesBenz/Alert Assist - Cabo & Reunion & Boss (Cars & Automotive Services) • Golds for Net#work BBDO Johannesburg for MercedesBenz/Alert Assist - Cabo & Reunion & Boss (Best Scriptwriting) • Bronze for TBWA\Hunt\Lascaris Johannesburg for Tiger Brands/Doom Super Multi Insecticide - Colony & Secret (Household) • Bronze for TBWA\Hunt\Lascaris Johannesburg for Tiger Brands/Doom Super Multi Insecticide - Colony & Secret (Best Scriptwriting) • Bronze for Net#work BBDO Johannesburg for Galderma/ Benzac Anti Acne Cleansing Cream - Farts • Bronze for Net#work BBDO Johannesburg for Chicken Licken/Hotwings - Halitosis & Bacteria • Bronze for Ogilvy Johannesburg for Greenpeace/Green-

South African Creative Effectiveness, Media, Mobile and Outdoor Lions Winners: • Silver for SAB Be the Coach by Ogilvy Cape Town– Media / Best Integrated campaign led

by Mobile • Silver for Volkswagen Bluemotion Label by Ogilvy Cape Town– Media / Best use of print media • Silver for Tiger Brands Mommys Boy by TBWA\HUNT\LASCARIS Johannesburg – Outdoor Posters / Food • Silver for Land Rover Defender Lions, Bushbaby, Buffalo by Y&R Johannesburg – Outdoor Posters / Cars & Automotive Services • Bronze for Nando’s The Last Dictator Standing by Black River FC – Media /Best Use of Integrated Media • Bronze for Mercedes Blind Spot by NET#WORK BBDO Johannesburg – Outdoor /Billboards & Street Furniture Bombay Sapphire Gin and Tribeca Film Festival to discover the most imaginative filmmakers BOMBAY Sapphire, in association with Tribeca Film Festival, is offering budding filmmakers the chance to make their own short film, using their imagination to interpret a short film script created by Academy Award winner, Geoffrey Fletcher.

Budding filmmakers can view the script at www.imaginationseries.com and can submit their interpretation of Geoffrey’s script on the site. A global judging panel, including Geoffrey Fletcher and other industry leaders put together by the Tribeca Film Festival, will select five winners from a shortlist of entries who will then go on to produce and direct their own individual films to view at a star-studded international premiere early 2013.

Geoffrey Fletcher, Academy

Sir Sneaky by Bouffant’s Dean Blumberg

Award-Winning screenwriter comments on his role within The Bombay Sapphire Imagination Series and the script he has written: “The power of imagination is endless, which is why I’ve developed a script that I feel can be interpreted in a kaleidoscope of ways. The short script I wrote for The Bombay Sapphire Imagination Series is stripped of details like character description and locations. It leaves room for filmmakers to interpret parts of the story as they wish. The characters can be human or otherwise. The locations can be of this earth or elsewhere. The types of filmmaking can be live action, animation, drawings or whatever form best expresses their concept.”

“It’s great to partner with a brand who embraces creativity and imagination the way Bombay Sapphire gin does. We expect the competition will inspire filmmakers and look forward to seeing where their imagination takes them,” said Nancy Schafer, Executive Director of the Tribeca Film Festival.

For more details on the competition, script and how to enter visit the competition website.

Local science fiction short film The Second Day to premiere at Love Bombs Film Festival MOVIE goers are eagerly awaiting the premier of The Second Day at the Labia on Orange as part of the Love Bombs Film Festival. The Second Day is an action packed, science fiction that has got the local film industry buzzing.

The preview of the locally produced short film is making its presence known across the internet and social media. Written and directed by Howard James Fyvie, The Second Day takes viewers to a post-apocalyptic prison where corrupt guards are keeping themselves entertained by betting on inmates in a cage fight, until one mysterious inmate challenges the ring leader to a death match.

Howard spoke about directing the film, “I love films that take the

viewer out of their ordinary nine to five lives and drop them off in an imaginary world where anything is possible. For me, The Second Day is one of those films. We’ve taken a well-known truth and have looked at it from a completely different angle. That is what I love about this film.”

The Second Day forms part of The Love Bombs Film Festival that will be showing at the Labia on Orange in Cape Town from the 2-9th August 2012. The Love Bombs is a project by the Film Kru Ministry of Joshua Generation Church, involving more than 250 volunteers from across Cape Town who have come together over the past nine months with the hope of changing lives.

Also showing will be The Prodigal and iBalaclava. For more information about The Second Day, behind the scenes and booking details check out The Love Bombs website South Africa’s Next Top Filmmaker competition semi-finals AFTER receiving a record of over 250 entries for the 2012 edition of South Africa’s Next Top Filmmaker competition, 15 submissions were selected by the judges for the next round.

The semi-finalists are: Prince Marule, Clint Jenneker, Sisonke Ntlamba, Xolani Sibande, Thando Ntombela, Phemelo Mosholi, Alistair Anderson, Wendy Kgomotso Nyoni, Mondli Magenuka, Angie Peace, Tebogo Kgakoa, Nompumelelo Tshabalala, Eric Molatelo Thoka, Cornet Mamabolo and Rhulani Chauke.

The judges are: Harriet Gavshon and JP Potgieter (Quizzical Pictures); Tracy-Ann Van Rooyen and Bev Ditsie (Endemol South Africa); and Anton Burggraaf (Ochre Moving Pictures).

The second round of judging will be at Quizzical Pictures in Johannesburg on Saturday, 7 July 2012.

For more information visit www. generalpost.co.za

The Callsheet | 17

ONLINE NEWS HIGHLIGHTS Welkom by die Schoemans at Out in Africa

GENERAL NEWS GENERAL news from the South African film and commercials industry.

You can load your own stories to our website at www.thecallsheet.co.za Award-winning lineup at Out in Africa this July The second installment of the 19th Out In Africa Gay and Lesbian Film Festival runs from 27 July-5 August in Cape Town and Johannesburg. highlights include: · Two Berlinale Teddy Award winners Absent (2011) and Keep The Lights On (2012) · Three, the new film by Tom Twyker (Run Lola Run and Perfume) · Oscar-winners Olympia Dukakis and Brenda Fricker in Cloudburst · Cult classic Kaboom, by Gregg Araki (Mysterious Skin) · Documentaries on activists Funeka Soldaat and Judith Kotzé Keep The Lights On, the 2012 Berlin Teddy Award winner for Best Feature, leads an impressive lineup for the second installment of the 19th Out in Africa Gay and Lesbian Film Festival, running from 27 July-5 August in Cape Town and Johannesburg.

In the multi-award-winning Cloudburst, Oscar-winners Olympia Dukakis (Moonstruck, Tales of the City) and Brenda Fricker (My Left Foot) star as an aging lesbian couple who take to the road when one is committed to a nursing home. Wickedly funny, these older Thelma-andLouises are for everyone.

1 8 | The Cal l sh eet

Three (Drei), directed by Tom Twyker, is another highlight. Twyker is one of the world’s most acclaimed directors, responsible for cult films like Run Lola Run, Perfume and The International. he’s already won seven international awards for Three, the deceptively simple story of a couple falling in love with the same man. Simon and his lover hanna meet and have an affair with Adam separately, neither initially aware of the others infidelity. Unashamedly intellectual, 3 is for the thinking queer, tired of the coming out stories and the Hollywood pink of mainstream gay cinema.

Kaboom, directed by Gregg Araki (Mysterious Skin), won the first ever Queer Palme at Cannes International Film Festival for its contribution to lesbian, gay, bisexual, transgender and intersex issues. It’s a quirky, entirely bizarre dark comedy that’s part David Lynch, part Glee, and all about sex.

Director Rikkie Beadle-Blair will attend the festival for the screening of Bashment, which explores the aftermath of a brutal gay bash attack at a reggae dance hall competition in London. He’s conducting filmmaking seminars at The Big Fish School of Digital Filmmaking in both Cape Town and Johannesburg.

This year’s South African programme includes two documentaries from the I Am Woman – Leap of Faith series: Funeka Soldaat, about the intersex activist who heads up the Free Gender movement, and Judith Kotzé, about the convener of the Inclusive and Affirming Ministries (IAM).

These will screen together with two great local short films: Daniel McCauley’s Letting Go and Corné Koegelenberg’s Welkom By Die Schoemans. Other must-see films include Ausente (Absent), an Ar-

gentinian suspense thriller about an older straight man being pursued by one of his students. it won the 2011 Berlinale Teddy Award; The Skinny, about the loves and losses of a group of black men, and a lesbian, who reunite in the Big Apple, is from the director of the ever-popular Noah’s Arc TV series; and Stud Life, a new Brit film that intertwines the love stories of two best friends, a cool black butch and a sharp white twink boy.

Out In Africa screens at Nu Metro V&A Waterfront in Cape Town and Nu Metro Hyde Park in Johannesburg.

For the second year in a row, Out In Africa is running three mini-festivals in 2012, with the third edition scheduled for 17-28 October 2012..

48 Hour Film Project Coming to Cape Town and Johannesburg The 48 Hour Film Project sees filmmakers competing to make a short film in just 48 hours. The winning film from each city will compete with films from around the world.

The 48 Hour Film Project will take place in Cape Town for the first time on the weekend of 26-28 October 2012. Registration opens on 28 August 2012. The project will be in Joburg on the weekend of 31 August - 2 September 2012. Registration is now open for Johannesburg. To find out more about the 48 hour Film Project including the details of registration fees, finding a team and more visit their website.

Motion Picture Licensing company to help protect copyright on films shown in South Africa FOR the first time in South Africa, people who want to show motion pictures where the general, nonpaying public can view them, do

not have to track down and negotiate with a multitude of copyright holders around the world for authorisation to screen each film.

The umbrella licence offered by the Motion Picture Licensing Company (MPLC) enables businesses and organisations - including clubs, lodges, factories, libraries and schools – to pay a simple annual fee which covers them for the use of all the content of its affiliated producers.

South Africa is the latest addition to the Motion Picture Licensing Company International, which represents over 400 producers and distributors from major hollywood studios as well as independent producers across the globe.

Sulona Reddy, general manager of the MPLC says without an MPLC umbrella licence, people have to approach each studio or copyright holder individually and enter into a contract to exhibit a film in public. “This is time-consuming and costly, especially considering that in most cases, the rights holders are based in other countries. By negotiating agreements with all the major studios and producers in over 40 countries, the MPLC saves the licensee the burden of dealing with each individual title holder. With the umbrella license, they fill in a simple application form, send a single payment and renew annually.”

The MPLC supports legal access to motion pictures in more than 20 countries on five continents.

Sulona said: “The MPLC offers unrivalled access to hollywood studios and independent film makers. We licence more than 450 000 locations worldwide. These include multi-national companies, non-profit organisations, government departments, schools, prisons, private clubs, health care facilities, coaches and libraries.”

The MPLC South Africa is signing up local producers and content owners who stand to earn revenue from the public performance of their productions both locally and internationally. According to Sulona most people are unaware that they are violating the law by screening films in public without the appropriate permission. “We offer a simple, affordable way to comply with the law and compensate the creative community fairly. The long term survival of the film and television industry depends on a culture of compliance,” she says. In South Africa the MPLC works closely with industry stakeholders such as the South African Federation Against Copyright Theft (SAFACT) and the Copyright and Intellectual Property Commission (CIPC).

SAFACT chief executive officer Corné Guldenpfennig says the company combats piracy on behalf of its members, including the major American film production companies and their subsidiaries represented by the Motion Picture Association.

“We look forward to working with

the MPLC to further grow a culture of protecting intellectual property in South Africa,” she says. “With their assistance we can intensify our war against the screening, releasing and selling of unauthorised products.

Joining forces means a more coordinated approach, which is also what Government is looking for, instead of dealing with a fragmented industry.”

Encounters moves into new era AFTeR five years, Mandisa Zitha ends her term as the festival director of encounters South African International Documentary Festival. She leaves on a high note, after last month’s festival sold out 12 different films; grew overall attendance by 10%; and established new partnerships with The Fugard Theatre and Al Jazeera english.

“Under her leadership, Encounters’ firmly established itself as Africa’s premier documentary film festival,” says Nodi Murphy, one of Encounters’ co-founders. “She has played a huge role in the development of the documentary industry in South Africa and will be sorely missed.”

During her time as festival director, Mandisa acted as an ambassador for documentary films in general and the South African film industry in particular, both locally and internationally. She was recognized in the Mail and Guardian: Top 100 Women 2011 for the Arts and Culture Sector; spoke at The 2007 International Documentary Festival Amsterdam (IDFA) and The Thessaloniki Documentary Festival in Greece; and sat on the Main Jury at the 2010 Tempo Documentary Festival in Sweden and on the 2010 BBC MyWorld Competition Jury.

Mandisa helped set up Encounters’ partnership with Sichuan TV Festival in China, which saw seven local documentaries screened and two local filmmakers hosted in China; Encounters’ partnership with the French embassy, where she coordinated the first Africadoc SA residency, a writing residency designed for the development of African documentary cinema; and encounters’ 2012 partnership with Al Jazeera english, which saw 20 African documentaries pitch to the global broadcaster.

Lesedi Moche is the new festival director. Born in Germany and raised in Zambia, Canada, South Africa and Iraq, she’s worked as a production manager on acclaimed projects like Behind The Rainbow, Africa Shorts and produced Late Night With Kgomotso. She’s also been a juror for The International emmy Awards and The South African Film and Television Awards.

Steven Markovitz, Encounters’ co-founder, says. “Lesedi has a great deal of industry experience, with a sharp mind and great taste in films.

She brings important production experience to the team and I am confident that she will continue the great work that Mandisa has done.”

The Callsheet | 19

DIARISE JULY

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

Lucky 20 July cinemas Durban International Film Festival 19-29 July, 2012 Durban, Kwa-Zulu Natal, South Africa Durban Film Mart 20 - 23 July, 2012 Durban, Kwa-Zulu Natal, South Africa

AUGUST Copposites 3 August cinemas Zama Zama 24 August cinemas Out in Africa 2012 part 2 27 July - 5 August 2012 Cape Town and Johannesburg, South Africa Festival del Film Locarno 1 - 11 August 2012 Locarno, Switzerland Melbourne International Film Festival 2 - 19 August 2012 Melbourne, Australia Norwegian International Film Festival 17 - 26 August 2012 Haugesund, Norway For more, visit www.thecallsheet.co.za/diarise

20 | The Cal l sh eet

The river used to be a Man showing at DIFF

Grey Matters showing at DIFF

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

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

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

annual film festival that will showcase the latest films made by Jozi and Gauteng filmmakers and/ or films made in Jozi or Gauteng.

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

2012. The uniquely conceived initiative, with funds earmarked exclusively for emerging filmmakers of African nationality and residence, is for the fifth consecutive year offering eligible and participating filmmakers the chance to be awarded $10,000 in financing for pre-production, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there.

To apply visit: www.focusfeatures. com/africafirst

interrogate debate and celebrate the resilience of women against many odds and nevertheless their contribution to society and history.

This year, the festival will take place on November 23 to December 1 in Harare, December 6 in Bulawayo.

December 7 in Gwanda and December 13-14 in Binga. The theme for 2012 is WOMEN ALIVE. Deadline for confirming film entries is 31 August 2012. For more information contact IIFF festival director Yvonne Jila on 00263 4 862355 or email: wfoz@icapatrust.org

International Images Film Festival for Women Call for entries from women filmmakers IIFF was founded in 2002 by Women Filmmakers of Zimbabwe in response to the proliferation of beauty contests at that time. Each year, a selection of films is featured to

Aluta Film Festival Call for Entries THE Aluta Film Festival is South Africa’s premier African and diaspora cinema event. Submissions must be from filmmakers who have produced films that embrace black experiences worldwide and/or

DIARISE AUGUST

SAFTAs red carpet

Hiroshima International Animation Festival 23 -27 August 2012 Hiroshima, Japan Montreal World Film Festival 23 August - 3 September 2012 Montreal, Quebec, Canada Edinburgh International Television Festival 24 - 26 August 2012 Edinburgh, Scotland Fynbos showing at DIFF

Playing Warriors showing at DIFF

Venice Film Festival 29 August - 8 September 2012 Venice, Italy

SEPTEMBER experiences of marginalised communities from across the globe.

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

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

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

motheoseleke@gmail.com.

NHU Africa Calls For Content from producers AS the Natural History genre widens its scope and becomes increasingly focused on entertainmentled programming, NHU Africa is calling South Africa producers to submit ideas for compelling stories.

Whether it’s an idea for an epic adventure and exploration story, or a unique and interesting look at a human and animal interaction, we would like to receive your proposals. For more information regarding the submission process please refer to our commissioning brief: www. nhuafrica.com/commissioningbrief Hasselblad//Masters 2014 Call For Entries PHOTOGRAPHERS are invited to submit their images to be con-

sidered for the prestigious Masters Awards. The title of Master is awarded to one photographer in each of 12 categories in recognition of his or her contribution to the art of photography.

Judging is based on photographic ability in the areas of creativity, composition, conceptual strength and technical skill. “We’ve made some adjustments to the 2014 Masters Awards competition, which will allow more photographers to participate,” said Paul Waterworth, Hasselblad Global Photographer Relations Manager.

“Since many photographers are using both medium format and 35mm-type DSLRs, image entries may be captured with either format – as well as film.” Explained Waterworth, adding that DSLRs must have a minimum resolution of 16 megapixels.

Other modifications include the addition of an underwater category for images captured using a professional housing and the transition of the Up & Coming category to Project//21. The latter is open to amateurs, students, assistants and young professionals who are 21 years old or younger. Finalists will be announced in 2013, with winners revealed in January 2014.

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

Submissions are being accepted from now until 31 August 2012.

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

Die Wonderwerke 7 September cinemas Dark Tide 14 September cinemas The Loerie Awards 22-23 September 2012 Cape Town Creative week Cape Town 15-23 September 2012 Cape Town For more, visit www.thecallsheet.co.za/diarise Compiled by Kate Hodges

AUGUST ISSUE 2012

Booking deadline: 01 August 2012 Material deadline: 03 August 2012 Print deadline: 10 August 2012 • PUBLISHER: Film & Event Media • PHYSICAL ADDRESS: 57 2nd Ave, Harfield Village, Claremont, Cape Town • PHONE: +27 21 674 0646 • PRINTER: CTP • PUBLISHER: Lance Gibbons (lance@filmeventmedia.co.za) • ADVERTISING EXECUTIVE: Makkie Slamong (makkie@thecallsheet.co.za) • EDITOR: Kate Hodges (kate@thecallsheet.co.za) • COPY EDITOR: Sally Fink (sally@filmeventmedia.co.za) • HEAD OF DESIGN: Zaid Hendricks (zaid@filmeventmedia.co.za) • HEAD OF PRODUCTION: Nadia Samsodien (nadia@filmeventmedia.co.za) • ONLINE CO-ORDINATOR: Fin Manjoo (manjoo@filmeventmedia.co.za) WWW.THECALLSHEET.CO.ZA DISCLAIMER: Opinions expressed in The Callsheet do not necessarily represent the official viewpoint of the editor or the publisher, while inclusion of adverts/advertising features does not imply endorsement of any business, product or service. Copyright of this material is reserved.

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

www.thecallsheet.co.za The Callsheet | 21

WRAP PARTY AT THE BAY HOTEL INDUSTRY EVENTS INDUSTRY joined Film and Event Media for an evening of business networking, entertainment, drinks, food and fun at The Bay Hotel on 28 June 2012 .

N

ETWORKERS mingled at the gorgeous venue in between enjoying champagne, sangria, delicious seafood and entertainment from La Burlesque as well as music from DJ Didier. We would like to thank our entertainers, the hotel, Mia from MV Marketing for the delicious wok boxes and whiskeys, Francois from Superior Vision and Visual Impact for helping make this such a memorable event. To all our guests - the producers, service providers, talent and others - your attendance is the reason these events work, thank you.

Guests won prizes throughout the evening, including: two sets of two tickets to a La Burlesque show at Trinity, an Aromavine full body massage at the Mint Wellness Centre at The Bay Hotel in Camps Bay, a full English breakfast for two at The Bay Hotel in Tides Restaurant and a grand prize of one night in The Penthouse at The Bay Hotel inclusive of breakfast for two (worth R15 000).

Film and Event Media’s will hold three monthly wrap functions across the country in July. We will be at the Hyde Park Hotel in Sandton on 11 July 2012, the Suncoast Casino in Durban (as part of the Durban International Film Festival) on 20 July 2012 and at the Cape Milner Hotel for our regular Cape Town function on 26 July 2012.

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

Warren Schmitt and Christine Metcalf Coralie McDonald

DJ Didier

Ayla Belford and Ann Weyer

Peter Dutton

Deryck Broom and Sisana Nxumalo

La Burlesque

Derrick Cupido and Tersia Cupido

Sabine Palfi and Leon Clingman

Craig Dilley and Kirsten Whitburn

Sammy Guinness and Rebecca Dodd

The Bay Hotel

LOERIES EXPO

SPUD 2 NOW IN PRODUCTION

LOERIES FILM & Event Media and The Loerie Awards are proud to introduce The Loerie Awards and Creative Week Expo, taking place from 20-22 September 2012 at the historic City Hall in Cape Town.

T

FILM PRODUCTION of the big screen adaptation of the second Spud book, Spud: The Madness Continues, is underway! The highly-anticipated sequel to 2010’s Spud is now filming, with Donovan Marsh returning to the director’s chair.

F

OLLOWING the remarkable success of the first film, producer Ross Garland couldn’t wait to get the second novel in John van de Ruit’s hugely successful series, on film. “The first film did really well, topping the box office during the summer holidays in 2010. The movie has also received significant international interest,

22 | The Cal l sheet

with sales to the UK, Ireland, Australia, New Zealand, Mexico, Belgium, the Netherlands, Luxembourg, Scandinavia, Turkey and the Middle East,” says Garland. “We’ve had significant support from a pool of local investors for the sequel, illustrating South Africa’s strong affection for the Spud series”.

British screen legend John Cleese returns for Spud 2 as The Guv, the eccentric English teacher. South African-born star Troye Sivan is also back in the title role, along with Jason Cope as malicious housemaster Sparerib, Tanit Phoenix as the seductive Eve, Jeremy Crutchley as headmaster Mr Glockenshpeel and Aaron McIlroy & Julie Summers as Spud’s mad

parents. The rest of the Crazy 7 (minus Gecko, of course) return as well: Sven Ruygrok (Rambo); Josh Goddard (Mad Dog); Tom Burne (Vern); Byron Langley (Simon); Travis Hornsby (Boggo) and Blessing Xaba (Fatty). Who could forget Spud’s love interests? Genna Blair is back as Debbie “The Mermaid”, Charlbi Kriek returns to taunt Spud as “Amanda” and Alex McGregor is the unhinged “Christine”.

Co-producer Brad Logan has been working hard casting some of the new roles in Spud 2, with the three prefects Anderson, Emberton and Death Breath, a highlight. “It’s been great to unveil some new talent, with a few perfect character actors coming in to play the new

parts. We’ve also very lucky to have a comedy genius like Rob Van Vuuren for example playing a cameo at the Midlands festival,” he says.

The sequel to the box office smash Spud is again distributed by Nu Metro Films. Driki Mitchell adds: “Nu Metro Films is proud to have acquired Spud 2 - The Madness Continues, and look forward to follow on the theatrical success of the first Spud instalment. We are excited to continue our involvement and amplifying the commercial potential of this beloved franchise at South African cinemas.

The film is also financed by the Department of Trade and Industry and the National Film and Video Foundation.

HE Expo will take place alongside the awards weekend and also serve as the culmination of Creative Week, now in its third year, that runs in the week leading up to the Loeries.

Creative Week Cape Town started as a legacy event for Cape Town’s World Design Capital 2014 bid. The Loerie Awards and Creative Week Expo aims to put this creativity and innovation on display by inviting twenty influential companies to make of this premium exhibition space in the venue where 3000 delegates will be registering.

Exhibitors will have a chance to interface directly with the creative industry’s best and brightest as 3000 registrants come through the doors to register for the Loeries. Use the opportunity to show what your company is made of. Be bold, break convention, and embrace the spirit of Cape Town Design Capital 2014.

The exhibition will run on Thursday 20th, Friday 21st and the morning of Saturday the 22nd of July 2012.

To find out more and to book your exhibition space please contact Donovan on 021 674 0646 or email him on: donovan@filmmakersguide.co.za

DIRECTORY LISTINGS STUNTS PYROTECHNICS COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Action Safety

Cape Town

+27 21 448 7720

info@actionsafety.co.za

www.actionsafety.co.za

Action Worx

Johannesburg

+27 82 449 8838

actionworx@yahoo.com

African Prep

Cape Town

+27 84 551 1255

info@tgg.co.za

www.tgg.co.za

Altitude Scaffolding

Cape Town

+27 21 556 1954

altscaff@telkomsa.net

www.altitudescaffolding.co.za

Bickers Action

Cape Town

+27 21 864 2872

action@bickers.co.za

www.bickers.co.za

Big Bang Stunts and Effects

Cape Town

+27 82 902 0362

info@bigbang.co.za

www.bigbang.co.za

Cast Africa

Johannesburg

+27 11 421 3425

charles@castafrica.co.za

www.castafrica.co.za

Castle Crane Hire

Port Elizabeth

+27 41 486 1070

info@castlecranehire.com

www.castlecranehire.com

Centa Group

Nationwide

+27 31 569 1175

info@centa.co.za www.centa.co.za

CFX Productions

Cape Town

+27 21 555 2377

admin@cfx.co.za

www.cfx.co.za

Cosmesis Advanced Prosthetics Studio

Cape Town

+27 21 813 6659

info@cosmesis.co.za

www.cosmesis.co.za

Craig G. Sobotker

Cape Town

+27 72 389 7990

craiggsobotker@workmail.co.za

www.craigscarcare.webs.com

Elemental FX

Cape Town

+27 21 551 3137

andrew@elementalfx.co.za

www.elementalfx.co.za

Evolution Fx

Johannesburg

+27 82 511 7886

julianhoward@absamail.co.za

Fireworks for Africa

Gauteng

+27 11 023 7976

info@fireworks.co.za

www.fireworks.co.za

Formscaf Cape Town

Cape Town

+27 21 528 6500

johnnyvdb@formscaff.com

www.formscaff.com

I-Rigging Solutions

Cape Town

+27 83 276 2033

info@i-rigging.com

www.i-rigging.com

Medics in Motion

Cape Town

+27 82 441 8448

info@medicsinmotion.co.za

www.medicsinmotion.co.za

Motion Picture Effects SA

Nationwide

+27 82 693 2852

david@specialfx.co.za

www.specialfx.co.za

MXFX Equipment Rentals

Cape Town

+27 21 510 0076

max@mxfx.co.za

ww.mxfx.co.za

Pyranha Stunts

Cape Town

+27 21 557 0993

info@pyranhastunts.co.za

www.pyranhastunts.co.za

Pyro-fx

Mpumalanga

+27 82 490 5721

info@pyro-fx.co.za

www.pyro-fx.co.za

Rope Access Inspection

Cape Town

+27 21 300 1120

admin@rope-access.co.za

www.rope-access.co.za

Samson Rigging

Port Elizabeth

+27 41 463 3602

samsonrigging@lantic.net

www.sasonrigging.co.za

Skysite Rope Access

Cape Town

+27 21 448 3960

info@skysite.co.za

www.skysite.co.za

South African Paramedic Services

Cape Town

+27 21 551 4980

info@saparamedics.co.za

www.saparamedics.co.za

Starburst Pyrotechnics

Johannesburg

+27 11 838 7705

info@starburstpyro.co.za

www.starburstpyro.co.za

Stunt SA & SFX

Cape Town

+27 21 557 4522

info@stuntsa.com

www.stuntsa.com

The Stunt Company

Cape Town

+27 21 511 9151

info@stuntco.co.za

www.stuntco.co.za

Vertex Scaffolding

Cape Town

+27 21 551 5665

salescape@vertexsa.co.za

www.vertexsa.co.za

Wells Fireworks

Durban

+27 76 881 2977

wells.fireworks@webmail.co.za

www.wellsfireworks.co.za

Wired Camera & Stunt Flying Systems

Cape Town

+27 21 557 0993

dermot@wiredcam.co.za

www.wiredcam.co.za

Zip Zap - School of Circus Arts

Cape Town

+27 21 557 4522

info@zip-zap.co.za

www.zip-zap.co.za

DIRECTORY LISTINGS - ADVERTISERS COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Aquila Private Game

Western Cape

+27 21 430 87260

pa@aquilasafari.co.za

www.aquilasafari.co.za

Avis

Nationwide

+27 21 424 1661

Bidvest Premier Lounge

Nationwide

+27 86 124 3247

Cannes Lions

International

+44 20 7728 4040

Durban Film Mart

IDC Media Film Service

Durban

Johannesburg

Nationwide

+27 31 311 4234

+27 21 511 3300

www.avis.co.za www.bidvestlounge.co.za

rays@cannelions.com

+27 11 269 3813

avisfilm@avis.co.za

durbanfilmmart@durban.gov.za

www.cannelions.com

www.durbanfilmmart.co.za

www.mediafilmservice.co.za

pietb@idc.co.za

info@mediafilmservice.com

Media Gear

Cape Town

+27 21 802 0709

info@pinnacleav.co.za

www.pinnacleav.co.za

Multichoice

Nationwide

+27 11 289 3000

Roodebloem Studios

Cape Town

+27 21 447 6326

info@roodebloemstudios.co.za

www.roodebloemstudios.co.za

Rosco

UK

+44 020 8659 2300

contact@rosco.com

www.rosco.com

Scarab Industries

Cape Town

+27 21 683 2556

info@scarabindustries.co.za

www.scarabindustries.co.za

Sitewise

Cape Town

+27 21 447 3151

action@sitwise.co.za

www.sitewise.co.za

Syntech SA

Cape Town

+27 21 593 0304

info@syntechsa.co.za

www.syntechsa.co.za

The Loerie Awards

Johannesburg

+27 11 326 0304

info@theloerieawards.co.za

www.theloerieawards.co.za

Touchvision

Nationwide

+27 11 886 8572

stacey@touchvision.co.za

www.touchvision.co.za

UVS

Nationwide

+27 21 686 2404

cape@uvsrent.co.za

www.uvsrent.co.za

Wizardz

Cape Town

+27 21 461 9334

copy@wizardz.co.za

ww.wizardz.co.za

Zootee Studios

Cape Town

+27 21 510 1928

info@zooteestudios.com

www.zooteestudios.com

www.multichoice.co.za

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

The Callsheet | 23