The Callsheet Issue 04/3012

Issue 04 | 2013

MIPTV – Celebrates 50th Anniversary SAFTA Winners African Movie Academy Awards

Okuhle Media:

Turning business-as-usual on its head

www.thecallsheet.co.za

Cover Photograph: Okuhle Media

CONTENTS

Publisher: Lance Gibbons lance@filmeventmedia.co.za Executive Editor: Maya Kulycky maya@filmeventmedia.co.za

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Business Manager: Taryn Fowler taryn@filmeventmedia.co.za Advertising Sales: Jennifer Dianez jennifer@filmeventmedia.co.za Sales and Marketing Assistant: Robyn-Lee Malan robynlee@filmeventmedia.co.za Head of Design: Jess Novotna jess@filmeventmedia.co.za

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Editorial and Design Co-ordinator: Danielle Illman danielle@filmeventmedia.co.za Proudbly Published by

57 2nd Avenue Harfield Village Claremont 7708 Cape Town South Africa Telephone: +27 21 674 0646 www.filmeventmedia.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.

Join us

07

African Films Compete at SFIFF

02

Fanie Fourie’s Lobola

04

Best Liked Ads, Millwood Brown

05

Playboy South Africa’s New Photographer

06

Flying Circus

07

MIPTV

08

SAFTA winners

14

County Spotlight: Nigeria

20

Events

22

In Production

26

Industry Moves

27

Industry Update

30

Opportunities

31

Associations

32

Directory Listings

35

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www.th ecal l sh eet.co .za T H E C A L L SH EE T

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NEWS

African Films Compete at SFIFF ‘God Loves Uganda’

Director Jeremy Teicher with DP Chris Collins ‘Tall as the Baobab Tree’

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he 56th San Francisco International Film Festival (SFIFF) has announced the films in competition for the New Directors Prize and the Golden Gate Award nominees for documentary feature. Two African films are competing for the top slots.

‘Tall as the Baobab Tree’, USA/Senegal, has been selected to compete for the New Directors Prize and will have its U.S. premiere at the SFIFF. It tells the tale of a teenage girl who hatches a plan to rescue her 11-year-old sister from an arranged marriage. ‘Tall as the Baobab Tree’ is the first full-length international feature in the regional dialect of the Pulaar language of Senegal and was made by working with local communities and nonprofessional actors playing roles that mirror their own lives. The film is the feature film debut of director Jeremy Teicher. The New Directors Prize of $15,000 will be given to a narrative first feature that exhibits “a unique artistic sensibility and deserves to be seen by as wide an audience as possible.”

‘God Loves Uganda’, USA/Uganda, has been selected to compete for the Golden Gate Award (GGA) for documentary feature.

It premiered at the 2013 Sundance Film Festival in Park City, Utah. ‘God Loves Uganda’, directed by Roger Ross Williams, is an exploration of the “evangelical campaign to change African culture with values imported from America’s Christian Right.” The film follows American and Ugandan religious

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leaders fighting “sexual immorality” and missionaries trying to convince Ugandans to follow Biblical law. The GGA documentary feature winner will receive $20,000 and the Bay Area documentary feature winner will receive $15,000.

This year’s competitions are comprised of films from 19 countries. Independent juries will select the winners, which will be announced at the Golden Gate Awards, Wednesday, May 8.

The 56th San Francisco International Film Festival runs 25 April –9 May. Held each spring for 15 days, the festival is a showcase featuring 200 films and live events, 14 juried awards and $70,000 in cash prizes, upwards of 100 participating filmmaker guests, and diverse and engaged audiences with more than 70,000 in attendance.

The Film Festival is organised by the San Francisco Film Society, which presents more than 100 days of exhibition each year, reaching a total audience of more than 100,000 people. Its education program introduces international, independent and documentary cinema and media literacy to more than 10,000 teachers and students. Through Filmmaker360, the Film Society’s filmmaker services program, essential creative and business services, and funding totaling millions of dollars are provided to deserving filmmakers of all levels.

For more information visit: sffs.org/Exhibition/SF-International-Film-Festival

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‘Tall as the Baobab Tree’ is the first full-length international feature in the regional dialect of the Pulaar language of Senegal and was made by working with local communities and non-professional actors playing roles that mirror their own lives.

“

‘Tall as the Baobab Tree’

NEWS

Another Accolade for

‘Fanie Fourie’s Lobola’

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outh African romantic comedy ‘Fanie Fourie’s Lobola’ has won the Audience Choice Award for Best Comedy at the 19th annual Sedona International Film Festival and has been selected to play at the 39th Seattle International Film Festival (SIFF) in the US, which will be held from 16 May - 9 June.

This win comes on the heels of an impressive performance at the box office in its opening weekend. ‘Fanie Fourie’s Lobola’ was at number #4 on the industry top ten, ahead of ‘Argo’ and ‘The Last Stand’, and just behind ‘Hansel and Gretel’, ‘Wreck-It Ralph’, and ‘A Good Day To Die Hard’. The film also recently won the 2013 Jozi Film Festival Audience Award.

“The reviews and the opening weekend performance at the box office bode well for the film,” says Lance Samuels of Out of Africa Entertainment. “It’s a romantic comedy that exposes the country’s race issues in a way we can all relate to and laugh about,” adds Helen Kuun of Indigenous Film Distribution who released the film countrywide on the weekend.

“Once again, South African film makers are doing us proud on the international stage.

This is a great achievement. We are not just sharing our stories with the globe, but also showcasing the world class talent, within our film industry,” said South African Minister of Arts and Culture, Mr Paul Mashatile.

Co-producer Kweku Mandela says, “It’s

about what happens when an Afrikaans guy and a Zulu girl fall in love and have to navigate their way through the complicated process of lobola, but it’s also about two people who need each other to realise their dreams.”

‘Fanie Fourie’s Lobola’ stars Eduan van Jaarsveldt, Zethu Dlomo, Jerry Mofokeng, Marga van Rooy, Chris Chameleon, Lillian Dube, and Motlatsi Mafatshe. It’s produced

by Lance Samuels, Kweku Mandela and Janine Eser, and directed by Henk Pretorius, who also co-wrote the script with Eser.

Described as a celebration of the best in independent film from around the world, the

Sedona festival includes features, shorts, documentaries, animation and foreign films. This year, 145 films were screened at the nine-day festival, held in Arizona from 23 February to 3 March.

Recognized as one of the top film festivals in North America, the Seattle International Film Festival is the largest, most highly-attended film festival in the United States, reaching more than 150,000 annually. The 25-day festival is renowned for its wide-ranging and eclectic programming presenting over 250 features and 150 short films from over 70 countries each year.

NEWS

BEST LIKED

South African Ads of 2012 see are humour, kids, animals and celebrities. Of all the QSR ads on the list, humour is the common thread - something that the South African market tends to resonate with quite strongly. TV ads are increasingly seen as ‘entertainment’ and if you can make us smile or laugh, you are entertaining us”, says Millward Brown.

Also noted was that all of the QSR ads on the list had a distinct South African flavour, meaning they were localised. MTN, Bells and Castle Lite also shared this characteristic.

Congratulations to all the winners!

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…humour is the common thread - something that the South African market tends to resonate with quite strongly.

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M

illward Brown’s Best Liked Ads list celebrates South Africa’s favourite TV commercials and their advertising agencies.

These are the ads that have been rated as the ‘most liked’ by the South African audience.

2012 appeared to be ‘the year of the fast food outlet/quick service restaurant (QSR)’, with eight out of the top 20 ads falling within this category, and five out of the top 10.

Looking at 2009 to 2011, only one QSR ad made the top 10 list each year.

“Regardless of the category, some of the key ingredients in great advertising that we

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Spur - ‘Sign Writing’ by Haas Advertising Wimpy - ‘Missing Lunch’ by Draftfcb Vaseline Total Moisture Body Lotion - ‘3 Layers’ by The Hardy Boys Volvo S60 T3 - ‘Wolf’ by The Arnold Team, Boston Samsung Galaxy Note 2 - ‘Creativity’ by Cheil USA MTN - ‘Lullaby’ by Metropolitan Republic & Jupiter Drawing Room (South Africa) Johannesburg Nando’s - ‘Reason 2 (Anthem)’ by Black River FC Debonairs Pizza - ‘Master Piece’ by Morris Jones Romans Pizza - ‘School Kids with Barry Hilton’ by Blue Planet Pantene Pro V - ‘Mends Instantly with Liv Tyler’ by Grey Bells Whisky - ‘The Search’ by King James Samsung Galaxy Notebook - ‘New Way’ by Cheil USA Nando’s - ‘Reason 15 (Fire)’ by Black River FC South African Reserve Bank - ‘New Bank Notes (Nelson Mandela)’ by The Jupiter Drawing Room (South Africa) Johannesburg Johnsons African Nurture Products - ‘Beauty Secret’ by 140 BBDO BMW - ‘Connected Drive E-mails’ by Kirschenbaum, Bond, Senecal & Partners Lexus RX 300 - ‘Amazing’ by Draftfcb Castle Lite - ‘New Cold Rush’ by The Jupiter Drawing Room (South Africa) Johannesburg Nando’s - ‘Reason 24 (Close to Europe)’ by Black River FC Wimpy - ‘Grand Grillster’ by Draftfcb www.th ecal l sh eet.co .za T H E C A L L SH EET

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NEWS

Playboy South Africa Appoints New Photographer

Behind the scenes on the Miss March 2013 Gymbunny themed shoot with Sabian Ransome

Kate Lovemore, Playboy Playmate Miss March 2012 and Leah Hawker on the Pinup shoot.

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layboy South Africa has announced that Capetonian born and bred photographer, Leah Hawker, has joined their team as the official Playboy South Africa photographer.

Leah’s work has already been featured in a number of Playboy issues including the much coveted Playmate of the Year pictorial of Jade Fairbrother shot in Zambia last year, as well as Marissa Christopher’s cover shoot and the retro Playmate Pinup shoot.

Playboy says, “She specializes in our favorite subject: women – be it swimwear,

portraits, lingerie or nude and she has a particularly good reputation for bringing out the best in the subjects who get the opportunity to work with her. Leah’s work is bold, highly creative and sexy – elements that embody the Playboy brand. We foresee exciting and beautiful work ahead. Watch out for the much anticipated April 2013 cover shoot by Leah Hawker with a smoldering local beauty you’ll recognize (lips are sealed for now) as well as our April Playmate! We’re already getting excited for her plans for the next Playmate of the Year shoot…”

Jade Fairbrother © Leah Hawker

RAPTOR-4 Arrives in South Africa

NEWS

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assist in stimulating foreign investment in the local film industry. Christoff Vermeulen, ECD at Flying Circus says, “We’ve never had this level of motion-capture technology in SA. It will give rise to a range of creative concepts by using the technology in a way to create new content. After all, content creation is where everyone is going already. Hopefully this will enable creatives to relook ways of creating content and will give birth to a new approach, an approach where concepts are designed around the technology, instead of conceptualizing and then having to find ways to create it.”

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Andre van der Merwe, Producer at Flying Circus says that currently there is not a separate pricing model for local and international clients. “At this stage it’s not a dual pricing structure, it’s based on what the requirements of the project is…We’ll really measure the pricing in terms of what the specific requirements of the project will be.”

The Flying Circus says the RAPTOR-4 is particularly suited to animated films, FXheavy stunt films, films with CG characters, games, animated TV series and commercials with CG characters.

I imagine that many of the traditional players probably think we’re crazy, and they’re probably right, but if you look at the tremendous progress in the local film industry in just 10 years, then we should expect to see more visually elaborate productions coming through which would benefit hugely from having this type of facility available locally.

“

ith much fanfare, The Flying Circus Studios in Johannesburg has announced that it has purchased a RAPTOR-4 Digital Realtime Capture System. The Flying Circus says the acquisition of the RAPTOR-4 is the first motion analysis system purchase for the continent, which was used to produce the performance capture on films like ‘Tin Tin’, ‘Rise of the Planet of the Apes’, and ‘Avatar’. The rig consists of a 40 x 4 megapixel-camera setup which captures a volume of 25’ x 25’. It can capture multiple performances simultaneously within .3mm accuracy; it offers a fully integrated realtime playback of the captured performance in its environment and is equipped with a virtual camera to capture any angle of the performance on the fly.

Ron Henry, CEO of Flying Circus says, “It was a bold step in our digital development strategy and I think that the time was right for us to start to push in a new direction. I imagine that many of the traditional players probably think we’re crazy, and they’re probably right, but if you look at the tremendous progress in the local film industry in just 10 years, then we should expect to see more visually elaborate productions coming through which would benefit hugely from having this type of facility available locally.”

The purchase is raising eyebrows in the industry. One industry member compared the purchase to “buying a space shuttle” and questioned whether there is sufficient business to justify the purchase. However, high hopes were also expressed – that perhaps the acquisition will raise the profile of the local industry. Flying Circus says it intends for the technology to

FEATURE

s e t a r b Cele s r a e Y 0 5

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A Conversation with Ted Baracos, Market Development for the TV Division at Reed Midem

Q:

Why is it important for industry from across the globe to be present at MIPTV?

“

We did a conference for the first time last fall on production opportunities in Africa and one of the themes of this conference was there is a tradition of storytelling that is very rich. So maybe we’re now seeing some of that storytelling coming out strong.

A:

MIPTV is the first, foremost content market in the world and we are celebrating our 50th anniversary. The whole distribution industry was created in 1963 with the creation of MIPTV. What makes it more important today for people who are in the content business is that MIPTV is a one-stop destination to acquire and sell fresh content, and we say that it’s content on every screen - the trade show is known as the world’s market and creative forum for content on every screen. The event was founded on television but online is becoming a more and more important part of the event. Last year at MIPTV we had 500 internet/VOD buyers.

This year we already have 750 internet/VOD buyers signed up (of 4000 buyers in total).

This is obviously a major trend for the industry but especially for African producers because the barriers to entry generally can be lower and it’s a form of distribution for more niche content to be viewed. One of the things at MIPTV – YouTube will be doing a session on digital content screening. That way they can see what’s working, this is obviously opening up a new avenue for attracting audiences and this is very measurable.

Q:

Have you seen MIPTV become more global in recent years? What countries and regions have you seen a significant increased presence or impact from?

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- Ted Baracos

A:

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M

IPTV began in 1963 with just seven countries attending.

Now organizers boast that the forum attracts “the entire TV ecosystem” with attendees from 100 countries. At MIPTV 2013 (8-11 April) the TV & online content industry gathers in Cannes, France to “be inspired and to forge new partnerships” through four days of exhibition, conferences, screenings, and networking.

MIPTV, organised by Reed Midem, is a showcase and marketplace for global content, and a place to build businesses, create partnerships, and launch co-production projects at the earliest stages of development. The weekend prior to MIPTV, MIPDoc and MIPFormats constitute a two-day showcase for non-fiction and unscripted programming.

Organizers say attendees of MIPTIV this year can expect: • A tradeshow gathering all the top players of the entire TV ecosystem • A world-class conferences series delivered by the top executives from the entertainment industry’s leading companies • Innovative showcases, practical workshops & competitions that bring cuttingedge content, technologies, business models and ideas • Targeted networking & matchmaking events that put participants face-toface with leading professionals in TV & media The Callsheet spoke to Reed Midem’s Ted Baracos and the leader of the South African delegation of filmmakers to MIPTV, David Forbes, about African participation at this year’s forum and what to expect at MIPTV this year.

MIPTV usually attracts around 100 different countries which has remained very stable over recent years. In comparison, MIPTV had seven countries when it began in 1963. We‘re seeing a big surge at this MIP from Russia, China, and also South America. The country of honour at MIPCOM in October will be Argentina. I think they are regions that are starting to come into their own, the funding of content has increased so that there is more production and they are looking to share that content with other areas of the world. At MIPTV we have a strong focus

FEATURE role media can play in helping to develop the full potential of youth through education. It will be chaired by former UK Prime Minister and UN Special Envoy for Education, Gordon Brown. It is about entertainment but it has a role in educating today’s youth for the roles of tomorrow.

A Conversation with David Forbes, Independent Filmmaker/Distributor David Forbes, S.A.S.C., is an award-winning independent South African producer, director and cameraman with 29 years of experience in film.

David is leading a delegation of South African filmmakers to MIPTV.

Q: Why are you going to MIPTV? A:

on formats, and the format industry continues to be very strong and in many ways it is a very cost effective way to have a winning recipe for attracting audiences. And MIPFormats is a two-day conference that takes place just prior to MIPTV.

Q:

Is the African presence important? Has it grown?

A:

For a long time it’s lagged. We’ve been hearing a lot about the resurgence in the dynamism of Africa and we know that the continent has been going through a lot of political, economic, and social changes which usually lead to a fervour, an effervescence in audio visual creativity. I think we’re now seeing a real marking point, participation in MIP from Africa is up 45% compared to last year. And other very positive news is that there will be a South African pavilion which we haven’t seen for four years. It will be welcoming ten producers from documentary animation and formats. So it’s bringing African content to the heart of the international community.

Q: Do you believe there is an appetite for it?

A:

We did a conference for the first time last fall on production opportunities in Africa and one of the themes of this conference was there is a tradition of storytelling that is very rich. So maybe we’re now seeing some of that storytelling coming out strong. We are seeing countries like Kenya and Nigeria coming on strong…television is offering more and more opportunities for filmmakers.

Q:

What are some of the highlights of MIPTV this year going to be?

A:

We operate during MIPTV a special feature called MIPCube which is a program of conferences, of exhibitions within MIPTV that is showcasing digital innovation. And the MIPCube program includes a TV “hack” which brings together developers during a 48-hour period in Cannes to find new ways to interact with video content. So they program over this 48-hour period. It is a term used for a collaborative project, “hack”. We also have various competitions in which we feature transmedia producers and also digital startups. We have an interesting focus on branded content that is changing the TV landscape.

Meaning that brands are working more and more with producers to create original content experiences for audiences. And at MIPTV we have two big events, a Brands and Content Master Class which is a summit bringing together advertising executives and production companies and brands, and the MIPTV Brand of the Year Award which is now in its third year in which we recognize a brand for excellence in branded entertainment strategies. One of the big brands, Red Bull, is bringing Felix Baumgartner, who dove from near outer space earlier this year to give an address.

Q: Anything you want to add?

A:

Also, as part of our 50th anniversary, we have teamed up with the UN [United Nations] to have a special summit/conference on Wednesday, 10 April, specifically around the

I’m going to MIP because it is the largest film and TV market in the world and I distribute African content. What I’m trying to do is promote Africa and the sale of African content to the international market. I don’t’ buy foreign content to screen in Africa, I represent African content and want to sell African content. I don’t want Africa to be a colonized, exploited market. Basically what is happening is that we are colonized by cheap content by international players, so all of these big companies sell their content to us far cheaper than we can produce local content so it is a form of cultural imperialism. So all we know about is McDonald’s and Coca-Cola and American shows and TV and celebrities and everything and I am trying to level the playing field, I’m trying to say we also have good actors and good stories and they also ought to be heard out there in the world. I don’t want everything to be a unique cultural experience from the Americans or from Europe.

Q:

What do you think about the fact that African presence is up 45% at MIPTV this year?

A:

I attend MIP in 2010 and saw very little evidence of Africa and African content and thought there was a gap, so I began a distribution arm to my company and began to find independently produced films that were not sold or being represented in the international market and I began to grow my catalogue and to make contact with filmmakers throughout Africa. So now, I started out at DISCOP Nairobi with 25 hours of content (that was in Sept 2010) now I represent more than 1000 hours. So when I was there I saw this gap and I started to devise this strategy with Reed Midem, and

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FEATURE

Q: What do you hope to accomplish with this delegation?

A:

When you go as a group you create a much larger impact as a country because there are more of you, you are more visible. This is the first time that I will be there that we have a stand for South Africa, so we are flying the flag for South Africa and we are helping to raise awareness about the increasingly high quality of the South African product, we are increasing our competitiveness, we are educating and training these filmmakers who haven’t been exposed to these markets before. It is important for them to understand how these international markets function – that it is all business. So it is training, it is exposure, there is also a wonderful sense of camaraderie there. I remember the first MIP that I went to and you need that sort of moral support and camaraderie that helps your confidence and makes you more able to sell.

So what we want to do for MIPCom, I’ve had very, very positive discussions with dti regarding the marketing and the linkages between South Africa, Africa and the international markets. I think we are going to see this SASFED-led initiative grow from strength to strength in the coming years. We are building a market platform there.

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Q:

What do you think building that market platform should lead to for the African industry in the next five years?

A:

I think we are going to see far more coproduction and co-operation between African filmmakers. I think we will see it grow in importance - African funding and African markets. I think we will see an explosion of production and selling our product in the international arena. We see a marginalisation of many forms of content in America and Europe.

And what is fresh is coming out of Asia and South America will start coming out of Africa.

Q:

What are you trying to accomplish personally at MIPTV?

A:

I’m going to expand my network, to sell content, to find funding for co-productions, and also to help these young filmmakers to get a handle on what MIP is really all about. Because it really goes down to really small things. It took me two years to find a comfortable hotel that is close to the Palais, for instance. It’s the little things to learn that make your life a whole lot easier. So in a way I’m sort of an uncle to these people who are going for the first time, even though some of them are older than me. To me we can only advance the film industry in South Africa if we collaborate and share information with each other so that is what I am doing.

Q: Anything you’d like to add?

A:

I think more people should become aware of the incentives that the government makes available to filmmakers and should use them, because if we all use these tools we can really become a powerful force, and that’s what we want to do.

Also, as part of this big picture/plan we’ve finally started with the NFVF and the other industry players to devise a National Film Strategy (NSF), which is the first time we all have coordinated a plan to develop and promote our industry. SASFED has been key in this and it will culminate in an indaba in November whereafter the strategy will be finalized.

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“

I think we are going to see far more coproduction and cooperation between African filmmakers.

I think we will see it grow in importance - African funding and African markets. I think we will see an explosion of production and selling our product in the international arena.

- David Forbes

“

the first good outcome that happened was at MIPCom last year when Reed Midem organized the first ever focus on Africa and then coupled with that the theme in the market of the growing need and desire for African content. So basically, I then came back to South Africa after MIPCom and began trying to organize a delegation for South Africa. Reed Midem wanted to have a focus on South Africa, but I said no, no you must first focus on Africa as a continent, then we will have a focus on South Africa, then East Africa, etc. So my long term plan is to develop African exposure at MIP which is dominated by the U.S., Europe and Asia. So now, what I am trying to do is start to address that balance and I think what is happening with African participation being up 45% is word is getting back. I’ve been harping on this for a long time now and it’s starting to get back. I am leading a delegation of nine filmmakers from South Africa to MIPTV (it was ten but someone withdrew due to a family issue) and we are being supported by the NFVF and the dti which is making it possible for South Africa to once again to have a presence at MIPTV which they used to have prior to the global crash.

FEATURE

Makers of Great Things

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kuhle (say it: Okoooschle) have had a great start to 2013. Founded in 2000, the Cape Town-based company have received two more prestigious SA Film and Television Award (SAFTA) nominations, this time, for their daily live youth magazine show ‘Hectic Nine 9’ on SABC2 and ‘My Night’, a docu-reality series about 13 diverse matric students and their matric dances.

‘Hectic Nine 9’ is currently the largest children’s commission with the pubcaster, reeling in 2,5 million viewers daily. “We’re thrilled to be recognised with the nominations for ‘Hectic’ and ‘My Night’, are both produced by teams that constantly seek to make outstanding television,” says Head of Production Wilna van Schalkwyk.

Now in its eighth season, ‘Hectic Nine 9’ which is broadcast daily, Mondays to Fridays, will be the anchor production for a new 280m2 HD studio that Okuhle will be opening at Waverley Business Park in Observatory in June 2013.

The studio will serve as a hub for increased, cost-effective productions by Okuhle and will be available for servicing other broadcast clients in the Mother City.

Female- owned Okuhle has a rich history of

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productions such as travel show ‘Which Way’, teen cuisine ‘What’s Your flava’ and talkshow ‘Tell Me Something’ for SABC as well as three seasons of the popular ‘Bornfrees’ documentary series for e.tv,which follows the lives of 8 teens born in 1994. The feature length documentary ‘Glitterboys and Ganglands’ has done well on the international film festivals circuit with a Best LGBT Film award at the San Diego Black Film Festival and a nomination for Best Film at the Atlanta Film Festival. ‘Glitterboys’ is also due for a limited theatrical release in the USA this year. Both ‘My Night’ and ‘Glitterboys’ were produced by Minke Alves.

Cooking-lifestyle show, ‘Sarah Graham’s Bitten: Cooking in Cape Town’ currently in production, will premiere on SABC3 from 5 May and will be sold globally by London-based distributor DCD. The series is the first of many seasons with South Africa’s first foodie blogger to publish a book, and is a co-production with award-winning animation company Sunrise Productions.

Sarah Graham’s show is another step in a push towards greater international production offerings, with a docu-reality format about human/ dolphin interaction currently being represented by US distributor, Mar Vista, and Okuhle’s transformative family reality show ‘It’s a Wildlife’ winning a pitching forum award at Discop in November 2012. ‘It’s a Wildlife’ is now

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ADVERTORIAL being nurtured and will be presented by Head of Development and Joint CEO, Louise McClelland, at MipTV in Cannes to potential buyers and broadcasters. “Networking and keeping up with international trends is very much part of our company strategy, connecting us to the global production community. Our dedicated development department have some great projects for presenting MipTV”, said Louise.

Exposure to international trends and innovative thinking in media is an essential ingredient in the Okuhle recipe for success, with bi-annual visits to the Mip markets, Discop and most recently, shareholder and HR Manager, Vuyokazi Matu’s trip to the Emmy’s in New York as part of a Cape Film Commission delegation.

Long-time innovators and trend-makers in the social media arena, ‘Hectic Nine 9’ boasts the privilege of being the third largest media brand on Facebook in South Africa (www.socialbakers.com) with 152 000 fans and over 28 000 Twitter followers.

Okuhle Media’s uniqueness, and possibly their secret to success during the financial downturn, is that they are neither a Production company, nor an Ad agency. Okuhle is a Creative Agency that develops content for any broadcast platform, content that entertains, informs, educates, inspires or sells. They specialise in leveraging their marketing and strategic expertise combined with a creative skill that understands the market they are talking to. Clients present and past include Woolworths, Vodacom, Mediclinic, Premier Foods and of course, the local broadcasters.

They attribute their slow but sustainable growth to a determination to deliver a return on investment with every project they work on and the people they surround themselves with, these include their clients and commissioning editors.

As Okuhle enters its teenage years, this is a media company to watch as they are inspired by their slogan: “Think, Dream, Create”.

For more on Okuhle go to www.okuhle.co.za or call Louise on +27 21 4472911

FEATURE

COOKED IN AFRICA

ooked in Africa Films has based its head quarters at the tip of Africa, and opposite one of Cape Town’s most iconic surf spots in Muizenberg.

More creative agency than workplace, you’d be forgiven for thinking the studio was a surfing or a backpacker lodge - with gear, cooking utensils, and camera equipment stacked at various intervals across the studio floor. It was founded in 2003 by filmmaker, passionate foodie and local author Justin Bonello, who has made a career inspiring people to embrace a love of food, the South African way. Meanwhile he has carved a niche for himself as an innovative filmmaker who produces original, home-grown content for global broadcasters in the food and travel documentary genres.

Since 2003, Cooked in Africa has produced over 21 television series and has delivered more than 150 hours of programming across various genres to broadcasters as diverse as BBC International, Sky Network, National Geographic, Discovery and local South African broadcasters MNET, ETV and SABC - to name but a few.

As a filmmaker Justin operates on instinct, proving that he’s not afraid to try something new. Says Justin, “There are no rules in this space. We’re a home for lost souls, with an eclectic assortment of skills, backgrounds and home addresses, but we all share a common passion for converting compelling, honest and inspirational human-interest stories from the Continent into entertaining formats for a global audience.”

Most awarded producer in South Africa and self confessed ‘Ad man’, Peter Gird partnered with Justin in 2010, enabling the business to extend its offering of cost-effective creative filmmaking with high production values to embrace a Branded Entertainment model via traditional and digital platforms. Peter’s 12 years at the helm of Ogilvy’s production division, followed by 15 years heading up SA’s top production company, Peter Gird Productions, has seen the Cooked in Africa team pioneer a

new space in Branded Entertainment that provides brands with a powerful and multi-dimensional alternative to the classic 30” commercial.

Says Peter, “The timing of our collaboration three years ago was fortuitous, giving us the edge in terms of producing original, advertiser-funded content not yet seen in South Africa.

Branded entertainment is all about integrating a brand’s DNA into the fabric of the content consumers are choosing to watch, and ultimately drawing customers into an intimate and meaningful dialogue with the brand.”

In South Africa, the Branded Entertainment model is unique to Cooked in Africa, and together, Justin and Peter represent some of the best filmmaker talent in South Africa, having “cooked up” several internationally and locally celebrated reality TV series over the last few years, including five seasons of Justin’s iconic outdoor cooking series “Cooked”, 13 episodes x 30” of “Getaway to Africa”, 13 episodes x 30” of “Exploring the Vine”, 13 episodes x 30” of “Fresh Living TV”, and 13 episodes x 30” of “Charly’s Cake Angels”. The shows have also spawned 5 books including Justin’s book, Cooked in Africa, which won the Exclusive Books Book of the Year award in 2009. He has also written Out of the Frying Pan, Weekends Away and Justin Bonello Cooks For Friends.

Last year, the Team produced South Africa’s first original reality based TV cooking series, “Ultimate Braai Master” (Cooked in Africa’s flagship AdvertiserFunded property) for local broadcaster, SABC 3, also featuring Justin as presenter of the Series. According to Lara Black, Cooked in Africa’s Marketing and Sponsorship Director, “Ultimate Braai Master” was created as a multiple franchise mod-

el with legs to extend the competition outside of South Africa into other territories.

Cooked in Africa will add another 50 hours of programming to its’ portfolio of self-produced and owned content by the end of 2013, which includes “Charly’s Cake Angels” (Season 2); “ a conservation travel documentary entitled “Bush Boyes”; Moving Sushi; “Karoo – Land of Thirst” (Season 6 of Cooked); “Long Miles Coffee” (Season II), and “Ultimate Braai Master” (Season 2).

For more visit www.cookedinafrica.com Twitter: @cookedinafrica Facebook: www.facebook.com/Justin.bonello.cooked

ABOUT US

C

� � � l � � i �

Cooked in Africa Films specialises in the production of original partly funded, self-funded and advertiser-funded programmes that can be syndicated to other markets around the world, providing:• Original and entertaining content for both TV and new media platforms • Tailored and exclusive Branded Entertainment opportunities for brands within local and global TV properties CONTACT: lara@cookedinafrica.co.za

www.th ecal l sh eet.co .za T H E C A L L SH EET

| 13

FEATURE

Spotlight on the SAFTAs!

SAFTAs Judging

uphold the integrity of the awards. The SAFTAs have come a long way and it is encouraging to see all the role players, including industry peers, government, and broadcasters holding hands in ensuring the awards evolve.”

Murphy holds a BA Hons Degree (UCT) and has been organising film festivals for over 20 years. Professionally she has been variously a feature film scriptwriter, editor, producer, and a director and producer of documentary films. She is the co-founder of the two most successful film festivals in South Africa; the Out In Africa Gay & Lesbian Festival, and Encounters Documentary Festival.

Once again, previous winners and nominees of the SAFTAs served as judges. This year all the judging phases were skills specific, focusing on important areas of Script/ Content, Creativity and Execution.

The judging process for this year’s SAFTAs commenced on 8 November, with filtration of all the qualifying submitted projects. This year the SAFTAS saw a record 354 entries qualify to proceed through the filtration process - which was followed by final judging. The entries that qualified included 19 feature films, 10 Drama Full, 05 Drama Mini, 11 Comedy, 08 Soapies, 26 Documentary Features, 13 Animation, 32 Youth and Children, 35 Factual and others.

This year a new category called International Format was introduced, resulting in six qualifying entries.

The SAFTAs committee included all the broadcasters: SABC, Top TV, e.tv, M-Net and industry organisation SASFED and the NFVF. Monde Twala, e.tv Group head of channels said, “e.tv remains committed to working together with the NFVF and the SAFTAs Committee to address concerns around the independence of the awards. Our efforts aim to bolster industry competence and transparency. It is important that we work towards ensuring genuine reward for the countries diverse film and television talent pool.”

The newly appointed SAFTAs overall chairperson of the judges, Nodi Murphy, thanked the committee in entrusting her with such a huge responsibility. “I believe that all the judges are committed and will

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“

This year the SAFTAS saw a record 354 entries qualify to proceed through the filtration process - which was followed by final judging.

“

S

outh Africa has rolled out the red carpet for the South African Film and Television Awards (SAFTAs). The SAFTAs are presented under the auspices of the National Film and Video Foundation of South Africa (NFVF) to honour, celebrate, and promote the creativity, quality and excellence of South African film and television talent and productions. The goal is to encourage entrepreneurship and the development of new talent within the industry.

In a glitz and glamour filled celebration on the 15 and 16 March winners were presented with the Golden Horn, the official SAFTA Trophy. But how did they get there?

What is the winning combination for the SAFTAs? The following is a guide to how organisers say judging takes place.

‘Adventures in Zambezia’

‘The Last Lions’

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COMING UP Francophone African Countries in the Lead for

AMAA 2013 Entries

‘Otelo Burning’ (2011), AMAA 2012 winner

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... a total of 671 films have been submitted for AMAA this year, compared to an average of 300 plus that were entered in previous editions.

“

F

or the first time since its founding in 2005, the African Movie Academy Awards (AMAA) experienced a remarkable increase in the number of films that were submitted by filmmakers across Africa and in the Diaspora, with francophone African countries leading the pack.

According to Mr Shuaib Hussein, a member of the awards jury and Chairman of the College of Screeners, a total of 671 films have been submitted for AMAA this year, compared to an of average of about 300 that were entered in previous years.

“This year is a milestone for AMAA as the award will hold its 10th edition and surprisingly the French speaking African countries have finally embraced the award as the best and biggest in Africa. I want to give kudos to the promoters of this award for the commitment and dedication. It is a lot of hard work to really get the French speaking countries to believe in AMAA. Before now, we usually got films from more than two to three francophone countries, but this year, it is a clean sweep. We have entries from Togo, Congo, Cote d’Ivoire, Mali, Niger Republic, Benin Republic, Guinea, Senegal and Cameroon. We are happy about this development. The promoters of AMAA have ensured that the integrity of the award remains unassailable and this accounts for the level of huge participation across Africa and the Diaspora,’’ he noted.

Giving the breakdown of the entries, Hussain noted that 184 short films, 108 diaspora features - documentaries and shorts films, 60 documentaries from Africa and 319 feature films from within and outside Africa, including films made by Africans living abroad, were received. He also said that filmmakers from South Africa, Nigeria, Ghana, Kenya, Gambia, Zimbabwe and Sudan also entered their films. “From diaspora filmmakers, we received entries from United States, Brazil, Singapore, UK, Trinidad & Tobago and Jamaica. This is a fitting way to celebrate the 10th edition of AMAA,’’ he said.

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The 15-member screening body that started full camp on 25 February in Banjul, Gambia, has members from Nigeria, Ghana, South Africa, Senegal, Cameroon, Benin Republic, Mali, Burkina Faso and Togo.

“Before the camping stage all the films have been pre-selected by members of the academy’s pre-selectors scattered all around Africa. At the pre-camp stage, films are pruned down and films weeded out were those that do not meet entry rules such as films that are more than 2 hours long, films that are inconclusive, language films or films in vernacular that are not subtitled and films that are generally of poor quality,’’ Hussain said.

The 2013 AMAA will take place on 25 April in Bayelsa, Nigeria, home to Nollywood, the world’s second largest film industry behind Bollywood. The theme for the 2013 edition is “Africa-One-Africa without borders the integration cinematically”.

According to Mrs Peace Anyiam-Osigwe, founder and CEO of the Academy, this has been an exciting year for African cinema as many big budget productions have been in the works on the continent and distribution is becoming more accessible to African films. However, only films produced, premiered and or released between December 2011 and November 2012 are eligible for this edition of the AMAA. Features may not exceed 120 minutes and shorts should not be longer than 40 minutes.

The AMAA are celebrated by a glamorous award ceremony where directors, actors and writers from the African film industry are recognized for excellence. This gala event, where the awards are presented, is televised live around the world and attended by international media representatives, Hollywood celebrities, Nigerian politicians, journalists and actresses & actors from all across Africa. International and local observers have fondly called the AMAA’s the “African Oscars”.

The winning films for the 2012 AMAA’s included ‘How to Steal 2 Million’, a South African action drama, written & directed by Charlie Vundla, ‘Otelo Burning’, another South African drama directed and produced

by Sara Blecher and ‘Shattered’, a Kenyan film produced by Dream House Productions and directed by Gilbert K Lukalia.

The

Callsheet Africa’s Leading Film Industry Magazine

The

Issue 11 2012

Callsheet Africa’s Leading Film Industry Magazine

Hot New Trends From IBC Talking About Final Cut X DISCOP Update

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Now available on an online and print platform!

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COUNTRY

SPOTLIGHT © Can Stock Photo Inc. / piccaya

NIGERIA

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gerian Cinema is Africa’s largest movie industry in terms of both value and the number of movies produced per year. Nollywood has become the second largest film industry in the world in terms of number of annual film productions, placing it ahead of the United States (Hollywood) and behind the Indian film industry (Bollywood). Approximately 200 videos for the home video market are created every month and Nollywood is said to be a US$ 250 million industry.

What’s Happening Now According to Nollywood director Lancelot Oduwa Imasuen the biggest problem the Nigerian Film Industry is facing at the moment is piracy. Only one in ten DVDs is sold legally. For as little as US$ 1, you can get the latest films on Lagos’s busy streets. Nigeria’s president, Goodluck Jonathan, has pledged 130 million euros to try and tackle film piracy as this problem is impacting foreign investment.

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Nigeria, the home of hospitality, a land with diverse opportunities.

- Nigeria Tourism

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f you are looking for a fascinating, lively African experience, this country in Western Africa will captivate you with its rich ethnic diversity and variety of cultures.

Whether it is the county’s national parks and landscapes that attract you, the thriving Nigerian cinema scene, Nollywood, or the modern event centres in one of Africa’s leading conference hubs, Nigeria has something for everyone who’s keen on exploring this mesmerising country.

Nigeria is located in Western Africa, bordering the Gulf of Guinea, between Benin and Cameroon. It has five major geographic regions: a low coastal zone along the Gulf of Guinea; hills and low plateaus north of the coastal zone; the Niger-Benue river valley; a broad stepped plateau stretching to the northern border, and a mountainous zone along the eastern border. It is Africa’s largest oil producer and most populous country with 250 ethnic groups. Over the last two decades it has experienced population growth of 57 million from 1990 to 2008. Ni-

COUNTRY

SPOTLIGHT

TINAPA RESORT

Key Venues LAGOS ISLAND

Lagos Island contains a central business district. This district is characterized by high-rise buildings. The island also contains many of the city’s largest wholesale marketplaces (such as the popular Idumota and Balogun markets). It also has the National Museum of Nigeria, the Central Mosque, the Glover Memorial Hall, Christ’s Cathedral, and the Oba Palace. Though formerly

in a derelict condition, Lagos Island’s Tinubu Square is a site of historical importance.

Tinapa is a business and leisure resort just north of Calabar. The Tinapa Free Zone & Resort has facilities for retail and wholesale activities as well as leisure and entertainment. An entertainment strip contains a casino, digital cinema, children’s arcade, restaurants, a mini amphitheatre, a night club and pubs. There is an artificial tidal lake that feeds from the Calabar River, a Water Park/ Leisure Land and parking Space for about 4,000 cars. Business facilities include an open exhibition area for trade exhibitions and other events, and a movie production studio commonly called “Studio Tinapa” or “Nollywood”. It is set to become the most modern film production studio in Nigeria.

The resort also has a truck terminal, and gets power from an independent power plant.

EKO ATLANTIC CITY Eko Atlantic City is a planned 21st-century city, the size of Manhattan, intended to be built on land reclaimed from the Atlantic Ocean. Already, most of the land has been reclaimed. The project is planned to return the coast to its position in the 1950s and 1960s, reversing damage done by erosion.

Getting to Nigeria by Air Murtala Muhammed Airport Lagos is the nation’s busiest. It is located in Ikeja, Lagos State, Nigeria, and is the major airport serving the city of Lagos, south-western Nigeria and the entire nation.

Population 170,123,740 in July 2012 according to The CIA World Factbook

Climate

Wusa Market © Jeff Attaway

Nigeria enjoys a humid tropical climate type.

The country has 4 seasons namely, the long rainy season (1 March - end of July), the short dry season (in August for 3-4 weeks), the short rainy season (early September to mid-October) and the long dry season which starts from late October and lasts to early March with peak dry conditions between early December and late February.

You Need to Know about

Concept for Eko Atlantic City, Nigeria

The official African Movie Academy Awards (AMAA) ceremony is scheduled to take place in Nigeria from the 14th of April. AMAA is an annual celebration of the African film industry and claims to be the largest gathering of movie makers across the African continent. Nigeria also hosted the semi-final round of the 2011 Emmy Awards.

www.th ecal l sh eet.co .za T H E C A L L SH EE T

| 21

EVENTS

April

May

June

ADC 92ND ANNUAL AWARDS 2-4 April

ONE SHOW DESIGN 7 May

ENCOUNTERS SOUTH AFRICAN INTERNATIONAL DOCUMENTARY FESTIVAL 6-23 June

Miami, Florida, U.S.A.

New York, New York, U.S.A.

THE ONE SHOW 8 May

MIPTV 8-11 April

New York, New York, U.S.A.

Cannes, France

LEBOOK CONNECTIONS TOUR 2013 10-11 April Paris, France

LONDON FILM FESTIVAL 11-22 April London, England

TRIBECA FILM FESTIVAL 17-28 April New York, New York, U.S.A.

ONE SHOW INTERACTIVE 11 May New York, New York, U.S.A.

ANNECY INTERNATIONAL ANIMATED FILM FESTIVAL 10-15 June Annecy, France

CANNES FILM MARKET (MARCHÉ DU FILM) 15-24 May

CANNES LIONS INTERNATIONAL FESTIVAL OF CREATIVITY 16 - 22 June

Cannes, France

Cannes, France

CANNES FILM FESTIVAL 15-26 May

NATIONAL ARTS FESTIVAL GRAHAMSTOWN 27 June - 7 July

Cannes, France

GOLDEN AWARD OF MONTREUX 22-23 April

OUT IN AFRICA GAY AND LESBIAN FILM FESTIVAL CAPE TOWN 17-18 May

Montreux, Switzerland

Cape Town/Johannesburg, South Africa

HOT DOCS 25 April – 5 May

SATCOM AFRICA 27-30 May

Toronto, Canada

Johannesburg, South Africa

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL 25 Apr-9 May San Francisco, United States

© AFS Productions

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Cape Town, South Africa

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Grahamstown, South Africa

AFCI LOCATIONS SHOW 28-29 June Los Angeles, United States

EVENTS

www.th ecal l sh eet.co .za T H E C A L L SH EET

| 23

COMING UP

MOTHER CITY

to Host SA Edition of The Tribeca Film Festival

“

African filmmakers will be able to take advantage of this opportunity to get a leg-up in the competitive international movie industry.

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n agreement between espAfrika and The Cape Film Commission (CFC) to host the Cape Town edition of the Tribeca Film Festival is generating industry buzz. espAfrika, the organisation that organizes the Cape Town International Jazz Festival, has signed a five year agreement to host the Cape Town edition of the Tribeca Film Festival, starting in this year.

This new initiative emanated from a visit from the directors of Tribeca to the Cape Town International Jazz Festival in March 2011. espAfrika was approached to manage and produce the Tribeca Film Festival

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in South Africa in a way similar to how the franchise is managed at the Tribeca Film Festival in Doha. “We are pleased to announce that after discussions with Denis Lillie of the CFC, we have reached an agreement to work together to bring this project to reality for the benefit of the African film industry and South Africa,” said Rashid Lombard, CEO of espAfrika. An important part of the agreement seems to include indepth discussions as to how the CFC could work with Tribeca and develop some of their mentoring, enterprise development and training programmes which form part of their festival. “The opportunity this creates

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for the local and African film industry is very important as the festival will create a much needed international platform for our local filmmakers and industry,” notes Lillie. “The festival also has a very strong training and development component which will form an integral part of what we are planning”.

The Tribeca Film Festival was established in 2002 in response to the September 11, 2001 attacks on the World Trade Centre and the consequent loss of vitality in the Tribeca neighbourhood in Lower Manhattan. The festival, co-founded by Jane Rosenthal, Robert De Niro and Craig Hatkoff, was designed to promote the cultural and economic reviv-

COMING UP

al of this Lower Manhattan neighbourhood.

It provides a platform for innovative filmmakers to showcase their latest work. It has been successful in its aims and objectives and has launched the careers of many filmmakers. The festival attracts nearly three million people including celebrities from film, art and music.

The Festival’s mission is to help filmmakers reach the broadest possible audience, showcase the power of cinema, and promote New York City as a major filmmaking centre. It is well known for being a diverse international film festival that supports emerging and established directors.

Over 1,300 films from over 80 countries have been screened at the Festival since its first festival in 2002. Since its founding, it has attracted an international audience of more than 3.7 million attendees and has generated an estimated $725 million in economic activity for New York City.

The agreement between espAfrika and The Cape Film Commission (CFC) will see to it that the Festival, which will take place from 17-28 April, has a strong training and development component. African filmmakers will be able to take advantage of this op-

portunity to get a leg-up in the competitive international movie industry. Last year The Cape Film Commission, The South African Consulate, The Department of Trade and Industry, the Gauteng Film Commission and the Durban Film Office made it possible for 22 South African filmmakers to attend the festival. The purpose of these organizations’ participation in the Tribeca Film Festival is to expose South African filmmakers to the Festival with a view of forging partnerships with U.S. filmmakers and producers and to showcase South African content to international content buyers and financiers.

The Film Commissions and offices in collaboration with the South African Embassy in New York and the dti will be embarking on a joint venture once again, taking a delegation of South African filmmakers to the this year’s Festival.

The Festival recently announced their feature film selections for their Spotlight and Midnight sections which include 21 narrative and 12 documentary projects. This year’s choices will include top Hollywood talent including Paul Rudd, Paul Giamatti, John Cusack, Gemma Arterton and Zoe Kazan. Festival attendees can expect to see

the world premieres of several highly-anticipated film projects from indie mainstays like Neil Labute and Richard Linklater, as well as new projects from veteran directors like Neil Jordan and David Gordon Green.

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IN PRODUCTION UNCONFIRMED SPECULATION ‘THE ROAD TO FREEDOM’

T

hanks to ever-present confidentiality clauses, no one is ever allowed to officially talk about what’s in production in Africa, so this monthly section is an unofficial overview of the industry’s worst-kept secrets.

It seems April is likely to be the lull before the storm, with little actually confirmed but much on the horizon from June.

‘THE PRICE OF SUGAR’ Spier Films is executive producing ‘The Price of Sugar’ (‘Hoe Duur Was De Suiker’), directed by Dutch director Jean van de Velde.

Van de Velde is familiar to South African crew from directing ‘The Silent Army’ here, which was disqualified as The Netherlands’ Best Foreign Film submission in 2009 because it had screened in Dutch theatres in an alternate version.

Similarly, producer Richard Claus has worked in South Africa before, on ‘The Silent Army’; South African Film and Television Award winner ‘Black Butterflies’; and the post-production for ‘De Heineken Ontvoering’.

An official South African / German / Dutch co-production, ‘The Price of Sugar’ is expected to shoot in Cape Town and Durban. It has been described as a feature film, four-part mini-series and made-for-TV movie.

Apparently, it’s an adaptation of Cynthia McLeod’s historical novel of the same name about slavery in the South American republic of Suriname, a former Dutch colony. It’s been

described as a “bodice-ripper” which “also provides insight into the decadent, privileged life during the middle of the eighteenth century.”

‘DIE WINDPOMP’ The feature film adaptation of the award-winning AFDA film ‘Die Windpomp’ started shooting 18 March 2013 in and around Cape Town.

Writer/director Ettiene Fourie is still in charge, while ZenHQ Films have signed on as the production company, with Chris Roland producing.

The production held a nationwide search with Jacaranda FM for the ‘Die Windpomp’’s leading lady, which was won by Leandie Du Randt (‘Klein Karoo’, ‘Getroud Met Rugby’, ‘Egoli’). Ian Roberts has also joined the cast.

‘Die WIndpomp’ is a quirky love story about a 17-year-old who moves into a retirement village, where not everything is at it seems.

‘BLACK SAILS’ Film Afrika is still shooting ‘Black Sails’, a Treasure Island prequel set 20 years earlier than Robert Louis Stevenson’s classic novel.

Toby Stephens, the son of Dame Maggie Smith, stars as Captain Flint; Luke Arnold (‘The Pacific’) plays John Silver; and Tom Hopper (‘Merlin’) is Billy Bones, while other faces you might recognize include Zach McGowan (‘Shameless’) and Nigerian/South African star Hakeem Kae Kazim. It’s expected to shoot at Cape Town Film Studios (CTFS) until around May 2013.

While the exact timeframe is unclear, IMDB says German director Rainer Matsutani’s ‘Striving For Freedom’ (aka ‘The Road To Freedom’) is currently in pre-production. The art department is rumoured to have been prepping the epic period drama from January-March 2013.

It’s the story of Prussian immigrants in America, set against a fictionalized background to the only unbroken peace treaty between First Nations People and settlers.

‘THE SALVATION’ While the exact timeframe is unclear, Spier Films is producing ‘Salvation’, directed by ‘The King is Alive’’s Kristian Levring, co-written by ‘In a Better World’ screenwriter Anders Thomas Jensen, and produced by Lars Von Trier’s Zentropa. The Hollywood Reporter says Mads Mikkelsen (‘The Hunt’, ‘Casino Royale’) will star in the “Nordic Western…” set in “1870s America.”

‘THE LION’S SHARE’ Variety says Moonlighting Films will produce ‘Lion’s Share’, an indie political thriller about Somali pirates, starring Jim Sturgess (‘Cloud Atlas’, ‘21’) and Djimon Hounsou (‘Gladiator’, ‘Blood Diamond’). Nathan Morland (‘Citizen Gangster’) will direct, with shooting apparently scheduled for September in South Africa and Kenya.

We’d like to hear from you!

Share production updates or news to The Callsheet at editor@thecallsheet.co.za.

VLOKKIE GORDON

INDUSTRY MOVES

departs Film Afrika for new venture

A

fter 16 glorious years at Film Afrika, Vlokkie Gordon is leaving the company at the end of March to head up a new production division for Sabido Investments. As head of physical production at Film Afrika, she oversaw the company’s growth from 3 people and a dog operating out of a garage to a fully integrated business that has successfully managed nearly R2billion in local production spend - at an economic multiplier of 5, this translates into an extraordinary R10bn in local jobs and economic activity.

In her new incarnation, Vlokkie will be working closely with Marcel Golding to pro-

duce films and TV productions for distribution locally as well as internationally via Sabido affiliate Powercorp based in the UK. During her tenure at Film Afrika she nurtured one of finest production teams in the country and leaves the company in the very capable hands of the finest management personnel in South Africa.

Says Film Afrika founder and CEO, David Wicht “I have been enormously privileged to have had Vlokkie as partner and friend for 16 years – we celebrate her success and look forward to seeing her going from strength to strength.”

INDUSTRY MOVES

Strategic New Partnership for Durban FilmMart

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award,” says Aude Hesbert of Paris Cinema International Film Festival. “It is especially exciting to be launching this award when France is looking to the south for cultural and aesthetic inspiration during the South Africa France Season 2013. “ Paris Cinema, supported by the Paris City Hall, is described as an annual democratic and off-beat event that aims to discover up and coming filmmakers through an international competition, but also explores a wide range of cinematic styles (through French Premieres, retrospectives, tributes as well as outdoor and special events), in early July at many locations all over Paris.

“Since its inception, DFM has been fortunate to secure valuable local and international partners, sponsors and backers that have supported the development and growth of the both the market and the projects presented.” says Monty. “DFM aims to continue to build on this partnership base to ensure that we are is able to offer participants a broad range of opportunities and market access points. So we are truly pleased to have added another really significant prize and opportunity to the market. “ The 4th Durban FilmMart will take place from 19 to 22 July 2013 during the 34th edition of the Durban International Film Festival (18-28 July) and will present an official selection of about 10 fiction projects and 10 documentary projects.

For more information on the Durban FilmMart visit www.durbanfilmmart.com.

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Representatives of one DFM project will be selected to attend the prestigious annual Paris Cinema International Film Festival, further strengthening strategic linkages between France and the next generation of African Filmmakers.

“

A

strategic new partnership was recently formed at this year’s Rotterdam CineMart when the Durban FilmMart (DFM) signed an agreement with Paris Project, the coproduction and development platform of the Paris Cinema International Film Festival, which is chaired by celebrated actress Charlotte Rampling.

One of the key objectives of the DFM, a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF), is to act as a valuable feeder stage in bringing African projects to other established co-production markets across the globe.

“The partnership sees a Paris Project Award being given to a DFM project and is a welcome addition to the DFM prize-list.” says Toni Monty, of the Durban Film Office.

“Representatives of one DFM project will be selected to attend the prestigious annual Paris Cinema International Film Festival, further strengthening strategic linkages between France and the next generation of African Filmmakers.”

One project will be awarded two complimentary return air tickets and four nights’ accommodation to participate in the market and increase their global networks. Paris Project is one of the selected events in the South Africa France Season, and one project from last year’s DFM will be selected for this year’s market.

“We look forward to engaging with some of Africa’s leading film talent through this

INDUSTRY MOVES

I� M�m��i�� - Ri�h�r� M����w�

F

or over 30 years Richard Matthews worked at the pinnacle of natural history filmmaking. Beginning in 1979 with the world-renowned BBC Natural History Unit, on series such as Wildlife on One, The Natural World, and David Attenborough’s The Living Planet, he went on to establish himself as a successful independent documentary filmmaker with a reputation for outstanding excellence. His talents and abilities were prodigious. He was not just a highly competent producer and director, but also a cameraman with an exceptionally good eye. His films have received five Emmy awards and a BAFTA. Central to Richard’s success was the high standard of excellence that he set for himself and his colleagues. Always looking to improve the genre in which he worked he pushed everyone, including himself, to better their work.

He was particularly adept at thinking technical solutions to creative challenges. So, when filming in the Serengeti in the 1980s, he designed and built the car door balcony bracket

which is now essential to African wildlife filmmaking. And to help improve his great love of aerial filming he designed and built an exquisitely stabilised gyrocamera mount for use in light aircraft or helicopters.

Richard’s credits include Living Planet: Seas of Grass; Emas – High Plains of Brazil; The Secret Leopard; Queen of the Beasts; Crater of the Rain God; Kimberley – Land of the Wandjina; Nightmares of Nature; Wild Indonesia; Snake Hunter; King Cobra; Benguela and the Burning Shore; Namib; Golden Seals of the Skeleton Coast; Lake of the Flies; Flying Hooves Fleeting Shadows; Spunky Monkey; Death Squeeze; Big Cat Diary; Flying with Condors; Jessica the Hippo; Search for the Coast Wolf; Running with Wolves; the BBC feature film The Meerkats; The Great Rift; Amazon with Bruce Parry; National Geographic’s Great Migrations; the recent BBC series Africa; Strandwolf; and A Wild Dog’s Tale.

Richard is survived by his wife Samantha and their 2 children, Nathan and Isabella – who were his North star and whose love and support he cherished.

--Samantha, Nathan and Isabella --Joe Kennedy & Katharina Pechel – Table Mountain Films --Rob Cowling and Kate Whitehorn – Wild Images TV

Dani Hynes Joins Egg Films

L

ong-time creative turned commercials director, Dani Hynes is the newest addition to Egg Films.

Four years ago, Hynes decided to leave behind working at an ad agency and turn her attention to using a camera rather than a pen to get the message across.

Hynes has worked on brands like Nando’s, Geely, Nokia, Yellow Pages, Revlon, Game and Vodacom.

Werner Puchert Promoted at Tequila\ Johannesburg

Werner Puchert

W

erner Puchert has been promoted from Head of Digital Strategy to Digital Strategy Director at Tequila\Johannesburg a future trends and strategic digital creative agency.

Entering the industry in 2004, first as developer, Puchert then expanded his focus to include User Experience and Digital Strategy. He has worked as lead digital strategist on brands such as Standard Bank, Steers, IEC, MARS, Nissan, SABC, VISA, Neotel and Tiger Brands. Puchert is a member of The Information Architecture Institute and was appointed in 2012 as a Director to the Tequila\Johannesburg Board.

www.th ecal l sh eet.co .za T H E C A L L SH EET

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INDUSTRY UPDATE - PRESS RELEASES

CORRECTION OF STATEMENTS IN THE MEDIA REGARDING THE ACOO Johannesburg – Monday 04 March 2013 At the SABC Board Meeting held on Thursday the 21st of February 2013 chaired by the Board Chairperson, the Board resolved to defer a discussion on the issue of the Acting Chief Operations Officer to a special meeting to be held in Cape Town, ahead of the Board’s presentation to Parliament’s Portfolio Committee on Communications. Indeed the special meeting sat on Monday the 25th of February 2013.

The notice for the meeting was circulated after the Thursday 21 February 2013 meeting. At this quorate, properly constituted meeting (as prescribed by Section 16.2, 16.3 read with 8.1.2 of Articles of Association) in Cape Town, the additional agenda item deferred from the previous Board meeting was proposed for addition onto the notice and the meeting unanimously resolved to continue with the meeting as a Special Board meeting (as it complied with all the statutory requirements), and empowered the meeting to include on the Agenda the issue of the Acting Chief Operations Officer (deferred from previous Board meeting).

On the acting COO agenda item, the meeting resolved to release Mr. Hlaudi Motsoeneng of his responsibility as Acting Chief Operations Officer effective immediately and for him to revert back to his previous position. The meeting further appointed Mr. Mike Siluma as the new Acting Chief Operations Officer with immediate effect. Whereas, Mr. Siluma resigned, he will continue to act until end of April 2013.

The following morning (Tuesday) 26 February 2013, the Board debriefed the Board Chairperson on his arrival and he accepted the Board’s decision but requested implementation to be postponed to Monday the 4th of March 2013, which the Board decided would not be helpful in terms of the stability of the Corporation. The GCEO subsequently implemented the decision and a courtesy letter (not a statutory

30 | T HE C ALLSHEET

requirement) was drafted to inform the shareholder. Another letter was also drafted for the former acting COO, subsequent to him having been formally informed in person. It is critical to note that, since then, the Board has not met to rescind this resolution. It cannot be then that the Board resolution to relieve the former acting COO of his acting duties has been rescinded.

The so called “withdrawal” of letters signed by the Deputy Chairman Thami ka Plaatjie (on behalf of the Board) does not have any effect on the Board resolution taken at a properly convened Board meeting. The resolution stands until rescinded by another properly constituted Board meeting.

The report (if accurate) in The New Age is regrettable as neither the Chairman nor the Deputy Chairman nor both have the power or authority to unilaterally change a Board resolution. No such provision exists in the Broadcasting Act of 1999, Companies Act of 2008, Articles of Association / draft Memorandum of Incorporation. The Board will meet in order to seek clarity from the Chairman and the Deputy Chairman regarding the newspaper reports.

- Source: SABC

Excerpted Press Release from SOS: Support Public Broadcasting Coalition - 06 March 2013 Dear Mr Kholwane NEED FOR AN EMERGENCY PARLIAMENTARY HEARING TO RESOLVE CRISES AT THE SABC BOARD AND MANAGEMENT LEVEL The SOS: Support Public Broadcasting Coalition notes with profound dismay and deep concern the ongoing crises at the SABC, at the level of both management and the Board.

Last week the Acting Chief Operations Officer (COO), Hlaudi Motsoeneng, was released from his position of COO and veteran journalist Mike Siluma was appointed in his place. We were then informed that Mr. Siluma

www. t hec allsheet . c o. z a

had resigned. It seems that the Chair of the Board, then attempted to unilaterally reinstate Mr. Motsoeneng as Acting COO. Board members however have opposed this.

Amidst and fuelling instabilities, there have been a number of rumours around the removal of Mr. Motsoeneng. Media reports have linked his removal to a Special Investigations Unit (SIU) Report that allegedly implicates certain board members in corruption. The SABC Board was due to present this report to Parliament last week but the meeting was abruptly postponed till May 2013.

The Coalition calls on Parliament to hold an urgent public hearing to address the following issues: • The recommendations and implications of the SIU report; • Internal board conflicts, including the role of the Chair in these conflicts; • The issues raised in Board members’ resignation letters; and • Ongoing problems at a senior management level at the SABC. We call on Parliament to ensure the SIU report is tabled and that its content and recommendations are rigorously debated, assessed and transparently acted upon.

Further, Parliament must boldly address the ongoing instability at Board level. The Coalition notes once again the critical information revealed by the resignation letters of a number of Board members since the Board took office in 2010. These include problems with corporate governance and ministerial interference.

Also, Parliament needs to thoroughly investigate the issues surrounding the removal of Mr. Motsoeneng, the resignation of Mr Siluma, and the ongoing instability at top management level in the SABC. Finally, we call on Parliament to demand that the SABC is more forthcoming and transparent in its communications to a very concerned South African public. It is deeply worrying that South Africans should learn of the on-going and very public disputes and instabilities within the Board and executive from the press citing unnamed sources instead of from the public broadcaster itself whose core function it is to communicate.

Yours sincerely, Kate Skinner Sekoetlane Jacob Phamodi Acting Coordinator Campaign Organiser On behalf of the SOS: Support Public Broadcasting Coalition

OPPORTUNITIES

Filmmakers Wanted to Contribute to SACRED

W

NET New York Public Media seeks filmmakers from around the globe to contribute to SACRED, a major new documentary film about the world’s religions depicting 365 days of religious life on seven continents.

Filming begins on the summer solstice, 21 June.

All filmmakers are welcome to become a

Deadline ies: For Entr 31 May 2013

part of SACRED’s global network of filmmakers. WNET New York Public Media is looking for professional filmmakers to provide dramatic, uplifting footage of religious events ranging from well-known holy days in major cities to lesser known events in hard to reach places.

WNET New York Public Media want to hear from filmmakers about any event-personal or

public, small or large-that can be called Sacred.

Selected filmmakers will be commissioned to help capture the moments from every religious tradition, in every nation on earth. SACRED aims to be the ultimate portrait of religious life.

In addition to footage from professional filmmakers, WNET New York Public Media will welcome footage from anyone who wants to film an event that is Sacred to them.

Every person whose footage is selected for the film will receive a stipend and onscreen recognition.

The shooting period will coincide with the solar year, ending 365 days later on the following summer solstice, June 21, 2014.

By using the solar year, SACRED’s producers will capture a year of rites, rituals, and holidays without singling out the calendar of any one religion.

SACRED will have limited theatrical release and be seen by a global audience.

Filmmakers can apply and find out more about the film by visiting the website: http:// sacredthemovie.org/

Tri Continental Film Festival 2013 Open for Entries

Please send entries with completed Entry Form to: Cliff Roach Programme Manager Tri Continental Film Festival P O Box 233, Muizenberg Cape Town 7950 South Africa

For Entry Form visit:

www.3continentsfestival.co.za/call/Tri%20 Continental%20Film%20Festival%202013%20 Entry%20Form.pdf If you are sending your film via a link and password, please email the entry form to cliff@uhuruproductions.co.za

Physical Address: Cliff Roach Programme Manager 10 Oudevlei Road Marina Da Gama Muizenberg 7945 Cape Town South Africa

For all enquiries related to entries, email cliff@uhuruproductions.co.za

GOOD PITCH, Johannesburg 2013 – Call for Entries Subm i dead ssion line: 30 April 2013

What’s the Big Idea?

Good Pitch brings together filmmakers with NGOs, foundations, philanthropists, brands and media around leading social issues – to forge coalitions and campaigns that are good for all these partners, good for the films and good for society.

For more information visit: http://people2people.co.za/?page_id=2244

Open for African documentary filmmakers who believe film can make a difference If your project: • Tackles important social issues • Is between any stage from early production to completion • Is or will be 60 minutes or more in length when complete • Has a trailer ready for submission by April 30th, 2013

www.th ecal l sh eet.co .za T H E C A L L SH EE T

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ASSOCIATIONS

The South African Screen Federation (SASFED) is a federation of independent film, television and audiovisual content industry organisations.

R

amadan Suleman, the SASFED Co-Chair has recently presented a speech on behalf of the independent film industry at the National Film Strategy Development Workshop, near OR Tambo in Johannesburg. Suleman stated that the South African Screen Federation (SASFED) represents a broad cross section of the independent film and television industry in South Africa, a total of more than 2200 individual members via affiliates and 171 member companies employing between 1 and 80 people each. According to Suleman both the government and the National Film and Video Foundation recognise SASFED as the biggest and most diverse national representative of the independent industry. “SASFED represents the core of the creative film and television industry in South Africa.”

“SASFED has already aligned itself with the NDP, facing challenges, accepting interlinked priorities and endorsing its objectives and actions, although we note with deep concern that within Trevor Manuel’s 25-member NPC squad there is only one philosopher and a couple of sociologists.

There is no one from the other humanities and incredibly, there is no one from the arts” Suleman said.

He also stated that one of the reasons

32 | THE C AL LSHEET

the United States culture is so prevalent worldwide is precisely because they export their films all over the world and have used films to create a dominant culture in foreign countries, like South Africa. “SASFED would like to change this, and as part of this workshop, we would like to set the wheels in motion to replace American pop culture with authentic African stories, told by Africans themselves. This is a tired old mantra often recounted but as with all rhetoric, it comes from a place of truth and SASFED is determined to make it a reality.”

“We need to reach out to our African brothers and sisters, creating co-productions and exchanges with them that will stimulate Africa’s creative output. Sadly all our co-production treaties are with European countries. We must be trading in Africa, filming in Africa, teaching and collaborating with Africa. Then we will see African stories on our own screens. We need to see African films being shown in our schools. The ANC has called for arts facilitators in schools.”

According to him a National Film Strategy will revive the industry’s hope. “Our dreams of a vibrant South African film industry could come true. With a centralised, bigger fund, co-ordinated action by all of the players, we can inspire a revival of our industry similar to that of Brazil.” In Brazil, a couple of changes

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to Trade and Industry regulation have created a veritable explosion of productions that are now reaching global screens and attracting interest worldwide.

Suleman lastly stated that the Federations’ dream is to create a similar centralised film fund to stimulate production and a national strategy that is inclusive and centred on the content creators. “Our responsibility over the next two days is to put our industry above all else, to lay a foundation for the next generation and to provide a future treasure for our children.”

2013 SASFED MEMBERS DFA - The Documentary Filmmakers Association SA IPO - The Independent Producers Organisation OSCA SA - The Official South African Casting Association PMA - The Personal Managers’ Association SACIA - The Southern African Communications Industries Association SAGA - South African Guild of Actors SAGE - South African Guild of Editors WGSA - Writers’ Guild of South Africa

ADVERTORIAL

Focus on the SA Screen Federation

T

he South African Screen Federation (SASFED), is sending a delegation of nine South African companies to attend the world’s biggest film and television market, MIPTV in Cannes, France in April 2013 under the SASFED/South African banner.

This “second step” follows the first initiative, which was to hold a “Focus on Africa” at sister-market MIPCOM last October. For the coming MIPCOM 2013, SASFED plans to take an even larger delegation under a national umbrella organised in conjunction with the Department of Trade and Industry and the NFVF. The film commissions and the NFVF focus on what they think is best for the industry and their members, but SASFED has begun its own series of outreach events, which began with DISCOP Africa in Johannesburg in November 2012, where we had a joint stand with the IPO. SASFED believes that participation in these markets will raise the awareness of

global players in South Africa, and in African content, which is in increasing demand overseas. This will lead to increased production, distribution and sales of our content, helping to make our productions more sustainable.

SASFED has also received an injection of new blood from younger members of the industry following the AGM last year, and they are taking SASFED’s Business Implementation Plan (SASFED’s strategy for the years ahead) seriously.

Part of that strategic direction, which was decided at a SASFED workshop, was to begin a national dialogue around a national strategy.

Now that the country has the National Development Plan, it was important that the independent industry align itself with national objectives and work towards achieving the potential that South Africa has shown it is capable of in the film and television spheres.

To this end, SASFED recently took part in a workshop to begin the process of devising a Na-

tional Film Strategy to take the country forward in a sustainable way and help develop the local film and television industry.

This important joint initiative, between SASFED and the NFVF, which included role players from around the country, discussed options and plans for the future of our industry, and identified bottlenecks which can be acted upon this year to try and improve the environment in which the industry operates.

The initial discussions will lead to an NFVF report to the Department of Arts & Culture, which will result in short-term actions and interventions.

A second report will detail the discussions and major issues raised at the workshop, and will form the basis for a series of industry consultations around the country. This will culminate in an NFVF Indaba in November, after which the National Film Strategy (NFS) will be finalised and implemented. For more information visit: www.sasfed.org.

ASSOCIATIONS

The Writers’ Guild of South Africa

T

he Writers’ Guild of South Africa (WGSA) replaces SASWA, The South African Scriptwriters Association that was formed in 1974. It remains the only association in South Africa with the sole purpose of assisting, protecting and promoting performance writers in the local film, television, radio, stage, animation and new media (internet – mobile and digital distribution, and gaming) industry.

The WGSA is a key member of SASFED (The South African Screen Federation), and one of the founding members of LAMP (Language and Media Practitioners).

Full SASFED Member Organisations: The Documentary Filmmakers Association (DFA), The Independent Producers Organisation (IPO), The Official South African Casting As-

sociation (OSCA SA), The Personal Managers’ Association (PMA), South African Guild of Actors (SAGA), South African Guild of Editors (SAGE), Writers’ Guild of South Africa (WGSA), Women of the Sun (WOS).

Full LAMP Member organisations: The Professional Editors Group (PEG), The South African Translators’ Group (SATI), The Southern African Freelancers’ Association (SAFREA) and Writers’ Guild of South Africa (WGSA).

The WGSA is a registered Non Profit Organisation (NPO)and a Public Benefit Organisation (PBO) that is solely dependent on fundraising. Its mandate is governed by a constitution and a council. All activities are executed by volunteer council members and a part-time employed Executive Officer.

Katleho Ramaphakela, co-vice chair of WGSA

Upcoming Events: WGSA Annual General Meeting (Johannesburg) Tuesday, March 19, 2013 WGSA Annual General Meeting (Cape Town) Tuesday, March 19, 2013 at 7:00pm Big Fish School of Digital Filmmaking (The Foundry, Unit 109D, 74 Cardiff Road, Greenpoint) WGSA Annual General Meeting (Durban) Tuesday, March 19, 2013 at 7:00pm Smile Spa (Shop 2A, 136 Cowie Road, Musgrave, Durban – Entrance is on Marriot Road)

DIRECTORY LISTINGS

African Film Industry Production Companies COMPANY

REGION

TELEPHONE

EMAIL

WEBSITE

Birthmark Films

Egypt

+20 2 3762 2250

info@birthmarkfilms.com

www.birthmarkfilms.com

Egypt Productions

Egypt

+20 2 2415 3831

info@egyptproductions.com

www.egyptproductions.com

Energe Film Solutions

Angola

+1 917 575 3838

remi@emergefilmsolutions.com

www.emergefilmsolutions.com/Angola

Film Zambia

Zambia

not available

cyndi@filmzambia.com

www.filmzambia.com

Genesis Studios

Nigeria

+234 802 696 1718

info@genesisstudios.tv

www.genesisstudios.tv

Ginger Ink

Kenya

+254 720 604 491

info@gingerink.tv

www.gingerink.tv

Johnsource Films

Nigeria

not available

not available

www.johnsourcefilms.com

KFTV

Zambia

+44 20 7549 2596

skeegan@wilmington.co.uk

www.kftv.com/contact

Light House Films

Egypt

+20 2 2735 5180

Info@lighthousefilms.com

www.lighthousefilm.com

Mighty Jot Studios

Nigeria

+234 803 309 6502

not available

www.mightyjotstudios.com

National Film & Video

Nigeria

+234 9 220 0246

nfvcb_hq@nfvcb.gov.ng

www.nfvcb.gov.ng

Nyankonton Productions

Ghana

+24 358 4729

info@nyankontonproductions.com

www.nyankontonproductions.com

Revele Films

Ghana

+233 543 510 500

general@revelefilms.com

www.revelefilms.com/index.html

Sunbow Productions

Nigeria

+234 703 241 8281

sunbowproductions@gmail.com

www.sunbowproductions.co.ng

Zebra Productions Kenya

Kenya

+254 717 887 407

njokimuhoho@zebraproductionskenya.com www.zebraproductionskenya.com/zebra

Censors Board

Upload your directory listing on www.thecallsheet.co.za for FREE! www.th ecal l sh eet.co .za T H E C A L L SH EE T

| 35

DIRECTORY LISTINGS

Advertisers COMPANY

TELEPHONE

EMAIL

WEBSITE

Aquila Private Game

+27 21 430 87260

pa@aquilasafari.co.za

www.aquilasafari.co.za

Annie’s Angels

+27 21 447 4050

info@anniesangels.co.za

www.annieswardrobe.co.za

Cooked in Africa Films

+27 21 788 1455

lara@cookedinafrica.co.za

www.cookedinafrica.com

Fairbridges Attorneys

+27 21 405 7300

attorneys@fairbridges.co.za

www.fairbridges.co.za

Lindbergh Lodge

+27 72 765 7201

lindbergh@iafrica.com

www.lindberghlocations.co.za

Media Film Services

+27 21 511 3300

info@mediafilmservice.com

www.mediafilmservice.co.za

National Film and Video Foundation

+27 21 483 0880

info@nfvf.co.za

www.nfvf.co.za

Okuhle Media

+27 21 486 2900

info@okuhle.co.za

www.okuhle.co.za

Pro Events

+27 21 425 2170

info@proevents-sa.co.za

www.proevents-sa.co.za

Protea Hotel Sea Point

+27 21 434 3344

seapoint@proteahotels.com

www.proteahotels.com/seapoint

Roodebloem Studios

+27 21 447 6326

info@roodebloemstudios.co.za

www.roodebloemstudios.co.za

Sony South Africa

+27 11 690 3200

jess.goedhals@ap.sony.com

www.sonybiz.net

Southern Lighting

+27 11 887 9351

johnharrison@southernlighting.co.za

www.southernlighting.co.za

Sunshine Company

+27 21 465 8262

info@sunshinecompany.co.za

www.sunshinecompany.co.za

The South African Screen Federation

+27 82 450 8003

david@shadowfilms.co.za

www.sasfed.org

Wizardz

+27 21 461 9334

copy@wizardz.co.za

www.wizardz.co.za

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