The Callsheet Issue 05/2013 by Film & Event Media

Issue 05 | 2013

AFRICA

Comes to Cannes Beyond America Rethinking the Global Box OďŹ&#x192;ce

Africa Everything You Need to Make Your Next Blockbuster

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Publisher: Lance Gibbons lance@filmeventmedia.co.za

CONTENTS

Executive Editor: Maya Kulycky maya@filmeventmedia.co.za Business Manager: Taryn Fowler taryn@filmeventmedia.co.za

Advertising Sales: Jennifer Dianez jennifer@filmeventmedia.co.za Head of Design: Jess Novotna jess@filmeventmedia.co.za Editorial and Design Co-ordinator: Danielle Illman danielle@filmeventmedia.co.za

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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.

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Africa Hits the Red Carpet at Cannes

MIPTV Attracts Visitors From Around the Globe

South African Winner of Jameson First Shot

DISCOP AFRICA Bookings Break Records

VFX Artists Form Solidarity Movement

House of Brave/Segewickâ&#x20AC;&#x2122;s Old Brown

U.S. Film Festivals Seek African Participation

Beyond America - Rethinking the Global Box OfďŹ ce

Africa: Everything You Need to Make Your Next Blockbuster

Achievements

Country Spotlight: Ghana

Industry Moves

ProSpective

In Production

Opportunities

Associations

Directory Listings

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NEWS

Africa Hits the Red Carpet at Cannes

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The prestigious and invitationonly festival, held from 15 - 26 May 2013 at the Palais des Festivals et des Congrès, will be closing with the South African-set crime drama, out of competition, ‘Zulu’.

ed carpets, all-star celebrities, and a hint of French spring can only mean one thing: Festival de Cannes is here, and is showcasing Africa at its best. The prestigious and invitation-only festival, held from 15 - 26 May 2013 at the Palais des Festivals et des Congrès, will be closing with the South African-set crime drama, out of competition, ‘Zulu’. Starring Orlando Bloom and Forest Whitaker, ‘Zulu’ features the pair as South African cops investigating the murder of two women during the country’s apartheid era. Directed by Jérôme Salle, best known for scripting ‘The Tourist’, ‘Zulu’ was shot in and around Cape Town and is described by organisers as having “elements of political film noir and social study”. ‘Mystify’ and ‘Past Tense’, each South African short films, have also been selected to screen at the 66th Festival de Cannes. ‘Mystify’ is an on-the-road short, directed by Johnny Swanepoel, ‘Past Tense’ is a romance directed by BENCHfilms. Both will screen at the Cannes Short Film Corner. The National Film and Video Foundation (NFVF) of South Africa will be present at Pavillion 120, the Village International Riviera, and will be hosting screenings at Arcade 2, 77 Rue Felix from 17-20 May, 2013. ‘Blitz Patrolie’ chronicling the adventures of Rummy and his partner, Ace, police oﬃcers who have had the misfortune of being stationed in a little known depot in the belly of the Johannesburg CBD, will screen on 17 May 2013 at 16:00. ‘Black South Easter’ will screen on 20 May at 16:00. It is about a township cop, Sizwe, who discovers police corruption. He must set loyalty aside to act with integrity, alone. On 19 May at 14:00, NFVF will host a selection of South African Films in their ‘South African Film Showcase’.

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‘Zulu’ (2013), set in South Africa, will close Cannes

Meanwhile, the 66th edition poster for the festival celebrates the past. In 2012, Marilyn Monroe was featured on the official poster, to mark the 50th anniversary of her death. This year another star is memorialized, Paul Newman, who passed away in 2008 from lung cancer. The official poster features Paul and his wife -- his most favoured co-star Joanne Woodward -- photographed during the shooting of ‘A New Kind Of Love’, by Melville Shavelson (1963). According to the Festival’s official website, “the poster evokes a luminous and tender image of the modern couple, intertwined in a perfect balance at the heart of the dizzying whirlwind that is love… (and) invites us to experience cinema with all the passion of an everlasting desire”. The poster is successful in creating a romantic and glamorous feel for Festival de Cannes, but the Festival isn’t all glamour and romance. Since its founding in 1946 it remains a critical judge of International Cinema. Often thought to foster the notion that European cinema is ‘art’ cinema, the Festival provides an opportunity for a country to determine its image of cinema through film. This year attendees can look forward to film screenings from France, Canada, United States, Italy and South Africa. The curtain will rise for the inauguration

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of the 66th Festival de Cannes with ‘The Great Gatsby’, out of competition in the Official Selection. Baz Luhrmann’s adaptation from the famous novel by author Francis Scott Fitzgerald stars Leonardo DiCaprio, Tobey Maguire and Carey Mulligan. Leonardo returns to Cannes for the first time since his 2007 presentation of ‘The 11th Hour’. Other stars expected to appear on the red carpet include Justin Timberlake, Mila Kunis and Emma Watson. ‘Blood Ties’, starring Mila Kunis and Marion Cotillard, will screen out of competition at the Festival. Two brothers, on either side of the law, face oﬀ over organized crime in Brooklyn during the 1970s. Sofia Coppola’s ‘The Bling Ring’ will open at the Un Certain Regard category at Cannes. It is about a group of fame-obsessed teenagers who use the internet to track celebrities’ whereabouts in order to rob their homes. Inspired by actual events, ‘The Bling Ring’ stars Emma Watson. Justin Timberlake stars in ‘Inside Llewyn Davis’, directed by the Coen brothers, about a singersongwriter who navigates New York’s folk music scene during the 1960s. The 66th Festival de Cannes is set to impress and surprise its many guests. The Jury President is Steven Spielberg, who debuted his first film ‘Sugarland Express’ in 1974 at Cannes, and the opening and closing ceremony will be hosted by French actress Audrey Tautou. This year’s Festival oﬀers something for everyone.

NEWS

Attracts Visitors From Around the Globe

ore than 11,000 people from over 100 countries, representing every aspect of the television industry, gathered in Cannes for MIPTV’s 50th anniversary. Highlights included notable deals, demos of the 4K Ultra HD by Sony, and a plea from former British Prime Minister Gordon Brown for the television industry to support the United Nation’s Global Education First Initiative. It was a sign of the changing times that among the 4,000 programme acquisition executives in Cannes, 800 were VOD and digital buyers – a 30% increase on last year. Digital figured strongly throughout MIPTV and if there was one point on which most people agreed it was that to be successful, brands need to create their own voice online and get it heard. Confirming MIPTV’s continued international appeal, there were significant, doubledigit, year-on-year increases in the numbers of companies participating from the largest emerging markets. With 79 companies represented, China’s delegation, headed by LI Wei, Vice Minister of the newly-formed General Administration of Press, Publication, Radio, Film and Television, was the largest ever at MIPTV. MIPTV delegates discovered that at MIPCOM 2013, Argentina will take centre stage as the event’s Country of Honour. At MIPTV a number of international deals were announced. Discovery Communications President and CEO, David Zaslav, told his keynote audience that his company had completed its deal to acquire Scandinavian broadcaster SBS. China’s public broadcaster CCTV had a particularly active MIPTV. Venevision International acquired documentary series ‘China’s Mega Projects’ from CCTV and BBC Worldwide has lined up with CCTV 9 to co-produce natural history series ‘Hidden Kingdoms.’ In addition, Austria’s ORF and CCTV signed a coproduction agreement covering nature and wildlife films, the first of which will be ‘Triumph of the Tomato.’ It was also evident at MIPTV that there is renewed interest in international co-productions. An increasing number of production and distribution companies now bring stars to the event to support international sales of their programmes. MIPDoc and MIPFor-

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mats also underlined the growing appetite for factual content, with factual programmes now the second most popular category in terms of the 1,325 titles entered in the MIPDoc screening library. MIPDoc’s coveted International Pitch competition was won by Saxonia Entertainment’s ‘Putin’s Olympics’ documentary about Russia’s successful bid for the 2014 Olympic Games. The 2013 MIPFormats International Pitch award was won by Australia’s Hatch Entertainment for ‘Big Again,’ a music concept which takes pop stars from the 70s and 80s and sees their songs re-recorded by unsigned artists for live TV performances. One of the talking points in Cannes was the continued blurring between traditional television and the digital world with the likes of Amazon, Hulu, YouTube, Yahoo! Netflix and Vuguru investing directly, or in the case of Kickstarter, using its crowd-funding expertise, to produce original content. Speaking at the second edition of MIPCube, Kevin Tancharoen told his audience how his 10-minute online film based on the ‘Mortal Kombat’ game had attracted the attention of Warner Bros., who, rather than suing him for rights infringement, invited Tancharoen to direct and produce the ‘Mortal Kombat: Legacy’ web series. 65 million YouTube views later, a second series was commissioned and a feature film is in the pipeline. The changing face of entertainment was evident at MIPCube’s ‘Twitter Talks: Cultivating Your Audience of Users.’ Dan Biddle, Head of UK Broadcast Partnerships at Twit-

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It was a sign of the changing times that among the 4,000 programme acquisition executives in Cannes, 800 were VOD and digital buyers – a 30% increase on last year.

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MIPTV

ter UK pointed out that the new media masters refer to ‘users’ not ‘audiences.’ He told his audience “the trick now is to get people talking about your show before, during and after. You have to make your hashtag the campfire around which all stories are told.” Meanwhile, at the Gala Dinner leading international television executives received the inaugural MIPTV Médaille d’Honneur award from Reed MIDEM CEO, Paul Zilk, for their outstanding contribution to the industry. The six were Beta Film CEO, Jan Mojto, CBS Global Distribution Group’s President and CEO, Armando Nunez, former ITC Executive Vice President, Armando Nunez Sr., Masao Takiyama, Executive Officer, Senior Vice President, Television Networks, Sony Pictures Entertainment Japan, Nicolas de Tavernost, Chairman of the Board, M6 Groupe, and BSkyB’s Managing Director, Content, Sophie Turner Laing. “MIPTV is all about the great people that attend each year and bring their passion for innovative entertainment to the world. This 50th anniversary is an ideal moment to celebrate the industry and the exceptional talent that works within it,” noted Laurine Garaude, Director of Reed MIDEM’s Television Division. “After a great first 50 years, we’re ready to start out on the next 50 year adventure,” concluded Laurine.

NEWS

OSCAR 2014 Da�e� A�n��n�e�

SA Winner of Jameson First Shot Scores Points with Ping Pong Script

Hanneke Schutte, SA winner of Jameson First Shot 2013, for ‘PING PONG WITH MR YONG’

A scene from ‘Argo’ (2012), the winner for Best Picture at The Academy Awards 2013. Produced by Grant Heslov, Ben Aﬄeck and George Clooney.

he South African winner of the second Jameson First Shot competition is Hanneke Schutte, a writer/ director from Johannesburg. After winning, Hanneke headed to Los Angeles, California to make her short film with Trigger Street Productions starring Willem Defoe. Hanneke isn’t new behind the camera. Her work has previously been shown at the Durban International Film Festival. Her winning script, ‘PING PONG WITH MR YONG’ tells the story of a hypochondriac ex ping pong player who never got over missing a major tournament final because of a cold. Jameson First Shot is an international short film competition that gives a big break to up-and-coming film talent. Hanneke joins Anton Lanshakov from Russia and Shirlyn Wong from the U.S. as this year’s winners. The three faced competition from hundreds of other talented screenwriters and directors for the opportunity to direct two-time Academy Award nominee, Willem Dafoe, in their short films, all with the backing of awardwinning production company, Trigger Street Productions. Having reviewed the hundreds of scripts entered this year, Kevin Spacey and Trigger Street produced a shortlist of 20 scripts to progress to the rigorous second stage of judging. Once the shortlisted contestants showcased their creativity and directing skills, the winning three were chosen and notified via a personal Skype call from the competition’s Creative Director, Kevin Spacey, President of Trigger Street Productions, Dana Brunetti, and Jameson First Shot Producer, Carter Swan. Kevin Spacey, Creative Director of Jameson First Shot said of the entries, “After last year’s three outstanding winners, expectations were naturally very high for the second year. The entries for Jameson First Shot 2013

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Her winning script, ‘PING PONG WITH MR YONG’ tells the story of a hypochondriac ex ping pong player who never got over missing a major tournament ﬁnal because of a cold.

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The Academy of Motion Picture Arts and Sciences announced the dates for the 86th Academy Awards. They will be held on Sunday, 2 March, 2014. Key dates for the Awards season are: Saturday, 16 November, 2013: The Governors Awards Monday, 2 December, 2013: Oﬃcial Screen Credits due Friday, 27 December, 2013: Nominations voting begins Wednesday, 8 January, 2014: Nominations voting ends Thursday, 16 January, 2014: Oscar nominations announced Monday, 10 February, 2014: Nominees Luncheon Friday, 14 February, 2014: Final voting begins Saturday, 15 February, 2014: Scientific and Technical Awards Tuesday, 25 February, 2014: Final voting ends Oscar Sunday, 2 March, 2014: 86th Academy Awards

were of an exceptional standard and I have no doubt that the three winners we have chosen will each make an incredible and unique short film.” Having racked up more than 5.6million YouTube views between them, last year’s winners have already found that the competition has opened industry doors for them. Alan Shelley, last year’s South African winner commented, “Jameson First Shot is the best filmmaking competition with the best prize I can think of – it gives you an incredible experience and an opportunity to learn. I will be returning to LA in the coming months and I now have people I can call whereas before the competition I knew no one; I have met people in circles I would have never dreamed of meeting before First Shot. Right now I’m working on creative projects with budgets – that was never the case before winning Jameson First Shot.” Visit www.jamesonfirstshot.com or go to www.youtube.com/jamesonwhiskey to view last year’s winning films.

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NEWS

Bookings Break Records

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72% of exhibits for the event are already booked.

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ISCOP AFRICA is six months away but organizers have announced that there have been record-breaking prebookings for the next edition of the DISCOP AFRICA TV content market and coproduction forum which will take place from 6-8 November in Johannesburg. 72% of exhibits for the event are already booked. DISCOP AFRICA is a television content market and co-production forum featuring the largest selection of African created content ever available under one roof. In 2012 there was a 150% increase in attendance, which organizers claim makes it the world’s fastest-growing digital entertainment marketplace. A total of 1248

delegates representing 672 companies from 86 countries attended the 3-day event. This included 173 exhibiting distributors and 304 broadcasters, Pay-TV platforms, mobile operators, broadband-based TV services, closed-circuit

networks and territorial distributors operating in Africa. This year, an expanded floor plan will allow more than 250 exhibiting international distributors and a large contingent of national umbrella organisations representing South Africa, France, the United States, Turkey, Kenya, China, Nigeria, Brazil, and the U.K. “The content distribution and production business in Africa will dominate headlines in 2013. Last year’s exhibitors are all back and we already have an important list of newcomers from Africa and overseas looking to make a big splash in Johannesburg,” says Patrick Zuchowicki, General Manager of the DISCOP Organization. He added, “Our initial research shows that we are expecting a 50% increase in the number of content buyers attending DISCOP AFRICA representing African TV channels, Pay-TV services and other distribution platforms.” This year the event will feature the first edition of “Festivals from Africa”, a screening event showcasing home-grown films and documentaries which have received top awards from African festivals. For more information on DISCOP AFRICA visit: www.discop.com

VFX Artists Form Solidarity Movement By John Bartmann

n Sunday, 24 February, while giving an acceptance speech for Best Visual Effects award for ‘Life of Pi’ at the 85th Academy Awards, Bill Westenhofer’s microphone was cut off in mid-sentence, using the Academy’s new technique – playing the theme music from ‘Jaws’. Westenhofer was busy appealing the plight of the recently bankrupted visual effects company Rhythm & Hues, which was largely responsible for the film’s Oscar victory. The next thing viewers saw was a sympathetic Nicole Kidman mouthing something like “poor thing”, and the show went on. The controversy over the ailing company’s role in the success of Ang Lee’s film was already brewing, as just outside the Academy building, a crowd of over 400 was protesting. But after the awards incident, a visual effects artists’ solidarity movement exploded overnight. Even if playing ‘Jaws’ wasn’t precisely timed to squash Westenhofer’s address (which, when compared with the allotted time for other speakers on the night, it appeared to be to some), the feeling amongst the visual effects artists of Rhythm & Hues may have been one of betrayal. After all, effects movies contribute to the biggest names and studios in Hollywood today making money hand over fist. Somewhere in a basement behind a screen lurks the Robert Downey Jr. of VFX. Many VFX artists feel that Hollywood’s great irony has been revealed. These days, they are responsible for creating or embellishing 75% of the footage in a film like ‘Life of Pi’, but believe they are under-compensated by studios, who offer fixed rates, apply pressure to cut costs and are accused of asking artists to work unpaid overtime. In the words of Westenhofer, “It’s ironic that in a time when visual effects movies are dominating the box office, visual effects companies are struggling. We are not technicians. Visual effects are not just a commodity done by people pushing buttons. We’re artists. Artists that are struggling right now.” Since the Academy Awards, Rhythm & Hues has been at the centre of a massive debate that includes over 70,000 users of a Facebook page (“VFX Solidarity”), open-hall rally meetings, increasing recognition and a burgeoning solidarity movement. The little green

square on a sympathiser’s Facebook profile represents what most of Hollywood’s biggest grossing movies today would look like without the artists’ magic touch. Since 2007, a number of major international visual effects companies have folded. Kerner Optical (‘Pirates of the Carribbean: At World’s End’), CIS (‘Watchmen’), Pixo Mondo (Oscar favourite ‘Hugo’) and Digital Domain (‘Titanic’) have all been forced to close offices since the blossoming of the digital effects takeover of Hollywood. At present, the top ten highest grossing films of all time are (in order): ‘Avatar’, ‘Titanic’, ‘The Avengers’, ‘Harry Potter and the Deathly Hallows – Part 2’, ‘Transformers: Dark of the Moon’, ‘The Lord of the Rings: The Return of the King’, ‘Skyfall’, ‘The Dark Knight Rises’, ‘Pirates of the Caribbean: Dead Man’s Chest’, and ‘Toy Story 3’. Of these, eight rely so heavily on visual effects that their production would be impossible without digital artwork. Visual effects are indispensible to the present-day factory of dreams. This should seemingly be the golden age for companies like Rhythm & Hues. The recent attention brought to the VFX industry hasn’t escaped the attention of the Academy, which has since announced a number of events highlighting the impact of the VFX game-changers. The series kicked off on 2 April

NEWS

with ‘Jurassic Park 3D’, followed by a three-week workshop on “VFX Convergence”, and concludes with an examination of the breakthrough techniques used in ‘Life of Pi’ on 6 May. The events featured screenings, Q&A sessions and discussions with crew and panellists and open dialogue regarding the Rhythm & Hues case. Panellists for the four-week series include Rick Carter, Dennis Muren, Phil Tippett, Stereo D president William Sherak, Academy Awardwinning makeup artists Rick Baker and Greg Cannom, Oscar-winning visual effects artists Rob Legato and Robert Stromberg and Oscarwinning visual effects supervisor Bill Westenhofer himself. Topics covered included “Pre- and Post-visualization – Today’s Storyboarding”, “Blending Makeup with Digital Arts in Film”, “From Matte Paintings to Full Environments and Set Extensions” and “Deconstructing Pi” . Over 300 artists were fired without notice after Rhythm & Hues folded. Interestingly, Rhythm & Hues recently posted 200 job openings for their Taiwan branch at a job fair at National Chung Hsing University in Taichung. It’s unclear yet whether the move is a rebound or a last ditch effort at recuperation after their 11 February bankruptcy claim. Now, at the dawn of the “Digital Spring”, artists are wondering how to paint their own picture.

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NEWS

House of Brave Brings Five Brands Under its Roof

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1Life, Ocean Basket, Teljoy, City Press and Nature’s Garden are all great South African brands…

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ouse of Brave, the full-service creative agency based in Johannesburg, South Africa that was created in January of 2012 has added five iconic South African brands to its client list. “1Life, Ocean Basket, Teljoy, City Press and Nature’s Garden are all great South African brands. They embrace innovative thinking and

have a real ‘nothing is impossible’ spirit. We are eager to apply some of innovative approaches to increasing sales and making these brands even more famous,” says Andrew Shuttleworth, Managing Director at House of Brave. Rob Van Rooyen, Executive Strategic Director at House of Brave says that the agency is really blessed with these five big wins in such a short time. “These are an amazing group of brands. We love the fact that they buy into the idea of ‘bravery’ and doing things differently to get a better result. They are brave brands that need brave thinking, and that’s what we do best.” The second quarter of this year will see the launch of new campaigns for all these brands.

Sedgwick’s Old Brown Billboard Breaks with Conventions

edgewick’s Old Brown has erected a billboard on the N1 in South Africa that breaks with traditional billboard construction and is attracting eyeballs. The billboard is not one-dimensional but rather a glass box of about five metres in height, 17,4m wide and 5m deep. The artwork also is not a one-dimensional print but consists

of a 3-dimensional oversized Sedgwick’s Old Brown mock-up bottle, several cardboard cutouts (featured characters) and an actual brick and mortar braai. Sedgewick’s says it is the first billboard in South Africa that has smoke billowing from it. The billboard went up on 15 March and will stay up until 15 June, 2013.

NEWS

U.S Film Festivals Seek African Participation to promote African films and is very eager to screen South African made films. Entries are now closed for 2013, but the Consulate-General is encouraging South African filmmakers to consider participating in 2014. The AFI FEST is the only film festival in the United States to hold the prestigious FIAPF accreditation, assuring a high standard of quality and reliability for the international film community. AFI FEST is Los Angeles’ longest running international film festival. Five South African films were screened this year at the PAFF, a non-profit corporation dedicated to the promotion of cultural and racial tolerance and understanding through the exhibition of film, art and creative expression. For more information visit: www.siff.net, www.afi.com, www.paff.org

The AFI FEST is the only film festival in the United States to hold the prestigious FIAPF accreditation, assuring a high standard of quality and reliability for the international film community.

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he South African Consulate-General in Los Angles has identified three film festivals on the West Coast of the United States that they believe African filmmakers would find it worthwhile to participate in: the Seattle International Film Festival (SIFF) from 16 May to 9 June, 2013, the American Film Institute Film Festival (AFI Fest) from 7 – 14 November, 2013, and the Pan African Film Festival (PAFF) in February 2014. SIFF is one of the top film festivals in North America. It is the largest, most highlyattended film festival in the United States reaching more than 150,000 annually. The 25day festival is renowned for its wide-ranging and eclectic programming presenting over 250 features and 150 short films from over 70 countries each year. SIFF has obtained a grant

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FEATURE

‘Tsotsi’ (2005)

The International Box Oﬃce, according to MPAA Academy Award Winner for Best Foreign Film ‘Tsotsi’ (2005) didn’t make it to the Box Oﬃce in America.

Beyond America :

Rethinking the Global Box Office By Kevin Kriedemann

outh African filmmakers have long seen the American box oﬃce as the holy grail, but it’s proved a perilous quest. Now that South Africa has taken its place alongside Brazil, Russia, India and China as the “S” in BRICS, is it time to look to new regions for audiences for South African films, or should we rather be focusing on developing a local audience first?

Understanding the Global Box Office The Motion MPAA’s most recent Theatrical Market Statistics report says the 2012 international box office was worth US$34.7m with $10.8bn (31%) from U.S./Canada and $23.9 billion (69%) from the rest of the world. While North America remains the largest box office territory, its influence is slowly shrinking, having dropped from just under 35% market share in 2008. As a sign of the times, ‘Skyfall’ made 72.5% and ‘The Hobbit’ made 70.2% of its box office outside of America in 2012. While U.S./Canada has grown 12% over the last five years, the “international” box office

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outside of America has grown at 32% over the last five years. Since 2008, Latin America has grown a whopping 73% to $2.8bn, Asia Pacific 53% to $10.4bn, and the Europe, Middle East and Africa (EMEA) 10% to $10.7bn. EMEA actually shrank by 1% last year, after declines in key European territories like France, Italy and Spain, so it’s likely that Asia Pacific will become the second largest territory after North America next year, especially as the Chinese box oﬃce grew by 36% in 2012 and Ernst & Young have predicted that China will overtake the U.S. by 2020.

An American Audience for South African Films? In nearly three decades of attempts, South Africa has had ten films released at the American box oﬃce. Apart from ‘The Gods Must Be Crazy’ in 1984, the box oﬃce returns don’t paint a pretty picture, particularly when you factor in the cinema and distributor cut, and then add the print and advertising (P&A) costs, which need to be recouped before the filmmakers earn anything. “The costs of releasing a family film in the

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US/Canada: US$10.8bn China: $2.7bn Japan: $2.4bn UK: $1.7bn France: $1.7bn India: $1.4bn Germany: $1.3bn South Korea: $1.3bn Russia: $1.2bn Australia: $1.2bn Brazil: $0.8m

U.S. is around $25m-$60m, which we didn’t feel was worth the investment,” says Anthony Silverston from Triggerfish, explaining why ‘Adventures in Zambezia’ rather went straight to DVD in America and the UK. Even ‘Tsotsi’ couldn’t crack the $3m mark, despite winning the Oscar for Best Foreign Film, being released by Miramax, and being made for an estimated $3m, according to IMDB, far more money than most South African films. The traditional argument for releasing in America is that a successful release there is the gateway to the rest of the world. “It’s changing, but I still think at the present time America is the most important territory in the world,” says Big World Cinema’s Steven Markovitz. “If you get a film sold into America, other sales will follow. If your film gets picked up in the States, the other distributors know it will get media coverage and online presence, and if it does well in the States, it’s a good indication it will do business elsewhere.” But does it follow that if it does bad business in the crowded American marketplace, other distributors will assume it’s a good indication it

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While US/Canada has grown at 12% over the last five years, the “international” box office outside of America has grown at 32% over the last five years.

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will struggle elsewhere? Sanjeev Singh, Videovision’s director of Distribution and Acquisition explains that American distribution is no longer a prerequisite to access the rest of the world. He points out that recent blockbusters like ‘The Avengers’ were released internationally before the U.S. “Take ‘Mandela: Long Walk To Freedom’,” Sanjeev says. “We pre-sold it to many territories – including France and the UK – before America got on board. Now that the USA is on board it will make it easier to pre-sell everywhere else, but getting American distribution is not as critical as it was previously.”

An International Audience for South African Films? ‘District 9’ made more money in America than the rest of the world put together, while America was also the top territory for ‘Tsotsi’ and ‘Invictus’. But ‘Disgrace’ made more money in Australia, Spain, Germany, The Netherlands and New Zealand than in America; ‘Wah-Wah’ made more in Australia, New Zealand the UK; ‘Viva Riva’ made more in France and Belgium;

and ‘In my Country’ made more in Italy. “America does have a large movie-going audience,” says Anthony. “But our sensibilities are different and we seem to be getting a much better response on ‘Adventures in Zambezia’ in Europe (both East and West). We also got a great response from South Korea and the rest of Asia could respond similarly.” Of course, the reality is that the vast majority of films produced in South Africa will never be seen in international cinemas. Even festival acclaim doesn’t necessarily translate into theatrical releases. However, Sanjeev says financial success isn’t reliant on box office returns. “We sold ‘Yesterday’ to HBO, who licensed it worldwide, and we sold ‘More Than Just a Game’ to Sony for worldwide distribution, so they were both great successes for us even though they didn’t go theatrical.” As he says, at the cinema, foreign audiences want to see: 1. Hollywood blockbusters 2. Blockbusters from their own countries 3. Arthouse from their own countries 4. A film that’s had critical success, either at one of the big five festivals - Berlin, Cannes, Sundance, Toronto, and Venice - or at the Oscars or Golden Globes. “So when you have a cast of unknown actors internationally, you’re really far down the food chain,” Sanjeev says. “If you didn’t play in one of those five festivals, you’re unlikely to get a theatrical release internationally.” He says it’s particularly hard to stand out with English-language films, which is the same problem facing the local box office. “If there’s no recognizable talent, English-language films are a difficult sell internationally. We’re finding that with ‘Material’ – it’s been a commercial success in South Africa, won five South African Film and Television Awards, and been a great festival film with fantastic reviews, but we’re struggling to get buyers for DVD, TV or VOD.”

IRON MAN 3

Marvel Woos Chinese Audiences with Second Version of Film Marvel Studios announced that Chinese distributor DMG entertainment will release a diﬀerent version of the film in China. China often censors movies and is strict when it comes to the both the material and number of foreign films shown. According to the statement, the main diﬀerence between the two films will be the addition of Chinese actress Fan Bingbing in the Chinese version. The China-only film will also reportedly feature “specially prepared bonus footage made exclusively for the Chinese audience.”

FEATURE

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If there’s no recognizable talent, Englishlanguage ﬁlms are a difﬁcult sell internationally.

Having made over $18 million globally, ‘Adventures in Zambezia’ is the third South African film – after ‘The Gods Must Be Crazy’ in 1984 and ‘Sarafina’ in 1992 - to find an audience internationally without Oscar-hype, although it arguably benefited from A-list voices like Samuel L. Jackson. It’s been released in over 20 territories so far, with South America and some parts of Asia next on the schedule. It’s also just been released in Australia, where it’s already on $477 469. Anthony says it’s still too early to measure how successful it’s really been once you deduct costs. “The pre-sales covered the majority of our production budget and we are expecting overages in certain territories,” says Anthony. “We are looking at alternate models of distribution though, since a wide theatrical release requires a large P&A spend that needs to be recouped before the production sees any return.”

Local or “Glocal”? “At Triggerfish, we are definitely looking at a model that does not rely solely on the film getting a large North American theatrical release,” says

“

‘Adventures in Zambezia’ (2012) 2005) didn’t make it to the Box Oﬃce in America.

Anthony. “We won’t ignore the North American market, but we are looking more closely at the emerging economies and we have already have had direct interest from distributors looking at our future properties.” Sanjeev says, “Animation is a niche market that can cross boundaries, especially because it’s easy to dub,” he says. “But many of our live action films haven’t really crossed over.” He says filmmakers need to be realistic about who their audience is. “Afrikaans filmmakers have been very successful in aiming just for the South African market. If it travels, well and good, but they’ve budgeted on tapping into the local market and it’s paid oﬀ many of the times.” There’s an important debate to be had over whether South African films should be targeting international audiences at all, rather than focusing on growing the 5% of our audience that goes to cinemas. There’s also an important debate to be had over whether we still put too much weight on theatrical releases at all in an age of video on demand. But filmmakers tend to be an optimistic breed, so despite the daunting statistics, South Africans continue to risk millions on finding an

international audience. Next up is ‘Vehicle 19’, directed by Mukunda Dewill and starring Paul Walker, which is set for a 14 June release in American cinemas. But as Mike Auret of Spier Films says, “You can’t defy market forces. You can make Afrikaans films, which have a track record in the local market and a model for return if you can keep the budget down. If you’re developing English-language films, they do badly locally, and it’s really difficult to convince investors to put hard money into them without recognizable cast or directors, so if you’re not going that route your film needs to be heavily subsidized.” “There is no business model at the moment,” says Lance Samuels of Out of Africa, who recently set up a Canadian office. “But rather than looking for different markets, we should look at telling different stories. With our checkered past, we had to tell stories about Apartheid. This was important, but they don’t make money. ‘Bang Bang Club’ is a fantastic example – it’s a great South African story that had rave reviews around the world but just didn’t do numbers. 18-20 year olds don’t want to see movies like that: they want ‘Spiderman’ and ‘Paranormal Activity’. We need to be making teen comedies, action movies, and horror films that an international audience will want to see, $4-5 million dollar films that look like $20 million dollar films.” “The West is still an important part of the world and the seven primary distribution territories account for the vast majority of film revenues,” says Anthony. “We at Triggerfish will continue to try to create a mainstream box office hit in these territories - for the financial benefit (our films are very expensive to make) - and also because almost no-one else in Africa is doing this and Africa needs a voice on the international stage. We want the whole world to be impacted by our films.”

FEATURE

AFRICA:

Everything You Need For Your Next Big Blockbuster by Kevin Kriedemann

Ryan Reynolds in ‘Safe House’ (2012) shot in South Africa.

‘District 9’(2009), directed by Neill Blomkamp and shot in South Africa.

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South Africa is ﬁlm friendly and less restrictive than most other countries. It‘s also a beautiful place to visit so clients can work and play all in one place.

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lint Eastwood’s done it. So has George Miller. And Ed Zwick. And Roland Emmerich. Even rising stars like Neill Blomkamp (‘District 9’, ‘Elysium’), Josh Trank (‘Chronicle’), and Daniel Espinosa (‘Safe House’) are doing it. They’re directing Hollywood blockbusters in Africa, and South Africa in particular. “South Africa as a film destination is a mature market and oﬀers everything for our international clients,” says Jackie Dobrin of locations company Living On Location. As she points out, benefits to shooting in South Africa include an attractive exchange rate; a compatible time-zone with Europe; great accommodation and restaurants; and friendly locals. She adds, “South Africa is film friendly and less restrictive than most other countries. It‘s also a beautiful place to visit so clients can work and play all in one place.” “South African crew are some of the best in the world,” says Jeanne Watson of locations company Shoot My House. “The reason for that is our exposure to clients from all over Europe and the Americas. We get to work with the cream of the international crop as far as foreign directors and heads of department go. We are extraordinarily resourceful and on the whole very eager to go above and beyond to get the

job done.” Jeanne says the last year brought a lot of interest in South Africa’s exterior locations, like its wild, overgrown gardens and magnificent landscapes. “Our locations have doubled for Provence in France, Tuscan areas of Italy, English country gardens, Norwegian log cabins in the mountains, and lots of American and British homes. There’s also been a huge emphasis on modern homes and pools.” Jackie adds, “The most popular setting

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‘Chronicle’ (2012) shot in South Africa.

is of course our ocean views and beach locations,” she says. “The internationals just love this element.” Jeanne says South Africa is particularly suited to these types of shoots. “A massive selling point is the quality of our light here, as well as the long summer days in the Cape, which give clients a long shooting day.” Jackie says they have doubled Cape Town as Egypt, India, Ireland, Mexico, Miami, and Morocco recently.

FEATURE Jeanne says this diversity is part of South Africa’s appeal. “There are a range of architectural styles here – whole neighbourhoods of houses that seem to have stepped right out of the 50s, a lot of 70s architecture, and now we have extraordinary local architects doing cutting-edge work here, which is being celebrated the world over for combining modernity with eco-awareness.” “People always came to Joburg for Africa, war and jungle,” says Tracey Williams of Johannesbug post production facility Refinery. “But for ‘Inescapable’, Johannesburg doubled for Syria. There’s still a lot of art deco in Joburg, plus big palm trees, minarets and Asian-style areas, so we double well for the Middle East.” She says South Africa is also popular for futuristic settings, like ‘District 9’, ‘Dredd’, and ‘Mad Max: Fury Road’. Tracey says, “’Kite’ shot in Johannesburg for its grungy landscape of urban decay, while ‘Young Ones’ is set in a futuristic world without water – and Springbok in the Northern Cape does that.” “The locations in and around Cape Town can double for anywhere in the world,” says Rudy Halgryn of Collective Dream Studios, a Cape Town production company with stu-

‘Dredd’ (2012) shot in South Africa © Joe Alblas

South African landscape

FEATURE

“

We get to work with the cream of the international crop as far as foreign directors and heads of department go. We are extraordinarily resourceful and on the whole very eager to go above and beyond to get the job done.

Cape Town Film Studios.

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dio and post production facilities. If you do find a rare gap South African locations can’t provide, there are studio solutions available. “With green screen facilities, the stage is a blank canvas and limited only by imagination,” says Rudy. For instance, Refinery created a CGI Florence for CBBC’s ‘Leonardo’, shot in South Africa with Out in Africa. South Africa’s most talked about studio is Cape Town Film Studios (CTFS), high-end, custom-built, Hollywood style studios, with 7 000m2 of soundproof stages spread over four buildings. Since launching towards the end of 2010, the studios have hosted blockbusters like

A set at Cape Town Film Studios.

‘Dredd’, ‘Safe House’, ‘Chronicle’, and ‘Mad Max: Fury Road’, as well as numerous British and American TV series. Thanks to ‘Black Sails’, a ‘Treasure Island ‘prequel TV series executive produced by Michael Bay, CTFS now also oﬀers a beach and a deep sea tank holding 10 million liters of water. But even aside from CTFS, there are a

number of options. Rudy says South Africa’s sound-stages can compete internationally. “Our prices are competitive, but the real difference is seen when you take the total cost of the production into consideration,” says Rudy. “International filmmakers are often unaware of the incentives available for filming in South Africa. Collective Dream Studios oﬀers equity

FEATURE finance to international filmmakers and potential co-producing partners. This helps international producers looking for finance expedite their filming process and complete their films for an earlier release. Additionally, the Department of Trade and Industry (dti) rebate oﬀers a grant to international filmmakers. Together, this South African investment can potentially reach 50% of a production budget.”

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Our prices are competitive, but the real difference is seen when you take the total cost of the production into consideration

A set at Cape Town Film Studios.

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Tracey says that the recent extension of the dti rebate to post-production is starting to pay oﬀ. “We’re quoting frantically at the moment and over the next 18 months we’ll a see a lot of indie films and TV series bring their VFX here.” Tracey says South Africa’s post-production industry is increasingly following the international model of facilities relying on a core team, supported by a freelance industry of artists. She says that from a capacity point of view, it’s unrealistic for South Africa to take on a ‘Transformers’-kind of heavily CGI-intensive film at this stage, but that South Africa has proven it can handle ‘Chronicle’-scale productions. “We do realistic CG work that fits with live action very well,” she says. “We’re also very

Cape Town Film Studios lot.

good at matte painting, grades and animal work – being in Africa it goes with the turf.” Rudy agrees. “Post-production services in South Africa are on par with international standards and our talent can compete with the best in the industry. Aside from being competitively priced, the dedicated work ethic of South Africans is a major drawing card.” Tracey’s noticed “the dramatic loss” of film in favour of digital formats over the past year. “We’ve all been predicting the gradual decline, but the labs are going, going, gone: there’s only a handful around the world now,” she

says, sadly. “After ‘Young Ones’, I doubt we’ll do another film.” South African companies aren’t just servicing films within South Africa anymore: Juice Films provided scouting and production services in The Maldives for ‘Kon Tiki’, nominated for an Oscar and a Golden Globe as Best Foreign Film. But while South Africa continues to serve as a gateway to Africa, work is also going directly to growing service industries in Egypt, Kenya, Morocco and Namibia. Filming in Africa is not new: at least 29 Oscar-winning films have shot

FEATURE

Green screen at Cape Town Film Studios.

A set at Cape Town Film Studios.

South Africa’s Department of Trade and Industry (dti) oﬀers two rebates: The Foreign Film and Television Production and Post Production Incentive and The South African Film and Television Production and Co-Production Incentive. These are the only two rebates on the continent at present and the most important part of the South African film financing landscape. The Foreign Film and Television Production and Post Production Incentive oﬀers an uncapped: • 20% rebate on qualifying South African • production spend • 22.5% rebate for projects shot in South Af • rica and spending a minimum of R1.5m lo • cally on post production • 22.5% rebate on foreign post production • spending a minimum of R1.5m locally • 25% rebate for projects shot in South Af • rica and spending a minimum of R3m lo • cally on post production • 25% rebate on foreign post production • spending a minimum of R3m locally To qualify, foreign films, documentaries,

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…the Department of Trade and Industry (dti) rebate offers a grant to international ﬁlmmakers. Together, this South African investment can potentially reach 50% of a production budget.

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The dti Rebate

FEATURE

A set at Cape Town Film Studios

animation and television projects must shoot for at least four weeks and complete half their principal photography in South Africa, spending a minimum of R12million locally, or spend two weeks on post production in South Africa, spending a minimum of R1.5million. An applicant must be a Special Purpose Corporate Vehicle (SPCV) incorporated in the Republic of South Africa solely for the purpose of the production and/or post-production of the film or television project. The South African Film and Television Production and Co-Production Incentive oﬀers an uncapped 35% rebate on the first R6m of qualifying South African spend and 25% of the remainder. The incentive is available only to qualifying South African productions and coproductions with a total budget of R2.5million and above. These incentives can now be accessed at key production milestones to limit the need to cash flow the rebate. ‘The African Queen’ (DRC/Uganda)

‘Mad Max: Fury Road’ (2014), shot in Namibia and South Africa.

‘Safe House’ (2012) shot in South Africa.

FEATURE

OSCAR WINNING FILMS SHOT IN AFRICA 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

‘The African Queen’ (DRC/Uganda) ‘Babel’ (Morocco) ‘Black Hawk Down’ (Morocco) ‘The Bourne Ultimatum’(Morocco) ‘Cleopatra’ (Egypt) ‘The Constant Gardener’ (Kenya) ‘Death on the Nile’ (Egypt) ‘The English Patient’ (Tunisia) ‘The Ghost and the Darkness’ (Kenya/ South Africa) ‘Gladiator’ (Morocco) ‘The Guns of Navarone’ (Senegal) ‘In a Better World’ (Kenya) ‘Inception’ (Morocco) ‘Independence Day’(Egypt/Kenya) ‘King Solomon’s Mines’ (DRC/Kenya/

Tanzania/Uganda) - 1950 16 ‘Last King of Scotland’ (Uganda) 17 ‘Lawrence of Arabia’ (Morocco) 18 ‘The Man Who Knew Too Much’ (Morocco) 19 ‘Nowhere in Africa’ (Kenya) 20 ‘Out of Africa’ (Kenya) 21 ‘Patton’ (Algeria, Morocco) 22 ‘Indiana Jones: Raiders of the Lost Ark’ (Tunisia) 23 ‘Samson & Delilah’ (Algeria/Morocco) - 1949 24 ‘Searching for Sugarman’ (South Africa) 25 ‘Star Wars’ (Tunisia) 26 ‘Syriana’ (Morocco) 27 ‘The Ten Commandments’ (Egypt) 28 ‘Tsotsi’ (South Africa) 29 ‘Z’ (Algeria)

‘Babel’ (2006) shot in Morocco.

‘The Last King of Scotland’ (2006) shot in Uganda www.th ecal l sh eet.co .za T H E C A L L SH EE T

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ACHIEVEMENTS

PRISM AWARDS

Put Winning Campaigns in the Spotlight

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We are often amazed at the creativity, insight and return on investment that consultants and practitioners have delivered to their clients. The 2013 results far surpass this.

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he PRISM Awards recognise public relations and communications professionals who successfully incorporate strategy, creativity, and professionalism into successful campaigns. This year, the winners of the PRISM Awards announced at the 7 April ceremony in Sandton, South Africa were exceptional, says Marilyn Watson, Chief Judge of the PRISMS. “We are often amazed at the creativity, insight and return on investment that consultants and practitioners have delivered to their clients. The 2013 results far surpass this,” says Watson. Ogilvy Public Relations Johannesburg was the winner of the 2013 overall PRISM Gold Award for its ‘Add Hope: Journey of Hope’ campaign on behalf of KFC/Yum South Africa. Ogilvy defeated 55 other public relations consultancies, corporates and other in-house public relations departments who submitted almost 200 campaigns for

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the Award. Their campaign was “exceptionally integrated”, combining traditional, digital and social media with above-the-line and activations. Through R7-million in media coverage in two months, Ogilvy PR achieved a return on investment of 1:34. National, regional and community media amplification was delivered through 67 broadcast stories, 29 print features and articles and 24 online stories. Six earned five-minute mini documentaries were flighted twice weekly on national TV. 1 831 new online conversations were generated with over 4,3 million opportunities created to see the conversation. “This campaign showed an excellent understanding of the client’s problems and opportunities,” commented Watson, “There was sustained execution of the campaign, with brilliant results!” Meanwhile, Retroviral Digital Communications won the Gold Award for ‘Best Small Public Relations Consultancy’. Retroviral’s

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niche is as a communication agency that strives to support its clients’ business objectives and generate online word of mouth spread for brands. The company is the recipient of several PRISM Awards. Last year it won two Gold Awards at the PRISMs - one for its ‘Last Dictator Standing’ campaign it implemented for Nandos and for the ‘#Shoes on Feet’ campaign it delivered for the Put Foot Rally Foundation.

ACHIEVEMENTS

G�l� Aw�r� W��r� CATEGORY

GOLD WINNER - CAMPAIGN NAME

GOLD WINNER PR COMPANY

GOLD WINNER CLIENT

CATEGORY SPONSORS

Community Relations

PR Worx

Zoom Photography

Consumer PR for an existing product

True Love, a Magazine Romance

Tribeca Public Relations

TRUE LOVE magazine

Add Hope: KFC Journey of Hope

Ogilvy PR Johannesburg

KFC/Yum South Africa (YUM! Restaurants International)

Environmental

49M

Global Interface Consulting Eskom

Eskom

Integration of Traditional & New Media

Johnnie Walker’s One Bottle Liquor Store

Atmosphere Communications, Society, Hammer Events, King James

Johnnie Walker (Brandhouse)

Blue Apple

Launch of a New Product

Launch of Hyundai R1200LC-9 Excavator

Ngage

HPE Africa

NGO Campaign

AddOption

PR on a Shoestring

OREO: ‘Celebrate the Kid Inside Us All’’.

Plato Communications

Kraft Foods South Africa

Public Sector

I Play Fair. Say No! to Doping

Tin Can PR

SA Institute for Drug Free Sport

Social Media for PR

Nando’s #25Reasons Campaign

Retroviral Digital Communications

Nandos

Flair Bar

Sponsorship

Sunfoil Sponsorship of Proteas Test Series Cricket for the Season 2011/2012

Shirley Williams Communications

Willowton Group

Anglo American

Technology

Launch of Waze App in South Africa

Atmosphere Communications

MiX Telematics - Waze

Virtual Productions

National Adoption Coalition

The Riverbed Agency

Thelane Theatre Productions

INDIVIDUAL CATEGORIES Best Up-and-coming Public Brittany Preece - Cerebra Relations Professional

AdVantage

Best Small Public Relations Retroviral Digital Consultancy Communications

Airports Company South Africa

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

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COUNTRY

SPOTLIGHT

Flicker © Noramorgan

GHANA

I�l�n� � Pea��

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lined streets, white sand beaches, tropical forests, mountains, and caves. Since the late 1980s a booming video feature film industry, known as Gollywood, has emerged in Ghana. Production networks and systems of distribution have evolved and since the beginning of the 1990s. Each year video movies made by private and GFIC (Ghana Film Industry Corporation) producers are released.

What’s Happening Now

There is buzz in Ghana about actress Cynthia Addai-Robinson, who appeared in the acclaimed film ‘Colombiana’ and currently stars in the STARZ series ‘Spartacus: Vengeance’. Cynthia was born in London to a Ghanaian mother and an American father and has been seen in numerous television series, including ‘Dirt,’ ‘Flash Forward,’ ‘CSI: NY,’ ‘CSI: Miami,’ and ‘Numb3rs.’

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“

’Akwaaba’ is an expression you will hear several times daily as you travel through Ghana. It means “welcome!” and you will be - Ghana Tourism

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ituated along the Gulf of Guinea in West Africa, Ghana is often referred to as the “Island of Peace”. It is a country of rich cultural variety with a fascinating historical heritage. Whether its tropical beaches or captivating wildlife attracts visitors, the “Land of Sunshine” has something to oﬀer everyone. Ghana is bordered by The Ivory Coast, Burkina Faso, Togo, and the Gulf of Guinea. With a surface area of 238, 837 km2 it is similar in size to Great Britain or the American state of Oregon. More than 70 languages and major dialects are spoken countrywide. Popular film locations include the Elmina and Cape Coast colonial slave trade castles, indigenous villages like the Nzulezu stilt village, the Kejetia market, Mole National African Wildlife Park, and the Kakum National Park rainforest. These locations oﬀer palm-tree-

COUNTRY

SPOTLIGHT

Flicker © John & Clare

Key Venues LAKE VOLTA Lake Volta is the largest reservoir by surface area in the world and the fourth largest one by water volume. The lake provides a waterway for ferries and cargo watercraft and is very important in terms of transportation in the area. The water remains naturally warm year-round as it lies in a tropical area.

ELMINA CASTLE Founded in 1482 by the Portuguese, Elmina Castle is the oldest European building in Africa below the Sahara. The castle is situated opposite Fort St. Jago in the little town with the same name. Until 1814, when slave trade was abolished by the Dutch, some 30,000 slaves passed through Elmina Castle each year. In 1872 Elmina Castle was ceded to the British. The British however had little use for the castle and from 1957 the Castle has housed the Ghana Police Recruits Training Centre and a school. At present the castle is used as a museum and is designated as a World Heritage site.

NZULEZU STILT VILLAGE Ninety kilometres west of Takoradi, on the side

of Lake Tadane, lies a fascinating village where nearly everything is on stilts on or above the water. The small village has existed for over 500 years and is situated in Lake Amansuri. Life in the village adapts to the watery conditions, houses are built on stilts and there is little exposure to the outside world.

Getting to Ghana by Air

Ghana has twelve airports. The most important are Kotoka International Airport at Accra and airports at Sekondi-Takoradi, Kumasi and Tamale that serve domestic air traﬃc. There are commercial airlines running domestic flights between the major cities in Ghana.

Population

25,199,609 in July 2013 according to The CIA World Factbook

Climate

Ghana has a tropical climate. The eastern coastal belt is warm and comparatively dry, the southwest corner is hot and humid, and the north is hot and dry. Rainy seasons are from April to June and September to November. The dry season runs from November to March. January and February are the most sunny but

are not necessarily the best months for filming due to the high fog, which sometimes reduces visibility to as low as fifty metres.

You Need to Know about The favourable exchange rate means that most other currencies go a long way in Ghana. Locations, supporting crews and talent are, by world standards, very aﬀordable. The major costs are typically transportation to Ghana, equipment and key crew.

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Welcome to a Land of Sunshine, a nation with the reputation as the friendliest in Africa - Ghana Tourism

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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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� u O �! n�

INDUSTRY MOVES

Directors Sean Metelerkamp and Chris Bisset Join Production Company Fly On The Wall.

ean Metelerkamp directed the original Die Antwoord music video, Zef Side, which has just under 14 million views on YouTube; won a D&AD Yellow Pencil for Best Music Video; and won The YouTube Play competition. Since then, Sean’s exhibited at The Guggenheim museums in New York, Bilbao, Venice and Berlin; had art residencies in New York; signed to agencies in London, Los Angeles and Paris; and been

profiled in Playboy and Shots. Chris Bisset was named Best Newcomer at the 2012 DStv Film Talent Celebration Competition for his documentary ‘A Procura de Pancho’ (‘Looking for Pancho’), about Mozambican architect Pancho Guedes. Chris attended the Berlinale Talent Campus in 2011 and spent three months in Germany directing ‘Five Ways to Kill a Man’. In 2012, the short film was shortlisted for The Berlin Today Award; premiered at the

Berlin Film Festival; won The German Human Rights Award; and screened at The Cannes Film Festival. Chris has shot an acclaimed music video for Bateleur, as well as commercials and campaigns for the likes of Dove, Woolworths, Clinique, Old Mutual, and Arwa, working with agencies in both South Africa and Dubai. He directed the video components of the Sprite Cricket Stars campaign, which won two Grand Prixs at Dubai Lynx in 2012.

Durban FilmMart Project Selected for Hot Docs 2013

‘Devil’s Lair’, one of the award-winning projects from last year’s Durban FilmMart has been selected for this year’s Hot Docs, the Canadian International Documentary Film Festival in Toronto in April/May this year. Produced by Neil Brahhllklxckkndt of Fireworx Media and directed by Riaan Hendricks of A Season of Film (who also did the cinematography and editing) this feature documentary uncovers the conflicting worlds that exist amongst the troubled communities of the Cape Flats in Cape Town South Africa. It is an intimate portrayal of one gang leader and his young family as they navigate a violent and contested physi-

cal and psychological landscape, one in which honour, love and betrayal are all too often sides of the same coin. ‘Devil’s Lair’, which will have its World Premiere at Hot Docs on 1 May, was a featured project at last year’s Durban FilmMart, where it selected by as one of the “Most Promising Documentary Projects”, and as a result Brandt and Hendricks also received a travel and accommodation grant from WorldView/IDFA enabling them to attend IDFA, and pitch the project at the IDFA Forum in November last year. “One of the key objectives of the DFM, which is a joint programme of the Durban Film Office (DFO) and the Durban International Film Festival (DIFF), is to act as a feeder platform in bringing African projects to other established international co-production markets. “ explains Toni Monty of the Durban Film Office. “We are delighted to hear that Devil’s Lair has been se-

lected to premiere at Hot Docs. Results like this for any film helps to foster and encourage a confidence in developing projects, as often, at ideation stage stakeholders are cautious as to what tangible results can be obtained. This helps to demonstrate the potential and possibilities that do exist.” Speaking from Johannesburg Brandt was excited about the selection and for the opportunity of holding their world premiere at Hot Docs. “It’s at once fantastic and terrifying.” he said. “Hot Docs is North America’s largest documentary festival, conference and market with about 200 documentaries from around the world, so the competition is tough, but we are really looking forward to the experience and to working hard at making sure our film gets the best start to its festival life possible.” To view the trailer visit: http://www.hotdocs. ca//film/title/devils_lair

“PRO” SPECTIVE

The Role of the dti Rebate in Transformation By Seton Bailey

ew would argue that South African film & commercial crews rank among the best in the world. That said, are we are doing enough on the skills development front to sustain our slim advantage as a globally competitive industry and a preferred international destination of choice? Some say there’s a glut of film & electronic media tertiary training. So why are aspiring entrants to the industry job market often so illprepared to deliver successfully on the rigors, demands and challenges of working on local and international productions? Part of the answer is in the peculiar nature of the industry and the huge demands placed on people entering it. To survive and thrive takes an exceptional blend of life & occupational skills, a skin as thick as a rhino, being a flexible & adaptable contortionist, no need for sleep, the ability to perform miracles and a doctorate from the University of Hard Knocks. Historically, while there’s a low academic entry level, there’s an extremely high premium attached to delivery, professionalism and attitude. Whichever way you look at it, it’s an exacting industry notoriously hard to break into. The not-for-profit Film Industry Learner Mentorship or F.I.L.M. programme (www. filmsa.co.za; Facebook: Just-call-us-F.I.L.M.) was started back in 2007 for precisely that reason; to spur transformation and provide a vital bridge across the great divide between Learning & Earning in the film & electronic media industries. While F.I.L.M. is an accredited training provider, the primary focus is to facilitate entry into the industry via mentored, certified, hands-on,

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“

While F.I.L.M. is an accredited training provider, the primary focus is to facilitate entry into the industry via mentored, certiﬁed, handson, experiential learning on local and international ﬁlm and television production.

“

“Pro”Spective

experiential learning on local and international film and television productions. Over the years F.I.L.M. has built up a solid, working relationship with major long-form players in the country like Film Afrika, Moonlighting Films, Do Productions, Homebrew Films, Two Oceans Productions Kalahari Pictures, Spier Films and numerous others - as F.I.L.M. partner companies. But a key ingredient – without which none of this would be possible - is the Department of Trade & Industry (dti). Apart from the sterling work the dti is doing through the SA Film & Television Incentive for job creation and attracting international film business to South Africa, and what is perhaps not so well publicized, is the role that the dti - together with the Mict Seta - is playing in the industry in transformation and scarce and critical skills development for primarily disadvantaged people.

Local and international productions are made in South Africa for many reasons, but one of the most compelling remains the dti rebate. F.I.L.M. partner companies have proactively embraced transformation, mentored skills development and training as key elements of these major productions and made hands-on, experiential learning and the remuneration of F.I.L.M. trainees a non-negotiable item in their budgets. For example, the Videovision Nelson Mandela biopic, ‘Long Walk to Freedom’ - serviced by Film Afrika – featured 19 F.I.L.M. trainees,

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After a lifetime in the industry, Seton Bailey is Project Director of the F.I.L.M. programme (www.filmsa.co.za; Facebook: Just-call-usF.I.L.M.) as did Kalahari pictures’ ‘Judge Dredd’, with 21 F.I.L.M. trainees; Film Afrika serviced Michael Bay’s ‘Black Sails’ production with 12 F.I.L.M. trainees; Moonlighting’s ‘Safe House’ production featured 22 mentored trainees; likewise ‘Mad Max: Fury Road’ had 19; U.S. box-oﬃce smash-hit, ‘Chronicle’ serviced by Film Afrika had 13 F.I.L.M. trainees; ‘Zulu’ with Lobster Films had 6 trainees; likewise the Equation Moonlighting production ‘Skoonheid’ had 2 trainees, ‘The Perfect Wave’ with The Fabulous Boomtown Boys had 2 trainees; Spier Films’ productions, ‘The Price of Sugar’ had 7 F.I.L.M. trainees, ‘The Salvation’, 8 trainees & ‘Young Ones’ 5 F.I.L.M. trainees. Many, many current crew credit their entry into our increasingly diverse, globally competitive industry to the F.I.L.M. bridge, via Mict Seta grants and dti rebate-driven local and international productions. Former F.I.L.M. trainee and 1st AD Greg Kriek got his big break on ‘Chronicle’ and is currently working between Hollywood and South Africa. He says, “The F.I.L.M programme opened doors for me in ways I could never have imagined! I was given the opportunity to work in the real industry - mentored by South Africa’s best - working with local and international professionals, on commercials and feature films.” Says rising star Quinton Fredericks, on the camera crew of ‘Black Sails’, “What F.I.L.M has done for me in terms of career advancement, is put me in direct contact with outstanding mentors, through placement on top local and international feature films.” Adds Greg, “I don’t believe there is a better opportunity in South Africa that bridges the gap by taking passionate, trained individuals (who may not be able to aﬀord to go to film school) and connecting them to the real industry in a structured, practical way.” Quite simply, none of this would have been possible without grants from the Mict Seta and the awesome incentive provided by the dti rebate.

IN PRODUCTION ‘BLACK SAILS’ Film Afrika is finishing oﬀ ‘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. Other recognizable faces include Zach McGowan (‘Shameless’) and Nigerian/ South African star Hakeem Kae Kazim. Executive produced by Michael Bay for STARZ, ‘Black Sails’ is being filmed at Cape Town Film Studios. ‘Black Sails’ is shooting at Cape Town Film Studios. From left Toby Stephens; Clara Paget.

IN PRODUCTION Thanks 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.

Award winner ‘Black Butterflies’ and Golden Calf, Golden Film and Rembrandt Award winner ‘De Heineken Ontvoering’. Richard also worked with Jean in South Africa on ‘The Silent Army’, which was disqualified as The Netherlands’ Best Foreign Film submission in 2009 because it had screened in Dutch theatres in an alternate version.

‘THE SALVATION’

‘THE BOOK OF NEGROES’

Shooting in Johannesburg, ‘The Salvation’ is set in 1870s America. John is a peaceful settler whose family is brutally murdered. When John kills the killer, he draws the wrath of local gang leader Delarue and is forced to enact vengeance on his band of outlaws. ‘The Salvation’ is a Danish/UK/South Africa coproduction produced by Sisse Graun Jorgenstein and co-produced by Michael Auret and Charlotte Pederson. Spier Films is the South African production company, with Marlow de Mardt line producing. The film will re-unite ‘Casino Royale’ stars Mads Mikkelsen and Eva Green. ‘The King is Alive’s’ Kristian Levring, one of the founding members of the Dogme 95 movement, is directing the Western, which is co-written by ‘In a Better World’ screenwriter Anders Thomas Jensen, and produced by Zentropa.

Out of Africa Entertainment is the South African production company on this miniseries adaptation of Lawrence Hill’s award-winning bestseller, ‘The Book of Negroes’, produced with Conquering Line Entertainment and Blue Ice for CBC and Entertainment One. Amazon describes the book as, “A sweeping story that transports the reader from a tribal African village to a plantation in the southern United States, from the teeming Halifax docks to the manor houses of London, ‘The Book of Negroes’ introduces one of the strongest female characters in recent Canadian fiction, one who cuts a swath through a world hostile to her colour and her sex.” Shadow & Act says Canadian Clement Virgo (‘Lie With Me’, ‘The L Word’) is directing.

‘THE PRICE OF SUGAR’ Shooting in Gauteng and KwaZulu Natal, ‘The Price of Sugar ‘is 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. Being shot as both a feature film and miniseries, ‘The Price of Sugar’ is a German/Dutch/ South African co-production by Comet Films and Spier Films, with Richard Claus and Michael Auret producing. Gail Overton is the line producer and Jean Van De Velde directing. This is Spier Films’ third project with Richard, after South African Film and Television

‘OUTPOST 37’ Out of Africa are servicing Outpost 37, in which a documentary crew follows an elite unit of Marines in the wake of an alien invasion. IMDB says Jabbar Raisani (additional visual eﬀects supervisor on ‘Game of Thrones’) is directing.

We’d like to hear from you! Share production updates or news to The Callsheet at editor@thecallsheet.co.za

UNCONFIRMED SPECULATION • Moonlighting Films are rumoured to be prepping an untitled Adam Sandler/Drew Barrymore romantic comedy, which Drew told The Wall Street Journal will be similar to their previous collaborations ‘50 First Dates’ and ‘The Wedding Singer’. • Moonlighting Films are rumoured to be in production on ‘A Good Lie’, about a Sudanese refugee who is taken in by a straight-talking American woman (Reese Witherspoon) in the United States. ‘House of Cards’’ Corey Stoll co-stars, while Philippe Falardeau (the Oscarnominated Monsieur Lazhar) is directing, according to IMDB. • ‘District 9’ and ‘Elysium’ director Neill Blomkamp is prepping ‘Chappie’, a robot science fiction comedy which is expected to shoot in Johannesburg. • South African box oﬃce sure-thing Leon Schuster (‘Mad Buddies’, ‘Mama Jack’) is prepping a new slapstick comedy, which is being produced by Andre Scholtz. • ’Verraiers’ writer Salmon de Jager is making his feature film debut with ‘Musiek vir die Agtergrond’, starring John-Henry Opperman, Lizelle de Klerk and Brumilda van Rensburg.

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

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OPPORTUNITIES

Loeries 2013 Entries Now Open!

ntries are now open for the Loeries awards, which aim to recognise, reward, and foster creative excellence in brand communications. The final deadline for entries is 31 May. Agencies or marketers throughout Africa and the Middle East can enter their work.

NEW CATEGORIES THIS YEAR: 1 Eﬀective Creativity Award – This category has been introduced to recognise the link between innovation and business success. To be eligible to enter this new category, a campaign must have won a Loerie

in the past two years. That means winners from 2012 and 2011 are eligible, including Bronze, Silver, Gold, and Grand Prix. 2 New Voice Award Crafts – New categories specifically for non-English radio communication have been introduced for Writing and Performance Crafts. Non-English radio entries that have flighted may be entered in the New Voice Award category or the main Radio category, but not in both (as was allowed in previous years). 3 A new Digital Craft category has been added for Best use of Technology. For more information visit: www.loeries.com

AFI FEST 2013 Film Submissions

ubmissions are now open and filmmakers are invited to submit narrative, documentary, experimental, animated and short films for consideration. You can submit your film to AFI FEST 2013 via Withoutabox.com. The Academy of Motion Picture Arts and Sciences recognizes AFI FEST as a qualifying festival for the Short Film category of the annual Academy Awards and AFI FEST is still the only film festival in the United States to hold the prestigious FIAPF accreditation, assuring a high standard of quality and reliability for the international film community.

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All filmmakers who have submitted a film will be notified of the final status of their submission no later than Friday, 11 October, 2013. Please visit our FAQ page if you have any additional questions or contact us directly at programming@AFI.com.

SUBMISSION DEADLINES Short Films (under 30 minutes): Friday, 2 August, 2013, US$50 submission fee Feature-length Films (30 minutes or longer): Friday, 16 August, 2013, US$70 submission fee For more information visit: www.afi.com/ afifest/submissions.aspx

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OPPORTUNITIES

Call for Entries to the Tri Continental Film Festival Deadline ies: For Entr 31 May 2013

he Tri Continental Film Festival is an annual, South African festival that focuses on documentary and narrative films from or about Africa, Asia, Central and South America and the Middle East. It aims to showcase outstanding cinema that deals with socio/political and human rights themes pertinent to these regions and also help filmmakers reach South African audiences enabling its public to experience the power of cinema. It is well known for being a diverse film festival that supports African talent and encourages dialogue between filmmakers, film themes and audience. It is the only human rights dedicated film festival in

Southern Africa. Founded by Rehad Desai in 2002 to spur the growth of the African documentary film industry through an annual celebration, the festival brings the industry and community together around storytelling. 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

Physical Address: Cliff Roach Programme Manager 10 Oudevlei Road Marina Da Gama Muizenberg 7945 Cape Town South Africa For the entry form visit: www.3continentsfestival.co.za/call/index.html If you are sending your film via a link and password, please email the entry form to cliff@uhuruproductions.co.za For all enquiries related to entries, email cliff@ uhuruproductions.co.za

Toronto International Film Festival Submissions Submissions for the 2013 Toronto International Film Festival are now open.

tarting out in 1976 as a collection of films from other festivals -- a “festival of festivals” -- the Toronto International Film Festival has become one of the most successful cinematic events in the world, universally regarded as an ideal platform to premiere films. Boasting a public eager for the best in contemporary film, as well as international attention from media, distributors, producers and buyers along with a galaxy of stars, the Toronto International Film Festival is considered the premiere film festival in North America. The festival has been described as “the most important film festival in the world – the largest, the most influential, the most inclusive.” Late submissions to the festival are still being received. The submission deadline is 31 May for international features and documentaries.

To submit your film for consideration, please visit Withoutabox.com to complete your online registration. For more information visit: http://tiﬀ. net/thefestival/submissions

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

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ASSOCIATIONS

The National Film & Video Foundation (NFVF) is a statutory body mandated by parliament to spearhead the development of the South African film and video industry. REMINDER FOR THE NFVF QUARTERLY CALL FOR APPLICATION SUBMISSIONS The National Film and Video Foundation now issues quarterly calls for applications for funding in the areas of training, marketing and distribution support, script development and production financing. These are aligned to the quarterly meetings of council and are designed to provide the industry with clear deadlines for submissions each quarter. All applicants are advised to carefully study the criteria and submission-requirements in all areas for which funding is being sought. Incomplete applications will not be considered. Applications received after the deadline will only be considered for the following quarterly meeting of council. All applications should be hand delivered to the following address: 87 Central Street, Houghton, 2198.

The following categories will be considered for production and development funding: • Documentaries • Features • Short films • Television concepts All applications for production and development must be delivered to the above mentioned address for the attention of Neiloe Whitehead or Thandeka Zwana. The following categories will be considered for training applications: • International Bursaries • Trevor Jones Scholarship • Training Provider funding All applications for training must be hand delivered to the above mentioned address for the attention of Pretty Mthiyane. For more information and details regarding marketing and distribution applications, please visit: www.nfvf.co.za

2ND BOJANALA FILM WEEK SUPPORTED BY NFVF A SUCCESS The National Film and Video Foundation (NFVF) in partnership with the Bojanala District Municipality and North West Department of Sports, Arts and Culture held yet another successful film week in Bojanala, Rustenburg from the 22nd to 25th of March, 2013. Attended by the ‘creme de la crème’ of the film and television industry, MEC’s, and representatives from the NFVF and Bojanala Platinum District Municipality, the film week commenced in high spirits with the opening night held on Friday the 22nd. As with the previous film week, the attendance was very high, making it possible to fulfil the aim of the campaign which is motivating young people more particularly those from disadvantaged communities within Bojanala District Municipality.

ASSOCIATIONS Participants expressed satisfaction with regard to their involvement in the workshops as they build a new generation of filmmakers within the disadvantaged communities. “The occasion assisted us a lot, because most of us came here have been blank about film, but after this I am well equipped in terms of film-making. We are already conceptualizing on how to make our short film,” said a student. The workshops were followed by screening of local films which included award-winning ‘Material’, ‘Skeem’, ‘Gog Helen’ and ‘Man on Ground’. For more information contact Naomi Mokhele on naomim@nfvf.co.za

WGSA

The Writers’ Guild of South Africa (WGSA) is 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).

On the 7 April, 2013 the Public Relations Institute of Southern Africa once again assembled for the glamorous Prism Awards Ceremony in Johannesburg, honouring the nominees in different fields of public relations. The Writers’ Guild of South Africa walked away with the only award in the category for publications. What makes the award even more special is the fact that it was the first time they had entered their magazine for a nomination. From the magazine’s inception as a two page newsletter written by Natasjé van Niekerk, it evolved into a six pager under the

For advertising rates and sponsorship, please contact Thea Aboud at WGSA -admin@writersguildsa.org

“

The Writers’ Guild of South Africa walked away with the only award in the category for publications. What makes the award even more special is the fact that it was the first time they had entered their magazine for a nomination.

“

WRITERS’ GUILD MAGAZINE WINS PRISM AWARD

guidance of Tracey-Lee Dearham and was eventually taken over by Harriet Meier when she joined Council in 2010. After a year of developing the newsletter, Harriet joined up with multi-talented Cape Town designer Kyle Stevenson and the new format of the Writers’ Guild magazine was born. Since then it has grown into a one hundred and twenty page plus monthly e-zine, which is distributed free of charge to Writers’ Guild members and representatives of the Film and Television Industry, both locally and abroad. As WGSA is a non-profit and public benefit organisation, all contributions, from editorial control to local and international articles, are done on a voluntary basis with no payment. The magazine has turned into a major public relations tool for WGSA, bringing in new members and gaining readership at training institutions, broadcasters and at government level. “It is with pride that we accept this honour and commit ourselves to protecting, empowering and developing all performance writers in South Africa and growing the magazine to even greater heights.”

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DIRECTORY LISTINGS

Advertisers COMPANY

TELEPHONE

WEBSITE

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CTICC

+27 21 410 5000

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Durban Film Oﬃce

+27 31 311 4243

filmdurban@durban.gov.za

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Durban International Film Fesitival

+27 31 260 2506

cca@ukzn.ac.za

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Fairbridges Attorneys

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Lindbergh Lodge

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Location Gallery

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Media Film Services

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Pro Events / Red Security

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Rosco

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Zootee Studios

+27 21 510 1928

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TIP OFF

COMING UP in the next issue 1 Cannes Lions 2 Regional Spotlight: East Africa

We want to hear from you! If you have information on the above stories, send us a tip at editor@thecallsheet.co.za

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