Download Part 1 - size: 3.3mb - Screen Africa

NEWS
Compiled by Karen van Schalkwyk
the
production business
The worldwide recession
is having a major
impact on the way
producers find financing
and structure their
productions. Screen Africa
speaks to a few producers
and independent
filmmakers about their
views and what some of
the solutions are.
The television and film production
business has not been immune to
the economic slump, which has
witnessed major studios,
international production companies
and broadcasters struggling against
dwindling profits, closures or
retrenchments. It has become necessary
for everyone to re-think their
production strategy in order to cope
with tighter budgets.
Desiree Markgraaff of The Bomb
says that we should look to the
Nigerian model. “Despite low
production values, these films are very
popular over the continent. They are
made for very small budgets and thus it
is easier to break even and the good
ones make a real profit. We have
abundant talent, loads of gear, good
crews: there is no reason why we cannot
take a risk and make a few super low
budget films and see what the direct to
DVD route will offer.”
Johnny Muteba, an independent
filmmaker, maintains that the solution
resides in a coalition: “Raising funds as
a coalition is much easier than doing it
independently, and once a brand is out
there in the market this coalition will
carry much more weight approaching
distributors and investors.”
Mike Rix, independent producer
and filmmaker says his last two films
have been financed through a number
of investors each putting in relatively
small amounts of money, as opposed to
a few investors allocating large amounts
of money. “I did this purely because I
found it easier to sell shares if I wasn’t
asking for huge amounts of cash. I also
found a number of investors online,
which is a resource that local
filmmakers need to make better use of
in my opinion.”
Eugene Snyman, also an
independent filmmaker, maintains
that co-productions are the best option
when putting a project together. “But
there is another obstacle which relates
to who holds the greater share of the
production when tabled or sold. I think
that if finance is the objective, then
gather a group of people who have the
same objective as you do. Each party
should have something to bring to the
table. A coalition is a good solution to
the economic problems we face.”
Hard times
In these hard times, Markgraaf says
that the key aspect of coping and
having to produce content is to find
ways to reduce the production budget.
“I think this is one of the first things to
consider when the economic climate is
tough. One must also consider that by
cutting your budget it may hurt your
film and make it less marketable.
“Look at structuring deals with
equipment and post companies as
equity partners – that is, gear and
facilities in lieu of cash. The same can
be negotiated with key crew. Another
possibility is to get regional funding
within South Africa – local
municipalities, tourism departments,
etc. Also look at international regional
funds, as they often compete
for shoots or post-production in their
region.”
Ross Garland of Rogue Star Films
says that the economic divide has
sharpened the divide between the haves
and have-nots, the blockbusters and the
indies. “This is not all for the worse.
The new media opportunity, which
indie filmmakers have for the most part
been avoiding, like in the music
industry before us, has been brought
sharply to fore. The solutions for indie
filmmakers will lie partly at least in
discovering and embracing new media
models. The industry has begun this
process with a spate of digitally finished
and distributed films.”
Rix adds: “There are always people
with disposable income looking for
investment opportunities. The film
industry worldwide has prospered
during this period of economic
uncertainty, so a lot of individuals are
starting to look at film investment as a
solid opportunity. It is good to see local
films like White Wedding performing at
the box office, as it makes it easier to
sell to investors when there’s a genuine
chance of return on investment.”
Snyman elaborates that the current
downturn in the economy has led to a
decline in value of production levels as
well as a more cautious approach by
producers regarding the type of
production they take on. “When
producers try and raise the finance for a
project it is advisable to first review
production costs and assess the total
value return on investment for their
clients. To put it simply, get the figures
right and mould the production
according to budget.”
New opportunities
Hard times may be difficult to survive
but they can generate new
opportunities, some producers have
discovered. Markgraaff says that the
tide will turn. “This is an ideal time to
develop new material and to be
recruiting, as good people will come
into the market who are not normally
available. The whole world is feeling
the pinch and one has to look at
interesting ways to make films and
explore partnerships.”
Muteba agrees: “This current
situation presents producers with an
opportunity to think creatively and
master the game of doing more with
less and to be self-sufficient.”
Garland believes that funding will be
difficult to secure. “It will remain as
difficult as ever locally. If you can get
hold of soft funding in this
environment, you should. Otherwise
reduce the budget and be innovative,
like the very popular Le Donk at the
Edinburgh Film Festival, which was
shot in six days by Shane Meadows.
Regarding the opportunities, there will
be fewer films in the marketplace so
this will benefit those who do get to
make their films. The fundamental
principles apply, but with much less
competition.”
Rix says that keeping budgets low
will be a priority. “This will also make
it easier to find the funding. Regarding
opportunities, that is a tough one. I
guess there is an opportunity to
continue to make movies for a fraction
of international budgets and hopefully
infiltrate the worldwide market. We
can also attract more international
productions looking for locations that
will save on their budgets.”
Snyman says the current financial
situation does in many respects allow
for growth. “In the past when things
were tough, like-minded people got
together to save and rebuild industries.
This, in my view, is what needs to
happen. As filmmakers we need to save
our industry and not try to create on
our own, but rather do this together.”
South Africa in
perspective
Many producers are struggling to
survive, which could affect the future of
the industry. Markgraaff believes the
challenge is to build and retain a
sustainable industry. “The relationship
between the broadcasters and
production sector is critical. If we do
not get that balance right we will
remain quasi employees to the
broadcasters and not develop a buoyant
sector. Without a solid foundation of
businesses that are bankable we will not
be able to innovate and meet demands/
opportunities that digital convergence
will bring. We must view ourselves as
job creators and not producers pitching
for work. The DTI continues to
support the sector and we must seize
the opportunities.”
Mutaba says it is encouraging to see
more films being produced. “I think
there will be a lot of growth in the
sector over the next couple of years.”
Garland comments: “We will
continue to make five to 10 films a year.
I expect the number of documentaries
will increase as well as micro-budget
digital films. These two categories of
films might shift the new media
landscape and that could change things
more radically for the better, with new
production and distribution models.”
Rix says that things will turn around.
“Local films are on the way up. In my
opinion, producers need to cater to the
commercial market if they want to
grow the industry, and that means
genre movies.”
Snyman comments: “Firstly, South
Africa does not have an industry, only a
dwindling entertainment industry on
the brink of collapse. This is largely due
to bad management and warped ethics.
“We have organisations that were put
in place to help develop the industry
through financial support for producers
and directors. I am saddened by the
performance of these institutions and
their blatant disregard for the wellbeing
of the real filmmakers who want
to showcase their talent. We have a
pool of creative people with nowhere to
exhibit their work. Why should I and
others like me have to go and get our
productions made in Los Angeles or
London? I think a lot of really talented
people will leave, as they feel
unappreciated in their own
country.”
SCREENAFRICA – September 2009