The Callsheet March 2012

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

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ALAN SHELLEY: SA’S JAMESON FIRST SHOT WINNER written to that brief, I asked myself “what would they want, what would they be looking for? they said it had to be based on A legend, something humorous or A tall tale. I somehow read the brief as all three, so my story incorporated all of these... but it worked. What started the process, was I wanted to do Van hunks and the Devil as the legend. Van hunks was a pirate, but there was a lot of smoking in that story and they didn’t want a lot of smoking. I stuck with the idea of a pirate. At first I tried the idea of a pirate getting a driver’s licence (because getting my own driver’s licence was an ordeal) then I tried the idea of a pirate goes to the dentist. When the title Spirit of A denture came to me I knew I had it. I’m very proud of the title.

GENERAL INDUSTRY South African Jameson First Shot winner Alan Shelley met with The Callsheet the day before he was set to fly off to Los Angeles to direct Hollywood star Kevin Spacey in his short film Spirit of a Denture. how do you feel about your win?

I feel very honoured and privileged. I knew quite a few of the people in the shortlist and its a real honour to have been selected over them, because they’re good filmmakers and I was certain it wouldn’t be me.

Why do you think your script stood out?

I stIll don’t know. It’s silly, fun. Its entertainment first, it isn’t preachy, there’s no violence, sex or bad language - it’s just light, family fun.

Having worked at a film school for three years, I know that’s quite rare in a short film, as they tend to lean towards some heavy, emotional themes. I’ve always made things that are quite light-hearted. the last we wrote about you, you were lecturing at City Varsity and working on Here’s to Good Times.

What have you been busy with in the interim?

Good Times has taken most of my time. As an experience it was massive, it was a steep learning curve.

We went in with huge expectations, not that they were disappointed, but we totally underestimated the sheer scale of a production that size. I don’t think I would have won this competition without that experience.

I showed them Here’s To Good Times, because obviously I had a six-part mini-series to call on (the second stage of the competition saw shortlisted entrants submit examples of their own directing). so for three years I’ve

been doing that, but this year was my first year as a freelancer. I told myself that this was my year for competition, I was going to enter as many competitions as I could afford to. I saw an advert for the Jameson first shot competition in The Callsheet. It was the big Written by You; directed

by You; Starring Kevin Spacey advert I saw that inspired me to enter.

You won a VUKA award and a Loerie while you were a student at City Varsity Did these awards translate into opportunities for you? the Vuka Awards I won got me a lot of attention, but I had committed to the series and, rightly or wrongly, I stuck with it. those opportunities waned, because they were very immediate and not very sustained, they came up just a day or two af-

ter I won the awards. I don’t regret that now, I look at a lot of the companies that I got offered jobs at and I wouldn’t have had the opportunity to write, direct and edit a mini-series. Those awards definitely got my name out there.

How are you preparing yourself to direct Kevin Spacey?

I hAVe an A3 sized advert he did, that I keep on my passenger seat, so I’ve been practising giving him direction while driving (laughs). I’m going to take it as it comes, and although I’m obviously a bit nervous as I don’t want to say the wrong thing or have my inexperience offend anyone. I recently discovered that Kevin spacey has been a leading light in the givingback community, I read that he discovered Colin farrell. I also saw on his

IMDB page that he has done a lot of short films. He’s worked with several first time directors, Brian Singer was only 26-years-old when he did The Usual Suspects.

Can you tell us more about the film and how you got the idea?

SpiriT of a denture is about a pirate that goes to the dentist. It was very much written to brief. they gave us a precise brief, for example they were quite adamant they didn’t want a visual effects heavy script, they didn’t want fights, car chases or sex scenes which cancelled out a lot of things.

You couldn’t cast anyone under the age of 25, which in my little book of ideas was a real problem because I seem to write kids parts in a lot of things. The length of five minutes was also quite tricky. It was very much

Do you have any advice for those who will submit their scripts for the next round of the Jameson First Shot competition?

I got invited back to City Varsity to give a speech. the best piece of advice I gave there was to actually enter. Winning should be secondary and I know that sounds counterintuitive. the brief is really good and you feel like you have writer’s block or anything, just setting yourself a deadline and submitting helps. My attitude was ‘If I don’t win I have a five minute script ready, if I want to shoot something I can just pull out this script and I’m ready to go’ it’s a winwin. And then, if you enter, you might win – there’s always that chance. I really hope they bring the competition back to south Africa, as I know a lot of highly talented people who didn’t even enter. That advert really lit a fire in people, but some of them were too young to enter or had other commitments. I really hope they bring it back to sA next year, or otherwise they’re just starting from scratch every year.

Kate Hodges

PAGE 2 PIN-UP: NATASHA LORING (APM)

ACTING This month’s page two pin-up, Natasha Loring, has appeared in enough international films and TV series, to make any casting director sit up and take notice.

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ATASHA grew up in an acting household, getting her first taste for drama in her father Richard Loring’s dinner theatre.

She was always comfortable on stage, her family likes to tell the

story of how she would inch her way onto the stage when she was just a toddler and someone would have to rush up to remove her.

She appeared in productions all through school and took dancing lessons for eleven years. After matriculating she studied Film, Stage Acting and Physical Performance at AFDA, landing her first role before she graduated.

While she was still studying Natasha starred alongside her sister Samantha in Witch & Wizard Productions’ 2008 feature film Hitchhiker. She believes she was still very inexperienced when she played this role and says she finds it difficult to not be overly critical when she watches it now.

In 2009, immediately after graduating, Natasha landed the role of the best friend Hayley in

the American made-for-TV movie Natalee Holloway.

This was followed by small roles in two UK TV productions, Women in Love and The Runaway. In 2011 she landed the role of Kimberley in the UK mini-series Beaver Falls. She is currently shooting season two of Beaver Falls, which wraps in April.

Natasha feels her career of mostly playing other nationalities has both rewards and drawbacks as an actress. She explains, “I haven’t done much local work, I’ve been American and British and German, but I would love to be in a South African production.

What I love about putting on an accent, is you do it and you’re immediately in character. I think it would be freeing as an actress to speak in my own accent though, I wouldn’t have to think about the

accent, there’s a certain fluidity in your performance.”

When asked about the future, she reveals that there are many possibilities on the horizon, but also that she has learned to accept the vagaries of the actor’s life. “I’ve gone to a few auditions recently for South African productions, afriend of mine in the industry has asked about me possibly getting involved in his upcoming project.

There’s also a potential third season of Beaver Falls in the offing, but all of these are up in the air at the moment. That’s part of the job, things change but you just have to get used to the uncertainty and trust that the work will come if I keep putting in the work. There are always ideas and possibilities and you never know which one will materialise.”

The Callsheet | 03

The Changing FaCe oF LoCaL VFX Simon Hansen

has 3 axis of movement that looks similar to a hamster wheel crossed with a gyro. This gave the actor a real sense of floating in the air and combined with clever camera angles, the Peter Pan Arm and some wirework you what I find to be the most exciting thing I’ve ever done in VFX.

Chronicle

Was there anything you hoped to achieve that never came to fruition?

I wOuld have loved to take the rig in to a controlled environment with regards to lighting and wind. I feel this would have improved heavily on what we’ve already achieved.

Sadly, money and time were in short stock so we had to find solutions to the most pertinent of problems.

Chronicle

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asyn Howes caught up with simon at his home in Vredehoek to chat about making people fly and why he thinks the industry needs to change.

VFX Simon Hansen is well known for being a writer/director who’s keen on science fiction, but it’s his role as VFX Supervisor for the blockbuster Chronicle that’s attracted people’s attention.

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You are already well known in the industry for your work done through Atomic VFX, how is that you came to be the VFX supervisor for Chronicle?

Film Afrika were really keen on me coming in so I did. Once I’d read the script and met with Josh Trank (director) I realised they were trying to achieve something special by making an incredible looking film on a tight budget. The film offered me the chance to improve on how we see people fly in films, something I’d

always dreamed of doing, and how to do it innovatively.

How did you overcome the challenges of making the characters fly on such a low budget? i did quite a bit of research prior to my meetings with the producers that I eventually presented to them. I demonstrated using myself spinning on a wheel board on my back to create the illusion of zero gravity, which worked really well.

I looked at skydiving and all sorts of aerial sports and realized that body motion was key to achieving great results.

This culminated in the invention of a rig, which was built by one of the construction crew Nick, which

Does the success of the film, and the fact that there was a strong local presence in the VFX department mean our local industry will benefit in making better quality VFX? Our local industry doesn’t have the facilities in place to do something of this scale. we can more than handle the supervision but the rest of the crew need to learn more about finesse in this department.

However, a uK project called The Girl, which was shot late last year in SA, has our local VFX facilities handling the post work. This is great news for what lies ahead.

Do you think there needs to be a change in how money is spent on local and international productions shot in SA? MOST certainly. There is so much wasted expenditure in a production. There needs be a shift in how we think about expenditure on set.

low budget effects driven films are possible, it’s just about making sure the money allocated from the beginning.

Working with international studios is often a challenge for us locally.

What was your experience like on Chronicle?

I FOuNd on this film I was working with producers that were interested in making something fresh, so the outlook towards me personally was very different to what it may have been had we been making a sequel to some branded title.

This is why I want the industry to change from being a service industry to promoting standalone filmmakers. we need to take risks and change the way we think about filmmaking. This will give local creative people a chance to actually be creative on set.

What does this film mean for your own career?

THe PrOducerS could have chosen to not make note of my involvement but they didn’t and I’m grateful for their show of confidence.

I don’t see myself as a VFX supervisor but I enjoy the work and know how to get the most out of those budgets. My major passion is writing and directing and i plan to direct another feature this winter. simon continues to work with his long time producer and friend Hannah slezackova under their label Inspired Minority Pictures. He is currently supervising VFX post work on The Girl.

Jasyn Howes

NHU CALLS FOR CONTENT All images courtesy of NHU Africa

WILDLIFE Natural History unit africa (NHu africa) is calling for proposals for wildlife and natural history documentaries from filmmakers.

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hris Mason from NhU Africa says they are interested in “films with strong stories, characters or access to unique animal behaviour.

Films which will be entertaining as well as intellectually stimulating, while appealing to an international audience.”

Their motivation is to encourage and support the production of wildlife and natural history films in order to provide insights into the natural world and mankind’s relationship with it.

They also hope that education about the natural world will foster a desire to conserve and protect the natural world.

Chris says that interested filmmakers and producers should read the commissioning brief on the NHU website, saying, “we welcome proposals from all producers who can meet our delivery requirements. We would like to see the natural history genre grow locally, and thus encourage South African submissions.“ NhU Africa does some in-house productions but for the most part they commission film projects. Chris says that they are not generally involved in the physical production of the films, although they sometimes play a role in pre and post-production and their commissioning editor/creative director does provide input and feedback throughout the production and in edits.

Chris said: “When NHU Africa commissions a film we ultimately own the rights and content of that film while the commissioned filmmaker enjoys the opportunity of making a completely funded film.

NHU Africa also has top post production facilities and a range of HD equipment for internal productions, which is sometimes made available to support an externally commissioned production.”

Once the budget has been approved producers and filmmakers

are free to use their preferred suppliers, however NHU Africa does prefer that they use BBBEE compliant service providers.

Once the production is completed they are sold in international markets by Power Corp (the distribution company that represents NHU Africa). Films are also submitted to relevant film festivals and programmes are available for sale as DVDs. Chris stated: “Each film is unique, so it is difficult to predict distribution, however we do make every effort to find local distribution as well. For example our latest film Saving Rhino Phila was screened several times on the e-News channel on DSTV recently.”

NHU is open to working with other bodies in co-productions, saying that if a film comes to them with financing attached they are open to explore the option, however for the most part commissioned films receive complete financing from NHU Africa.

In addition to funding films, NHU Africa is busy with other related initiatives.

They run an educational initiative called the Wildlife Film Academy, which is a one month intensive course where students learn about wildlife filmmaking from industry professionals. Students are then assisted in finding internships and they receive one-year waivered delegate fees to Wild Talk Africa. Wild Talk is their other exciting initiative; it is a biennial wildlife and natural history film festival and conference. Chris enthused: “The festival enjoys the support of local and international filmmakers, commissioning editors, broadcasters and distributors who meet biennially in Cape Town in an effort to unify and generate growth

in the wildlife filmmaking sphere. So look out for Wild Talk Africa 2013, it’s shaping up to the best one yet.”

Filmmakers or editors interested in finding out more about NHU Africa and how to get funding for a film, including commissioning briefs, can find all the information they need on the NHU website at www.nhuafrica. com. The website also has their catalogue, comprehensive information about the Wildlife Film Academy, competitions and more.

Kate Hodges

The Callsheet | 05

Rethinking ouR Role in the film business © Juice Films

© MJ’s Alchemy

GENERAL INDUSTRY Producer and film sector development specialist Dominic Wilhelm takes a look at the local film industry and its wider role in nation building

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lobaliSation is fundamentally changing the film business, so it’s important to take a view beyond

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the film set to better understand the world in which we find ourselves and what this means for every one of us.

Who knows, we may find ourselves renewed to play our role in an industry which has no shortage of passionate opinions, grave misgivings and immense potential.

Here in South Africa, we find ourselves in the developing world where not surprisingly, the imperative is socio-economic development.

that’s good news for everyone. it’s all about meaningfully improving as many lives as possible as quickly and sustainably as possible. besides being the human thing to do, it’s also the economically sensible thing to do.

Make no mistake, that’s the primary reason government is “in the film business.” The filmmaking process can be a powerful tool to stimulate development through economic activity, job creation, up-skilling and

social cohesion.

We may be film people, but we are also socio-economic development specialists. this may be a surprise for some of us. What we do has the real potential to stimulate development. it is our privilege and responsibility to fulfill this vital role in the global village. the sooner we realise that the better we will do together.

Development is deeply impacted by globalisation which is described as the global flow of ideas, people and goods, as well as the interconnectedness of markets and economies, largely driven by advances in technology.

Globalisation means of course that the film sector is exposed to foreign producing partners, clients and audiences. this has far-reaching implications for competitiveness, funding opportunities, the respective roles of government and the private sector, and the mindset of new entrants and experienced professionals alike.

So what specifically does globalization mean for us as socioeconomic development specialists in the film business? We need to continue producing world-class and sellable products and services to survive and excel. Producers know this full well; foreign incentives are up to as much as 40% in the case of Puerto Rico, with an additional 20% rebate on nonresident talent. Costs everywhere are down. Local commercials profits have suffered a 12% blow since 2007 and job numbers are shrinking. it’s a battlefield.

We need to embrace frameworks that enable and market a fullyrounded, film-friendly offering. Our gorgeous locations and lower cost base alone no longer cut it.

Among other film-friendly elements, producers need quick and fair access to talent, locations, friendly film commissions, immigration and customs procedures and aggressive financial incentives with which to attract clients - provincial incentives may just be the next step in that direction.

Within this fully-rounded, filmfriendly framework, producers come alive and thrive as invaluable entrepreneurial powerhouses, up-skillers and employers.

as Gregg Mills writes in Why Africa Is Poor: “although the state’s role is crucial in setting the conditions, growth is driven by entrepreneurs, not the state.” both government and the producers’ blood, sweat and tears have had a profound impact on our industry. We need to encourage and empower new entrants as emerging entrepreneurial dynamos, who, like our pioneering producers, must focus all their energy on producing unbeatable, world-class products and services.

We need to seek out new ways to fund and market South africa and our stories. On that note, film-induced tourism is a spectacular fit for South africa, where tourism is seen as the new Gold. For example, The Eastern Cape is on the brink of launching the first strategy of its kind in South Africa, which could open up new funding opportunities in this regard. but we must realise that the conduct of every single one of us is just as important as an uncapped rebate - and vital to a film-friendly offering. Unnecessary line items on a mega budget and not polishing Mrs. Smith’s floor after the dolly is done, are equally unacceptable. a product-and-service-savvy-mindset is the irreducible minimum that should be expected of every film person.

We need to embrace our differences, to work together to find new ways to be better at the film business. the many valuable representative entities – private and public - are most valuable when they recognise their important role as constituent parts of the whole.

Without meaningful and swift cooperation underpinning a film-friendly offering, the globalising world may just pass by at the speed of an email to another location elsewhere that responds faster and more appropriately to their specific needs. in addition to the thrill of taking a view beyond the film set and finding that we are socio-economic development specialists, we also find and can be encouraged by the fact that we have all the necessary talent and means to continue growing as one of the top film destinations in the world.

Dominic Wilhelm

The Callsheet | 07

SPOTLIGHT ON ZANZIBAR © Jarrod Mouton

LOCATIONS WITH the 15th annual Zanzibar International Film Festival (ZIFF) set to take place from 7-15 July 2012, The Callsheet decided to take a look at the filming prospects in Zanzibar.

Z

ANZIBAR is an island archipelago that offers up a range of attractive locations for filming with white beaches, forests, Stonetown’s winding alleyways and visual treats like boabab trees, tin roofs, exotic old wooden boats, vespas and bicycles.

Producers looking to shoot in Zanzibar are required to obtain a Tanzanian visa before their arrival, this can be arranged through the Tanzanian embassy in your country. Visas can be obtained on arrival but it is time consuming.

Permits are fairly easy to arrange and the costs aren’t prohibitive. If you’re leery of dealing with local bureaucrats you can also arrange them through one of the local production companies such as Archipelago Films or ZG Films. Visitors fly in via Julias Nyerere International airport in Dar es Salaam or directly to Zanzibar’s Aboud Karume airport.

Sarah Scott, from Archipelago Productions - one of Zanzibar’s oldest production companies - is in talks with the Tanzanian government over film rebates and other ways to make the country more film friendly. She said: “Zanzibar is film friendly and acquiring visas and permits to shoot is easy especially if managed by a local production company with already established connections with

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the ministry of information. Point to note, if you would like to film on both mainland and Zanzibar you require two separate film permits.”

There are two good seasons for filming in Zanzibar, with June to October providing temperate weather with no rain and the December to March period, which is usually very warm and dry.

Prinz Productions goes to shoot in Zanzibar every season, and producer Andre Loftus has found it a positive experience. Andre explained: “The possibility of getting a film permit in Zanzibar in good time, which allows for the arrival and departure for teams travelling with film gear or collections, allows for a film and stills friendly location.”

He continued: “Crew are willing, but generally inexperienced. Transport in mini vans is good, but you must allow extra time to get around, as roads are pretty poor in most parts. Being predominantly a Muslim country, people are respectful and friendly. It is safe and truly a treat to spend time working there, with some fantastic hotels.”

Sarah maintained that while the island is more suited to stills photography than filming, it has the potential to become a filming hot spot. She believes it is becoming more cost effective to film in Zanzibar, “with 1TIME now flying directly to the island from SA, flights into Zanzibar are affordable. Again, linking up with the local production company’s foreign production companies can use their connections to get great hotel rates and discounts. Most crews will need to bring their gear from out-

side as there is very little professional well maintained gear on Zanzibar – this does add to the expense of the shoot. However, it is very easy to clear gear at customs in Zanzibar.

What is required is an equipment list along with the serial numbers of the gear and the value of the gear. This will be submitted along with the film permit to customs by your local productions company prior to arrival and a minimal fee charged to ensure gear clears seamlessly.”

While producing Episode 13 of Charly’s Cake Angels Season 1, Thomene Dilley, from Cooked in Africa Films, fell in love with the islands.

She enthused: “The light is perfect and setting up time-lapses at sunrise or sunset produces the most desired footage of this bewitching island. The locals are humble and eager to help in any way. Women visitors should dress slightly more conservatively (cover that cleavage and have your pants cover your knees).”

Thomene added: “While flights and visas can be expensive, Zanzibar caters for all production genres and shooting budgets. In Zanzibar, everything in nature is bigger, better and brighter! Cameras love this place and so will you.”

Emerson Skeens, the American expat who founded ZIFF, told The Location Guide: “I saw the cinematographic possibilities here. You can make any kind of movie you want in Zanzibar – in historical or rural settings of course, not contemporary. Since then I’ve scouted locations for most of the productions that have been shot on the island, like the recent History Channel documentary.”

Essque Zalu

He added: “The interiors are very interesting and there’s plenty of beautiful architecture. You can even hire the Sultan’s Palace and spectacular furniture like the solid wooden carved tables given to the Sultan by Queen Victoria.”

ZIFF will take place in Stonetown, with some events on Pemba Island and mainland Tanzania.

ZIFF takes its advocacy role seriously, taking care to offer mobile screenings on the archipelago, making it possible for locals to watch local and international films.

There are also networking, marketing and distribution forums that take place around the festival. These functions aim to play a vital role in growing the film in-

dustry in this dynamic part of the world.

The 2012 festival programme includes over 60 films, with six international premieres among them. There will also be workshops on producing documentaries and features, directing and cinematography.

This year the festival will include an exciting documentary pitch contest for East African filmmakers.

The submission deadline for the film festival was 31 March 2012, but organisers are open to extensions upon request.

Kate Hodges

South AfricAn filmmAker ScoopS double deAl Alison and Uga

elizabeth Klarer

DOCUMENTARIES The gripping and astonishing true story of Alison Botha’s miraculous survival as captured in her bestselling book, I Have Life, is about to be immortalised in film. Alison’s story once again hit headlines, 17-years after her brutal assault, as news broke from the Depart-

ment of Correctional Services that her attackers, together with 5000 other hardened and extremely dangerous criminals, are being considered for parole.

A

lison gave filmmaker Uga Carlini’s Towerkop Productions in Fish Hoek the full rights to produce the documentary on her life, Sec-

ond Chances, to be followed by a feature film. Alison’s story recounts her night of terror which took place in December 1994. She was abducted, raped, her throat slit 16 times, disembowelled by being stabbed over 30 times in the abdomen, and left for dead. However she cradled her intestines in a shirt and crawled 90 metres to the road where she was rescued.

“The documentary’s controlling idea is that ‘not all second chances are created equal’,” Uga explains. “Alison took her second chance and used it to inspire others to help them create their own second chances. Her attackers, who were both out on bail for rape at the time, utilised their second chance by raping again and attempting to murder Alison.”

Uga approached Alison briefly for the first time in 2008 for a meeting but it never came to fruition.

“And life went on,” Uga recalls, “Then, in November 2011, I hit the American Film Market (AFM) in Los Angeles where Alison’s story was incredibly well received.”

Before Christmas, Alison awarded Uga the rights for both the documentary and film about her life story. I Have Life has been on Penguin’s best seller list since 1998 and it has been translated into seven languages.

“For me, this seriously is the most miraculous and inspirational story ever and it is South African,” says Uga. “This incredible lady should not be alive. Doctors still can’t believe that she is, and not only is she, she’s been changing lives around her for the better ever since.”

Uga’s hard work and tenacity paid off in double dividends when she finally received the rights to produce the documentary and film about a story which has been haunting her ever since she was

eight-years old. Elizabeth Klarer, a respected meteorologist, pilot, and environmental activist, documented her interstellar love story with an alien named Akon in her book Good Planets are hard to Find. From outer space Elizabeth also brought back a strong environmental message.

“Today my fascination is not with Meton anymore,” Uga explains, but rather with this incredibly brave woman whose love story of interstellar romance spanned space, time and credibility. It is also a bona fide mystery story, sprinkled with verifiable facts, close associations with top brass military personnel, vanishings and claimed government protection programmes.”

The documentary titled, Good Planets are Hard to Find will be followed by the feature film, Beyond the Light Barrier, which will focus on the incredible love story of Elizabeth and her advanced human race extraterrestrial, Akon. The book of the same title was first printed in 1979 and is still selling well.

The Parlotones will be providing the documentary’s soundtrack. How did she get this super popular group on board? “I just asked them,” Uga says. “I felt that without them planning it, many of their songs had parallels with Elizabeth’s story and journey. I am also a huge fan of their music and environmental work and felt it was a great fit.”

When the five minute concept teaser of Good Planets are Hard to Find, screened on Youtube, 4000 hits were recorded within the first 48 hours. Subsequently, when the website went live 5090 hits were recorded within the first 12 hours.

Uga obtained her drama degree, specialising in acting and filmmaking, from

Stellenbosch University.

In 2011, The National Film and Video Foundation (NFVF) sent Uga to AFM in Santa Monica, where she presented several of her projects which were very well received.

“Oscar-winning producers are waiting for the finished scripts,” Uga says, “And I am also in negotiations with another Oscar winner for her potential part in fellow producer capacity for the documentary. Ironically, even though completion funding is still evading us, several distribution offers have already been discussed.

Locally, Refinery is most certainly my choice for final post-production. They are great fans of Elizabeth’s story. Helen Kuun from Indigenous Distribution will handle the South African side of things.

Johannesburg based Digital Film has donated footage of Elizabeth Klarer to us and subsequently Elizabeth can now narrate her own documentary.”

Good Planets are Hard to Find, was recently one of 500 shorts chosen out of 7000 international entries for the InterFilm Berlin shorts competition in Germany and it screened during March at the Cape Winelands Film Festival.

Uga is also currently developing a screenplay for The Retirement, together with the NVFV. Her production Company, Towerkop Creations, had its first nomination last year for an ATKV Media Veertjie Award for the local TV channel KykNET for the documentary series Sewe Sakke Sout, (pilot script, research and production for Zyron pictures). Uga also wrote the treatment and handled the preproduction research for another Zyron runaway success, Celebe se Kind (kykNET).

Astrid Stark The Callsheet | 09

DAVE MEINERT MUSIC VIDEO GOES VIRAL the concept could go anywhere.

It was the reactions from people in the streets and from friends who saw the first amateur clip that made me think again.

The music video got a really positive response from all over the world.

Were you expecting the response you got?

Never. After stumbling upon making the ‘pilot’, I decided to take it a bit more seriously but the idea was still to make something that would be shared between some friends, family and animal lovers.

It got a great write up on Huffington Post, was the ‘video of the week’ on Al Jazeera and got 1.4 million page loads in the first week on one media player alone. Today it is a feature story in a French newspaper and is off to a few festivals soon. I would feel proud if it was something I had toiled over and believed in but I am still a bit suprised. I still consider it a bit of a fluke.

MUSIC VIDEOS A MUSIC video director Dave Meinert directed for Johnny Neon, hearts, is an international sensation. The music video, billed as the first shot by a dog, was showcased on Good Morning America, Al Jazeerah, The Sun, MTV Buzzworthy, The Huffington Post and in scores of local publications.

D

Ave’S video is shot from the point-of-view of his friend’s rescue-dog lemon as he travels around Cape Town. Josh Borrill from Post Office Post edited the video to the track, so that the music and the footage are complementa-

ry. The Callsheet caught up with the Cape Town commercial’s director to find out more about the music video and his other projects.

Where did you get the idea to shoot this video?

MY friend, Will asked me to look after his dog, lemon for the weekend. She is a one year old pavement special, rescue dog that was nursed back to health. I was going to make a video just to prove I did a good job. I started cutting it together, using a song from another friend of mine, illustrator Johnny Kotze. He’d mentioned to me he wanted a music video done sometime but even after I did a little edit to his music, I still hadn’t realised

Can you tell us a bit more about the rig, how did you attach the GoPro to your cameraman Lemon?

I WAnTeD the video to look like it was shot simply over a few hours but in reality, I did it over five months and designed and redesigned several different rig prototypes till I got it right.

I found an old soccer shin guard in my garage and cut it in half and pop-riveted it to a dog’s H-harness.

Then I secured the camera onto that by counter-sinking screws into the GoPro base plate and securing them to the shin guard. I tried several different ways to secure it, and onto several different dogs. I started with lemon, then tried with dogs that could do better tricks but ultimately went back to lemon. The character she has in her ears are what makes it.

How did she respond to having the rig attached to her back?

SHe got excited whenever she saw the harness. Young dogs like the security of something wrapped around them like this in the same way babies liked to be swaddled in a blanket. eventually, she started to associate

the harness with getting loads of attention from strangers.

How much of the video (particularly Lemon’s interactions with people) was ‘unscripted’?

AlMOST all. Johnny and photographer lea Colombo (who plays the love interest) shot all of their ‘scenes’ one Sunday afternoon once I had all the other footage but even that was very loose. I wanted the video to be about a dog that gets out of the house and has the best damn day of her life so lemon and I just hung out and did fun things. I did about ten outings with her over five months. 90% percent of the locations don’t even feature.

Post Office Post’s Josh Borrill did a great job with the editing, how much footage did he have to work with?

WAY too much! I think at second glance it was obvious what would work but he still had to sit through hours and hours of a camera rolling while a dog sits looking at a brick wall. Our first cut was 38 minutes long. I wanted it to have a lighthearted, almost frivolous feel but in truth it took far more thought and discipline to create, both technically and creatively. Post Office Post’s passion for this project and technical know-how was a huge part of making it happen.

Is this a major departure from the kind of work you usually do with your production company Golden Planes?

YeS. Coincidentally, a week before the video came out, I left Golden Planes to start my own thing, which is about to be launched. I don’t want to be tied into only the very traditional avenues of visual storytelling. There are too many other exciting things going on these days. Commercials will still be my main focus, absolutely, but the idea is to have a set up that allows for this as well as other exciting projects with more of a filmmaking slant too. I did this video primarily for fun but that said, taking a dog for a walk is a far better way to stay top of mind with agencies than doing a reel drop to someone with an iPad,

Johnny, Lemon and Dave

or writing on some CD’s facebook wall for their birthday. The days of being consistently busy enough from 60 second Tv commercial briefs that just come in the door by themselves, is over for the vast majority of commercials directors. And I think that change should be seen as something exciting!

What are you currently working on?

I HAve just finished four spots for Nashua, done through new agency Dojo 115, a really exciting agency to watch. I am doing a really outthere campaign with Ogilvy that I can’t say more on for now, as well as some more long term projects like a documentary on a bizarre festival in lagos. The video has led to me getting really cool phone calls from overseas agencies, as well as agencies that I have never worked with before locally.

Is there anything else you would like to tell us about?

I HAve had a few offers locally and internationally to reversion and reshoot the dog material. I am still deciding where to take it and still open to ideas. Part of the success of the video has been from how the dog showcases Cape Town in the summer and I think there is latitude for a story that involves travel.

Kate hodges

ADAM MACDONALD ON A&E NETWORKS IN SA more of an interest in the forensic elements of crime than we see elsewhere. Although they are popular elsewhere, they are particularly popular here.

TELEVISION The Callsheet spoke to A+E Networks UK VP of programming Adam McDonald about DSTV channel’s HISTORY and Crime & Investigation Network, commissioning projects for those channels and about what makes South African viewers unique.

we can we can insert certain programmes that we either acquire or commission for the SA market, so we have flexibility here which is very valuable. The more I travel, the more I learn about each territory, the first thing you notice is the differences, but what is more striking is how similar the viewer behaviour is and how the same programmes are rating well for us in different territories.

How do you tailor your content for the South African market or is your programming consistent across all your markets?

We have our own SA bespoke feed, so we can tailor the schedule to suit the SA market. First and foremost even with our global programming that works well here (and all over the world), we can schedule it to suit the specific market, so depending where you are in the world our shows play at different times and on different days.

We are also conducting some focus groups with our viewers of Crime & Investigation Network and HISTORY to find out how the schedule is working for them and whether there are any learnings from those focus groups, then where

So is there anything unique about the South African market?

Well you guys seem to go to bed earlier (laughs). The big difference is that prime time is earlier in SA than it is in the UK or the US. The bulk of viewing seems to take place between 6pm and 9pm, whereas in the UK it tends to get going at around 8-10. In terms of success of various sub-genres, again you’re struck by the similarities across territories. For example on HISTORY, we’ve had great success with our factual entertainment shows (Pawn Stars, American Pickers) and those are the ones that rate particularly well here.

On Crime & Investigation Network similar programmes are similarly popular, there seems to be

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What are your plans to personalise the content for SA viewers?

We’re keen to build up our social networking presence here. What we’ve seen in the UK and we’re beginning to find emerging here, particularly on Crime & Investigation Network, is a community of fans.

It’s a channel that has a very high loyalty. It has an audience that’s almost addicted to the channel and watches more minutes in a day than other documentary channels, they become very interested and obsessed with the content. Increasingly they like to share their interests with other fans and so social media is very important to Crime & Investigation Network.

Mankind: The Story of all of Us was shot primarily in South Africa by Nutopia, do you have plans to show it here?

We will be showing that series at the end of the year. It’s a big, epic, global story of the human species.

It’s great for us as we’re able to appeal to all the territories around the world. Particularly South Africa, as a lot of the filming was done here and that’s something we’re very proud to have on the channel. Wait until you see the moving images, its really cinematic and extraordinary.

We’re hoping there will be a particular interest in SA, not only because of the global storytelling and SA being the birthplace of mankind, but also because of all the filming that took place here. A lot of the filming is specific to SA, but they’ve used it to represent other areas of the world, so you might see a mountain you recognise supposed to be in Indonesia but is actually in SA, but a lot of the filming is also set in South Africa.

Are there any plans to commission such shows from local production companies across either of your

channels?

We have a track record of commissioning shows that we can play in SA and also acquiring them. In the past, both on HISTOrY and on Crime & Investigation Network, we’ve had specific stories for the SA audience. We had great success in the past with a documentary on ellen Pakkies, who was a woman who murdered her son (ed - for which filmmaker Michael Duffet from production company Face To Face Films won a South African Journalism award). On HISTOrY we’ve had some very popular documentaries, like Madiba: The Life and Times of Nelson Mandela, which was very popular both here and in the UK. It is very important for us and we can because of our separate feed play those specifically in South Africa, but they also work elsewhere. I think going forward this is something we want to concentrate on, and I’m very keen to see if we can make more of an impact with our original commissions in South Africa. I’m hoping that in the next year you’ll be able to see the impact of that commissioning strategy.

Also, it works both ways, whilst we commission shows in the UK that we believe have global relevance, I’m still keen to commission shows from SA that are specific to SA but that also have a global relevance.

We also have a network of HISTOrY affiliates all over the world, so we can broadcast SA content to a global audience.

Do you think non-fiction channels have a bright future, or has the reinvention and rejuvenation of the TV series had an impact on this genre.

We’re seeing, particularly on HISTOrY, that non-fiction programming is very popular. So I think just television in general, non-fiction and fiction is getting more popular. We have a range of programmes on HISTOrY, like Pawn Stars and American Restoration, which are factual entertainment but based in authentic situations with character-driven stories where history is brought to life with the artefacts that are being

sold and discovered. Those have been increasingly popular, first we saw that in the States where they have been huge break-out hits, where quite often they are the most popular shows in all of America their time slots. And the characters are in Pawn Stars are now becoming celebrities in their own rights in America. And we’re seeing that same story all over our territories, in SA too. Our factual entertainment offering, where history comes through the artefacts that are being bought and sold, has been not only very popular and we’ve coined a new name for that genre called Artefactual Television and that’s really growing. Whilst the fiction on other channels is growing, our non-fiction is also getting bigger. I see them going hand in hand, I don’t see any competition. HISTOrY in SA, we’ve seen audiences shoot up in the last three or four months, a trend we’ve seen in all our other territories.

We’re conducting focus groups where we’re talking to loyal viewers of Crime & Investigation Network and HISTOrY, this is part of us getting close to the SA audience. We are excited about The Kennedy’s starts in March in South Africa and we’re excited to be launching it here.

Kate hodges

The Callsheet | 11

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The Callsheet | 13

ROCK SOLID GOES WILD IN 3D Brad Maloney

REMOTES It’s been a year since The Callsheet featured Keith saayman and his then new business, Rock solid Remotes. Freelancer Jasyn Howes caught up with Keith to find out what he’s been up to in the interim.

K

eith had for many years prior forged a strong working relationship with the creators of Libra Remote heads and it was left to him and his team to offer the full creative potential of the Libra head to the

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Southern African film industry.

A year on, and Rock Solid has proven a success. The team’s skills and service offering has evolved, and they’ve adapted to meet all the needs of the feature film, commercials and documentary filmmaking avenues. The latter is where Rock Solid has gained a lot of ground, more so in the 3D applications offered by Libra.

Brad Maloney (Libra head Technician), who has been Keith’s right hand in terms of product knowledge and technical savvy, joined Stefan Nell (3D Camera tech) and a team of wildlife docu-

mentary filmmakers on a journey in to the African wilderness.

Stefan was called in for his extensive experience with 3D rigs and aerial cinematography. “I jumped at the opportunity to work with them,” he says having worked with Keith numerous times before. the pair were faced with numerous challenges but met each with steady expertise. Brad makes mention of this by saying, “Working with Stefan Nell was great as he has real in depth knowledge of what works in 3D. While his job in flight is framing and adjusting inter-axial and convergence, I’m left to dealing with stabilisation of the camera and adjusting his horizon.” Brad was blown away

by Stefan’s speedy workmanship showing off his ability to change lenses and set alignment in roughly three minutes.

With those fundamentals as a base the team set off into the wilderness with helicopter pilot Bill Almstead flying a Bell 407 Chopper. It was the ultimate unification of high tech camera technology and flying prowess that allowed for some highly dynamic 3D stereography.

Stefan says of the aerial work, “being able to change convergence remotely from inside the chopper meant that i could adjust parallax as I was flying between mountain peaks and between trees so as to either bring approaching objects into the negative and then pull back to the positive at will. As a stereographer it was really exciting and as a geek

it was really cool!”

Spending almost all of their time during the shoot up in the air meant the pair really had a chance to flex their 3D muscles and find out what the technology is capable of. Stefan reminisces on the journey saying, “We were lucky with wildlife and beautiful scenery. The hippos were well directed and acted on cue (one of the most amazing shots ever in stereo aerials), some days it all just goes right. The biggest challenge had been with our convergence puller Shaun de Ponte being airsick and constantly throwing up!”

What is important to remember is that this was a strong collaboration between camera and remote head. The Libra is unique in its ability to accommodate so many different packages including 3D. Brad elaborates by stating the facts, “When faced with shooting stereo 3D you need a wide cradle to house two cameras next to each other, let alone those two moving! the other great attribute we have when mounted to the Bell 407 helicopter is that our lens is 15cm from the ground, this enabled the pilot to put the camera very close to our subject matter. the results have been spectacular and it’s been a true privilege to work with everyone involved.” the 3D aspect added to the challenges and the overall awe-inspiring results that were achieved.

Stefan, who is the 3D specialist for Visual impact, worked closely with Russell Bowden (3Drigs.com) to modify the Pro Ultra Rig to fit

the Libra head. Stefan continues saying that Russell “also had to reprogram the motors so that i still had inter-axial distance control as well as my toe in functions. Brad is an amazing Libra technician that when it came to rigging it was not as hard as i was expecting it to be. There was this harmony that developed between Bill flying, me operating the head, Shaun pulling convergence and Brad keeping my horizons in check.” this project was in its own right a test run for a 3D rig Stefan hopes to see used in features and commercials very soon.

Jasyn Howes

ONLINE NEWS HIGHLIGHTS Forest Whitaker

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 and Nigeria lead AMAA nominees THE nominees were announced on 17 March 2012 in Banjul, Gambia.

The most nominated films include South Africa’s Otelo Burning and How to 2 Steal 2 Million; Nigeria’s Adesuwa; Ghana’s Somewhere in Africa; The Nigerian-South African co-production Man on Ground; and Kenya’s Rugged Priest.

Nigeria received 52 nominations, South Africa was a close second with 45 nominations, followed by Ghana with 17, Kenya with 14, Uganda with five, Tanzania with three, and Algeria, Cameroon, Guinea, Rwanda, and Zimbabwe with one each.

There were also nominations for films linked to the Diaspora in America, Canada, France, Germany, Guadalupe, Italy, Jamaica, and the UK. AMAA received 328 entries from across Africa, up from 220 in 2011.

This includes 134 feature films, 88 short films, 57 documentaries and six animations. 43 entries came from Africans in the Diaspora, with the other entries coming from 23 countries across the continent.

South African surfing film Otelo Burning scooped the most nominees (13), followed closely by South African film noir How 2 Steal 2 Million (11) and Nigeria’s Benin-set historical epic Adesuwa (10). Ghana’s civil war film Somewhere in Africa has seven nominations, as does the Nigerian-South African xenophobia-themed coproduction Man on Ground, while

Kenya’s Rugged Priest has six.

Dr. Asantewa Olantunji, director of programming of The Pan African Film Festival, headed this year’s jury, which included June Giavanni, programmer for Planet Africa at The Toronto International Film Festival; Keith Shiri, founder and film curator at the London festival, Africa at The Pictures; Dorothee Wenner, a curator at The Berlin Film Festival; Shaibu Husseini, an actor, dancer and The Nigerian Guardian arts journalist; Steve Ayorinde, editor-in-chief of The Daily Mirror; Ayoko Babu, executive director of The Pan African Film Festival; Dr. Hyginus Ekwuazi, a film scholar and critic; and directors Berni Goldblat and John Akomfrah, OBE. Only films produced and released between December 2010 and December 2011 were eligible.

The winners will be announced at a glittering ceremony on 22 April 2012, hosted by Heroes star Jimmy Jean-Louis. For the first time, the awards will be held in Lagos rather than Bayelsa in Nigeria.

“Our theme this year is Africa Rising,” says founder Peace Anyiam-Osigwe. “Africa’s economies are consistently growing faster than those of almost any other region of the world and our film industries are following suit. With the success of last year’s AMAA winner, Viva Riva!, all of a sudden there’s this great excitement about the potential of the African film industry, which is clearly demonstrated in this year’s diverse nominees.”

NFVF Releases 10-Year Film and Television industry review document MARKET development, access to audience and technological development are the major tools that can drive the South African film industry to its maximum potential of creating sustainable jobs and contributing more to the Gross Domestic Product (GDP). This is according to a research conducted by the National Film and Video Foundation (NFVF) in collaboration with the Tshwane University of Technology (TUT).

The 10 year South African Film Industry review was borne out of the MOU between NFVF and TUT signed in 2008. The review was a follow up to Profile 2000 which was conducted

by Price Waterhouse Coopers and was intended to survey the state of the film and video industry in South Africa from 2001-2010; analyse the business model currently used by production companies and evaluate the viability of the sector taking into consideration the global economic meltdown, and the crisis at the public broadcaster.

NFVF CEO Zama Mkosi says the 10 year review report is a critical document that reflects on the local film and television industry over

the past decade. “The document gives insight into various critical factors that impact on the performance of the film and television industry as a whole, areas where there have been challenges, areas where there have been improvements as well as the market dynamics that plays or should play a role in the development and growth of the local film and television industry,” said Zama The report acknowledges the paucity of data and lack of empirical evidence as a hindrance to support the film industry reel in private investment. Comparing 2000 and 2010 the report notes that in terms of content production, film and television productions are receiving the most attention. In 2000 there were 11 films and 19 television products produced and that has grown to 28 feature films in 2010 and 23 television productions in the year under review.

In the past 10 years there have been major developments in the local film and video industry and the most notable ones as listed by the respondents are; the change in the threshold of the DTI film and television incentive widely known as ”the rebate”, the licensing of more broadcasters, availability of more funding sources as well as availability of more mobile, cheaper yet good production equipment.

Other developments reported on include the availability of more co-production treaties, the success recorded by more local films and the creation of representative bodies to advocate industry stakeholder issues.

However, the lack of access for funding for low budget feature films and the non-existence of a legislation to force the SABC to enter into

co-production agreements with independent producers could impede the growth of the industry.

The researchers further notes that there is a lack of appropriate distribution and marketing networks and a very small market to sustain a commercially viable model without government intervention.

The research uncovered that the global economic meltdown and the financial crisis at the South African Broadcasting Corporation (SABC) had an adverse impact on the South African film and video industry. According to the survey, 42.9% of the companies reported that the global economic crisis had a severe impact on their businesses and 54.3% of them suffered a moderate impact while only a paltry 2.9% did not suffer any impact.

The financial crisis at the SABC had a severe impact on 62.9% of the companies surveyed while only 14.3% had a moderate impact and 22.9% reported that the crisis did not have any impact on them.

The document can be viewed on the NFVF website.

Cape Town TV switches signals CAPE Town TV, the mother city’s freeto-air community television channel is switching its broadcast frequency in order to make way for the migration of South Africa’s TV stations to digital terrestrial transmission (DTT).

Station Manager Karen Thorne stated, “CTV will not be broadcasting on the digital platform just yet, but from the 26th of March the station will be available only on the new analogue frequency – channel 67 or 839.25MHz in the UHF band.

“Its current frequency of channel 38 (607.25MHz) will then be

re-assigned to DTT, but until that time CTV is broadcasting on both analogue channels simultaneously.

Viewers will have to re-tune their TV sets in order to pick up CTV on the new frequency.”

The DTT transmission infrastructure will utilise CTV’s current frequency in the Cape Town area. DTT trial broadcasts will begin in April, with the full commercial launch of digital television due for September this year.

CTV intends to be one of the digital channels on offer in the DTT environment, but will continue broadcasting on the analogue platform until this mode of television transmission is switched off in December 2013.

Karen stated, “There was initially a problem with the strength of CTV’s signal on channel 67, but Sentech, the signal distribution company, has sorted this out with the installation of a more powerful transmitter. Viewers will now see the same quality of picture on the new channel as on the old one.”

CTV boasts a loyal viewership of over 1.4 million Capetonians, but it faces the challenge of getting everyone to retune their TV sets by the switch-off date in late March. “We are using this opportunity to launch an extensive marketing campaign to raise public awareness about CTV’s informative and entertaining programme line-up,” said Karen.

The station is not available on DSTV and can be watched by anyone with a UHF (grid-type) aerial pointed towards the transmitter site on Tygerberg. CTV can also be viewed online at www.capetowntv.org.

The Callsheet | 15

Sandfields and Forests Private Wildlife Reserve Situate 2 1/4 hours from Johannesburg, malaria free, pristine 2,500 hectare proclaimed game reserve in the Nylsvley floodplain, uninterrupted views of the Waterberg mountains, abundance of birds, (in excess of 250 species).

All the plains antelope in large herds, open Kenyan savannah, Okavango type floodpans and islands. Acacia and woodlands. Original farm houses and barns. Accommodation and facilities for film crews. phone: +27 82 577 2312 | email: sfrank@glynmarais.co.za

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LOERIES CALL FOR ENTRIES NOW OPEN 2011 Loerie Awards

AWARDS The 34th Annual Loerie Awards calls on fellow creatives to mobilise and exercise their right to great work.

E

ntriEs are now open and can be submitted until 31 May 2012. Enter work before 16 April and save 5% on entry fees.

New Category for the Rest of Africa and the Middle east: A sEpArAtE category for entries from outside of south Africa has been introduced to better promote the work being produced throughout our region. the new category, rest of Africa and the Middle East, will be judged sepa-

2011 Loeries Winner

rately allowing improved representation of all regions and offering greater exposure to each region’s creative output. the category is open for Communication Design; Direct & pr Communication; internet, Mobile & interactive Media; Live Events; print & Outdoor; radio; tV, Video & Film; and integrated Campaigns.

New Category for Media Innovation: thE Loeries is introducing a category for the best use of media. single entries will be judged on how well the medium was used, while for media campaigns they will be judged on how successfully the chosen media have been integrated throughout the campaign. the overall Loeries judging criteria

will apply – innovation, execution and relevance.

Other category changes include: A tV Craft category for the Best Use of Licensed Music to recognise the use of existing music in tV, film and video communication. the Digital Crafts category has been split into specific craft areas, including interface & navigation, Animation, illustration & Graphic Design, Music & sound Design, Writing and photography. pr Communication is now one combined campaign category – there is no longer a split between the different types of media used.

entry Deadline & eligibility: EntriEs should be completed and submitted online at www.theloerieawards.co.za by 31 May 2012.

Entrants will find all entry preparation guidelines, category descriptions, fees and regulations on the website. Entrants can save 5% on entry fees by sending their work by 16 April. the eligibility period for entries is 1 June 2011 to 31 May 2012. Work must be produced within in Africa, the Middle East or island states off the African coast (Mauritius, Madagascar and the seychelles). international crafts may be en-

tered, as long as the person nominated for the award is from the eligible region.

Creative Future Scholarship: this year, r30 from every entry will go towards the Creative Future scholarship, enabling talented learners from a disadvantaged background to study brand communication.

For more information visit www.theloerieawards.co.za

Sally Fink

the Callsheet | 17

CONGRATULATIONS TO ALL THE SAFTAS WINNERS AWARDS The South African Film and Television industry were honoured in an event organised by the National Film and Video Foundation (NFVF) at Gallagher estate on 9-10 March 2012.

T

he awards took place amid some controversy as e-tv withdrew their nominations just days before the ceremony.

SABC 1 drama series Intersexions and feature film Black Butterflies were the runaway winners on the night. Intersexions won a total of 11 awards, including: Best TV Drama Series, Best Director, Best Actor (Siyabonga Radebe), Best Actress (Lungelo Dladla), Best Writing Team, Best DOP/Cinematographer, Best editor, Best Production Design, Best Music Compositions, Best Make-up & hair Stylist and Best Sound Design.

SAFTAS WINNeRS: • • • • • •

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Best TV Drama Series: Intersexions (Curious Pictures and Ants Multimedia) Best Director of a TV Drama Series: Intersexions - (eP 4 & 20) Rolie Nikiwe Best Actor in a TV Drama Series: Intersexions - Siyabonga Radebe as “Muzi” Best Supporting Actor in a TV Drama Series: Fallen - Ronnie Nyakale as “Khaya Ncube” Best Actress in a TV Drama Series: Intersexions - Lungelo Dladla as “Buhle” Best Supporting Actress in a TV Drama Series: Sokhulo & Part-

•

• • • • •

• • •

• • • • • •

ners - harriet Manamela as “Ntombi Ntshebe” Best Writing Team of a TV Drama Series: Intersexions (eP20) - Brent Quinn; Linda Bere and Team Best DOP / Cinematographer of a TV Drama Series: Intersexions (eP8) - Trevor Calverley Best editor of a TV Drama Series: Intersexions (eP20) - Melanie Golden Best Production Design of a TV Drama Series: Intersexions Marna heunis Best Music Composition of a TV Drama Series: Intersexions Sue Lubner Best Costume Design of a TV Drama Series: Zone 14 - Nadia Kruger, Phillipa heydenrych, Themba Qongo Best Make-up & hair stylist of a TV Drama Series: Intersexions Smartie Olifant Best Sound Design of a TV Drama Series: Intersexions (eP4) Janno Muller, Tim Pringle Best Director on a TV Soap: The Wild - Alex Yazbek, Johnny Barbuzano, Krijay Govender, Gert van Niekerk Best Actor in a TV Soap: The Wild - Tumisho Masha as “Modise Tladi” Best Actress in a TV Soap: Isidingo - Karin Van Der Laag as “ Maggie” Best ensemble in a TV Soap: Isidingo - endemol South Africa Best Writing Team of a TV Soap: Rhythm City - Charlie Sapadin and team Best Technical Team of a TV Soap: The Wild - (eP1) Technical Team Best Art Direction of a TV Soap:

• • • • • •

• • • •

• • •

•

The Wild - Marlene Ming Best Post Production Team of a TV Soap: Scandal! Post-Production Team Best Director on a TV Comedy: Proesstraat - harald Richter Best Actor in a TV Comedy: Ga Re Dumele - Boikie Pholo as “Ratau” Best Actress in a TV Comedy: Ga Re Dumele - Meme Ditshego as “ Josephine” Best ensemble in a TV Comedy: Stokvel - Penguin Films Best Post-Production Team of a TV Comedy: Gauteng Maboneng - (eP5) Post-Production Team Best Technical Team of a TV Comedy: Gauteng Maboneng - (eP1) Technical Team Best Art Direction of a TV Comedy: Gauteng Maboneng Martha Sibanyoni Best Writing Team of a TV Comedy: Proesstraat - Writing Team Best TV Comedy: Gauteng Mabonengengage-entertainment & Rous house Productions Best Director of a Feature Film: Skoonheid - Oliver hermanus Best Actor in a Feature Film: Skoonheid - Dean Lotz as “Francois van heerden” Best Supporting Actor in a Feature Film: Master Harold And The Boys - Patrick Mafokeng as “Willie” Best Actress: The Performance Panel of judges regret to announce that there will be no award in the ‘’Best Actress in a Feature Film’ category this year. This is because the 10 films that made it through filtration were predominantly

• • • • • • • • • •

male-driven stories. Only two actresses were listed as Lead Actress, one of whom was not eligible for a SAFTA as she was not South African. These circumstances render an award for Best Actress in a Feature Film meaningless and the judges unanimously decided not make such an award this year.

This is a far from desirable situation, and the panel urge writers and production companies to bear in mind that as an industry we need be telling more stories that provide a platform for the luminous female thespian talent our country has to offer.

Best Supporting Actress in a Feature Film: Roepman - Desire Gardner as “erika Rademan” Best Writing Team of a Feature Film: Skeem - Timothy Greene Best Cinematographer of a Feature Film: Black Butterflies Giulio Biccari Best editor of a Feature Film: Paradise Stop - Adam Broer, Tanja hagen Best Production Designer of a Feature Film: Black Butterflies Darryl hammer Best Music Composition: Black Butterflies - Phillip Miller Best Costume Designer: Black Butterflies - Rae Donnelly Best Make up/hair Stylist: Black Butterflies - Raine Nicholette edwards Best Sound Designer of a Feature Film: Retribution - Simon Ratcliffe Best Feature Film: Black Butterfies - Spier Films Staff Writer

ONLINE NEWS HIGHLIGHTS 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 Justin Bonello to host new reality TV cooking show South African gourmet bush cook and veteran presenter, Justin Bonello is hosting a new SA-original reality tV cooking competition entitled Ultimate Braai Master.

Sponsored by Pick n’ Pay, and set to launch on SABC 3 on 13 September 2012, Justin will be selecting 15 teams of two contestants each, consisting of a Braai Master and a Braai Buddy, to join him in a gruelling 52 day culinary adventure that includes 13 locationbased challenges, covers 8000kms and culminates in one team winning the prize of R500 000 cash, a car, and the title of South Africa’s Ultimate Braai Master.

With five seasons of Cooked and four best-selling cook books under his belt, Justin is proud to be presenting and producing a local reality tV series that will showcase the beauty, diversity, unique flavours and local delicacies that characterise some of South Africa’s best off-the-beaten track locations.

“But this isn’t going to be a picnic,” he warns. “to earn the Ultimate Braai Master title, teams will have to sign up for a 52 day road trip, during which time they’ll be expected to occasionally catch their own food, source their ingredients under the toughest conditions, and cook to a standard of culinary excellence that will thrill our judges and raise the bar on

the kinds of meals that can be produced on an open fire.” the competition is open to all those food lovers who consider themselves above average cooks, aged 18 years and older, with a valid driver’s license. Aspirant Braai Masters must enter online via www.ultimatebraaimaster. com by no later than Monday, 27 April. Short-listed entrants selected from the online entries will be put through their paces at three regional auditions in Durban, Cape town and Johannesburg in May, where Justin together with Ultimate Braai Master judges will select the final 15 teams.

“Whether you’re a student, a professional, retired or simply looking for the next big challenge, the Ultimate Braai Master will put your passion for cooking on an open fire to the test and have contestants creating and reinventing the best braai-inspired dishes ever seen in a reality tV Series,” concludes Justin.

Call-for-entries opens on Monday, 26 March and closes on Friday 27 April 2012. Filming will start in July with the winning team announced in the final episode of Ultimate Braai Master, which will be screened on SABC 3 on 6 December 2012.

AiM 2012 Call for Entries: Taking a closer look at contemporary Africa AFRiCA in Motion (AiM), one of the UK’s largest African film festivals, in its seventh year of existence, is currently accepting film submissions features, documentaries and shorts - for its 2012 festival edition, which will take place from 25 october - 2 November 2012, at Filmhouse Cinema in Edinburgh, under the theme Modern Africa. AiM is focusing its

programme for 2012 on films and events that represent Africa as part and parcel of the modern, globalised world; and will be seeking to discover and explore - through film and other popular culture manifestations - how modernity manifests in African cultures. the festival organisers regard “modern” not as belonging solely to the “West”, and through the festival they want to emphasise Africa’s important role in the modern world - they want to unearth the urban, the new, the provocative, the innovative and experimental.

As such, the festival will primarily deal with manifestations of African cultures in the contemporary era, moving away from the stereotypical view of the continent locked in ancient traditions and superstition. the festival will celebrate African creativity and the rich diversity of African cultures in their contemporary manifestations through showcasing films covering themes such as the role of African Diaspora; Africa’s current political and economic position(s); how the digital revolution is affecting the continent; modern arts expressions in African cultures - i.e. dance, modern street fashion, conceptual art, etc.

- and how modern life has affected African traditions.

AiM is continuing the much anticipated annual Short Film Competition and also launching a Call for Entries for films linked with the theme of Modern Africa. An Academic Symposium on African Popular Culture will further enhance thefestival theme.

All details for film submissions and symposium are available at www.africa-in-motion.org.uk.

As usual, film screenings will be accompanied by a wide range

Justin Bonello

of complementary events such as directors’ Q&As and master classes, workshops, discussions, music performances and an arts exhibition.

Festival organisers hope to welcome you to AiM 2012 to explore with us what the modern means for Africa.

For detailed information on requirements and deadlines for submissions, please visit www.africa-in-motion.org.uk and click on Menu bar tabs: Short Film Competition, Call for Entries and Symposium.

AiM is directed by: isabel Moura Mendes, festival director and Natalia Palombo the festival co-director.

Ian Chuter directs Woolworths MasterChef campaign Platypus Productions’ ian Chuter recently directed 20 commercials for Woolworths to promote their role as the food sponsors of MasterChef South Africa, which started on M-Net and M-Net hD on 20 March 2012. ian, one of South Africa’s leading food specialists, has

recently attracted boards from as far afield as Russia and Indonesia. he’s been working with Woolworths for over four years but feels that the MasterChef campaign is “one of the best we’ve ever done.” Glenda Philp, head of Brand Communication for Woolworths Food, agrees. “We are extremely happy with the results of the ad campaign and the team at MasterChef agree that it is one of the best sponsor campaigns they have seen for the show. We are excited to be the food retail sponsor for the first MasterChef South Africa so it was really important that we delivered a campaign that was different and innovative, with high production values.” the commercials have a natural, textured, yet contemporary look. “We concentrated on making typically distinctive Woolworths ads, so the focus is on the food, not just on MasterChef,” says ian.

Platypus provided a full-service creative solution, handling the edit, graphics and postproduction in-house.

the Callsheet | 19

DIARISE APRIL

SEEN OUT AND ABOUT Troye Sivan with the cast of Spud at the Cape Town premiere

Angus Buchan’s Ordinary People 5 April, cinemas A Million Colours 26 April cinemas EFC Africa™ 13 13 April cinemas Hong Kong International Film Festival 21 March-5 April Mafikeng, South Africa Tribeca Film Festival 18-29 April New York, USA Atlanta Film Festival 23 March-1 April Georgia, USA The African Film Festival 05 - 12 April Sydney, Australia National Association of Broadcasters (NAB) 14 -19 April Las Vegas, USA Aljazeera International Documentary Film Festival 19-22 April Doha, Qatar

Semisoet premier in Cape Town

Semisoet premier in Cape Town

JOBS & OPPORTUNITIES 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 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.

Panda Awards Call for Entries: THE deadline for entries into the prestigious Wildscreen Panda Awards for the world’s best wildlife and environmental films is Friday, 27 April. Entry fees have been frozen.

Panda Award Categoris are: 3D Award; Award to Promote Filmmakers from Developing Countries; Animal Behaviour Award; Campaign Award; Children’s Choice Award; Best Cinema-

tography Award; Earth Sciences Award; Best Editing Award; The Nature Conservancy Environment & Conservation Award; Innovation Award; Best Music Award; New Media Award; Newcomer Award; People & Animals Award; Popular Broadcast Award; Presenter-led Award; Best Script Award; Best Series Award; Short Film Award; films @ 59 Sound Award; and the Theatrical Award.

In June the Panda Award nominees will be announced and the delegate tickets will go on sale, with early-bird tickets ending in August. The Wildscreen Festival takes place in Bristol, UK from 14 -19 October 2012.

For more information visit www. wildscreenfestival.org.

Lola Kenya Screen Call for Entries

LOLA Kenya Screen, a Nairobibased charity specialising in issues related to children, youth, mass media, culture and development, is calling for film submissions and skill-development participation for its 7th annual event which that takes place in Nairobi, Kenya, from 6 - 11 August 2012.

Lola Kenya Screen invites all kinds of moving images-animation, fiction, documentary and experimental films, television series, video games and even creatively packaged music videos tackling issues related to children, youth and family and that provide strong role models to children and youth while speaking positively to children of diverse backgrounds are accepted-from all over the world.

All entries submitted must be suitable for children ages 13 and un-

APRIL ISSUE 2012

Booking deadline: 04 April 2012 Material deadline: 05 April 2012 Print deadline: 13 April 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: Jess Novotná (jess@filmeventmedia.co.za) • HEAD OF PRODUCTION: Nadia Samsodien (nadia@filmeventmedia.co.za) We’re distributing 4 000 copies a month free via bulk distribution at film industry commissions and organisations; key industry meeting points like equipment houses, post facilities and broadcasters; on set; and at key industry events. This means we’ll remain the most read film industry trade publication.

After seven years of carrying the cost of mailing another 4 000 copies direct to everyone else, we’re asking for subscriptions to help us cover our rising distribution costs.

Subscribe now for just R22.80 pm to keep receiving your copy, delivered to your door every month.

Please contact us for a subscription debit order form: nadia@filmeventmedia.co.za or 021 674 0646.

• 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 20 | The Cal l sh eet

DIARISE APRIL The Pirates! Band of Misfits 13 April, cinemas ABSA KKNK National Arts Film Festival 31 March-7 April Oudtshoorn, SA Istanbul Film Festival 31 March-15 April, Istanbul, Turkey

SAFTAs red carpet

der, youth aged 14-25 years, or family (25+). The deadline for applications is 15 April, 2012.

For more information email director@lolakenyascreen.org or visit www.lolakenyascreen.org NHU Africa Calls For Content from producers AS the Natural History genre widens its scope and becomes increasingly focused on entertainment-led programming, NHU Africa is calling South Africa producers to submit ideas for compelling stories. Whether it’s an idea for an epic adventure and exploration story, or a unique and interesting look at a human and animal interaction, we would like to receive your proposals. For more information regarding the submission process please refer to our commis-

MIPTV Television Content Market 1-4 April Cannes, France

Xolile Tshabalala at the SAFTAs

sioning brief: www.nhuafrica.com/ commissioningbrief AiM 2012 Call for Entries AFRICA in Motion (AiM), one of the UK’s largest African film festivals, in its seventh year of existence, is currently accepting film submissions - features, documentaries and shorts - for its 2012 festival edition, which will take place from 25 October - 2 November 2012, at Filmhouse Cinema in Edinburgh, under the theme Modern Africa.

AiM is focusing its programme for 2012 on films and events that represent Africa as part and parcel of the modern, globalised world; and will be seeking to discover and explore - through film and other popular culture manifestations - how modernity manifests in

African cultures. We accept animation, documentary and fiction films as well as experimental work and all other forms and genres of films. Films have to be 31 minutes or longer (if you are interested in submitting a short film of under 30 minutes to the festival, please consider entering the film into our short film competition).The completed entry forms and viewing copies should reach us not later than 31 May 2012. There is no entry fee. To find out more visit: http:// www.africa-in-motion.org.uk/callfor-entries/ 15th Ismailia International Film Festival for Documentary and Short Films Call for Submissions ISMAILIA International Film Festival for documentary and short

Brussels International Fantastic Film Festival 5-17 April Brussels, Belgium

films takes place every year in Ismailia (Egypt ) to promote an intercultural dialogue for a deeper understanding of others by presenting their creative works to the audience and to encourage filmmakers of documentary and short films to continue. The competitions include a long documentary Film competition (longer than 60 minutes); Short Documentary Film Competition (maximum 60 minues); Short Feature Films competition (maximum 60 minutes); and an Animation Films competition. Deadline for entries is 1 May 2012 and films must be submitted on 35mm,Beta SP,Didital or DVD. For further information visit www. egyptianfilmcenter.org.eg

2012 Africa Movie Academy Awards April 22 Lagos, Nigeria AfrikaBurn Festival 25-30 April, Northern Cape, South Africa Hot Docs Documentary Film Festival 26 April - 6 May Toronto, Canada For more, visit www.thecallsheet.co.za/diarise Compiled by Kate Hodges

The Callsheet | 21

WRAP PARTY AT SOUTHERN SUN CULLINAN INDUSTRY EVENTS FILM & Event Media’s first networking function of the new year was a special occasion, with over 250 guests in attendance. The wrap party took place on 1 March 2012 at Southern Sun Cullinan Hotel.

T

HE swimming pool at The Cullinan Hotel provided a stunning backdrop for the gathering of Cape Town’s film industry and the balmy weather meant guests kept networking until well after dark .

Guests were spoiled for choice when it came to food and drink as the hotel laid on a spread that included canapes, wraps, lamb spit braai, burgers, fish and chips, desserts and more. There were also Thirst bars on either side of the swimming pool, a welcome drink of champagne and a whiskey tasting bar.

Holiday Murray provided funky background music as the gathered film industry filled up the venue.

With two film shoots taking place in a one block-radius, the location was well-placed! Later on that evening, Jesse Clegg entertained the crowd with an acoustic set.

We would like to thank the generous sponsors for helping make this such a memorable event: Southern Sun Hotels; Gearhouse; 1Time; Real SA; Huntalive; Thirst Bar Services; Simonsig Wines and Visual Impact.

Lucky guests won prizes throughout the evening, including: two tickets to Andre Rieu; two tickets to Jeff Dunham; four tickets for Disney on Ice; a weekend away for two people at the Southern Sun De Waal with complimentary breakfast and a weekend away for two people at the Southern Sun Waterfront with complimentary breakfast.

Film and Event Media’s next monthly wrap party will take place at Radisson Blu on 29 March 2012.

To see the full gallery of photos from this event visit our Facebook fan page .

Bryge Wachipa, Neil Du Toit and Nic Paton

Jac Williams

Lise Aves, Ravi Nadasen, Yolanda West and Hayley Band

Louise Crouse

Sabine Palfi

Greg and Tricia Francois

Carla Allen, Marius Boaden, Shirley Martyn, Ashleigh Martyn

Anja Saipeter, Tusa Jama and Zulpha Soeker

22 | The Cal l sheet

Estelle Kyle, Angie Lockets, Brenton Lockets and Clint Porter

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Broadcasting Complaints Commission of SA

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Commercial Producers’ Association of SA

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Documentary Filmmakers’ Association

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Durban Chamber of Commerce & Industry

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Eastern Cape Film Office

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+27 11 719 4023

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filmoffice@telkomsa.net

National Association of Broadcasters

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+27 11 325 5741

johann@nabsa.co.za

www.nab.org.za

National Film and Video Foundation

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+27 11 483 0880

info@nfvf.co.za

www.nfvf.co.za

South African Association of Stills Producers

Cape Town

+27 21 447 1075

info@saasp.co.za

www.saasp.co.za

SA Chamber of Commerce and Industry

Johannesburg

+27 11 446 3800

accounts@sacci.org.za

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The South African Guild of Editors

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info@editorsguildsa.org

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+27 11 888 4349

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COMPANY

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Department of Arts and Culture

Pretoria

+27 12 441 3000

minister@dac.gov.za

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Department of Trade and Industry

Pretoria

0861 843 384

contactus@gov.za

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www.ipo.org.za

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Industrial Development Corporation

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South African National Government

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Development and Tourism

SUPPORT COMPANY Cellucity

DigiCape Durban Charter Boat Bookings Film Freight

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filmfreight@filmfreight.co.za

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Masque Make-up and FX Warehouse

Nationwide

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Triosphere

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COMPANY

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Airports Company South Africa

Durban

+27 31 451 6758

customercare@airports.co.za

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Cape Town International Airport

Cape Town

+27 21 937 1200

customercare@airports.co.za

www.capetown-airport.com

Gautrain

Gauteng

0800 428 87246

National Sea Rescue Institute

Cape Town

+27 21 434 4011

info@searescue.org.za

www.nsri.org.za

Spoornet

Johannesburg

+27 11 544 9368

INFRASTRUCTURE

www.gautrain.co.za www.spoornet.co.za

DIRECTORY LISTINGS - ADVERTISERS COMPANY

REGION

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WEBSITE

A=O+L

Cape Town

+27 82 822 8239

tina@aequalsoplusl.co.za

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Aon

Gauteng

+27 11 944 7290

dani.Ettridge@aon.co.za

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Aquila Private Game

Western Cape

+27 21 430 87260

pa@aquilasafari.co.za

www.aquilasafari.com

Atlas Studios AVIS

Gauteng

+27 11 482 7111

South Africa

+27 21 4241661

info@atlasstudios.co.za

avisfilm@avis.co.za

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www.avis.co.za

Cape Theme Parks Ratanga Junction

Cape Town

+27 21 550 8504

maggie@rabie.co.za

www.ratanga.co.za

City Varsity

Cape Town

+27 21 466 6800

sean.hippolyte@cityvarsity.co.za

www.cityvarsity.co.za

Flash Photohire

Cape Town

Jaycor

Nationwide

Marvellous Montagu Media Film Services

Montagu

+27 21 418 0618

+27 11 444 1039 +27 82 886 8023

+27 21 511 3300

bruce@flashphoto.co.za

sales@jaycor.co.za helengooderson@netactive.co.za

jannie@mediafilmservice.com

www.flashphoto.co.za www.jaycor.co.za www.marvellousmontagu.com

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MovieMart

Nationwide

+27 79 982 7162

philip@moviemart.co.za

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Photohire

Cape Town

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pieter@photohire.co.za

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Razorsharp Films

Roodebloem Studios

Cape Town

Cape Town

Rosco

Johannesburg

+27 21 447 6326

UK

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sfrank@glynmarais.co.za

Scarab Industries

Cape Town

+27 21 683 2556

info@scarabindustries.co.za

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Sitewise

Cape Town

+27 21 447 3151

action@sitewise.co.za

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Sony Take2Films

Nationwide

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The Sunshine Company

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Upstairs Post Production

Cape Town

+27 21 461 8400

upstairspost@gmail.com

www.upstairspost.co.za

UVS

Cape Town

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Visual Impact Group

South Africa

+27 86 077 4373

marius@visuals.tv

www.visuals.tv

Wizardz

Cape Town

+27 21 4619334

copy@wizardz.co.za

www.wizardz.co.za The Callsheet | 23