sizzle

Update: I've been letting both scripts simmer on the front burner. So it's been more about absorbing and responding to feedback and having discussions towards the next draft and thinking and drinking lots of tea. There's a great post from Danny here 'writing wrongs' which deals with the writer's role in rewriting. (Yeah I know you've all read it but maybe there's someone out there who hasn't)

There's now the possibility of an absolutely sizzling film project which I'm very excited about and definitely want to be involved in. Ok powers that be - make it happen!

On other fronts - attended a Film Finance seminar the other evening - organised by WIFT and the Cape Film Commission. This provided a case study for financing a low budget R6mil local feature film (not a co-prod) under the revised film and television production incentive.

Speakers Nadia Surjee and Karin Liebenberg from the DTI provided an overview of how they process projects of this budget and how the new tax rebate works.
Basil Ford from the IDC then gave a detailed overview of the IDC's equity funding and the instruments he is currently developing to accommodate the changes that the new incentive is bringing about with regard to cash-flowing the rebate. With the incentive likely generating a greater spread of risk and therefore more lower budget local films being financed, there will also be a requirement for 'shepherding' newer and inexperienced companies.
Kethiwe Ngcobo from SABC drama then outlined the broadcaster's plans for a new film fund which is now in the 'implementation cycle' with a potential spend of between R20-40mil by 09. She mentioned plans to accommodate films with a range of budgets. She also pointed out the challenges facing the SABC (being a government backed, commissioner of content) as it establishes ways of working with other local financiers.
Next up producer Paul Raleigh from Film Finances together with colleague attorney Guy MacLeod presented an overview of their new initiative 'PAL' established to employ their experience to shepherd young, new and HDI companies through film financing. PAL will look at projects at script stage.

Well that turned into a long one.
Laters

ships that pass in the night

Heartening to see (and a reminder of the need to persevere) is the tremendous critical response to Terence Davies' latest film Of Time and the City. I've long been a fan of his work. Here in another interview from 2 years back - is Davies' damning and passionate assessment of the UK film industry. Interesting to note that much of what he says chimes with what is being articulated elsewhere lately - the need for spiky, original and 'difficult' voices and narratives to be returned to British cinema and television.
Perhaps change is in the air..

In other news: I'm still making headway on the current script - (even better news they just agreed to give me more money - yee haa!) - despite the various shortcomings of the online stuff (I'm now loath to mention any scriptwriting tool by name on the blog now - since it sparks a mass of visits from developers.) Why don't they just put all the functionality of word into an online system - or better still - why not have writers just type in a few key words and let the programme write the script instead?

Locally, the state of affairs at the SABC continues to baffle with yesterday's news that the CEO has now been reinstated after his suspension was ruled unlawful. Watch this space.

And finally an opportunity: Migr@Tions International have put an international call out for short films about immigration. Full details are available by clicking here.

So there you go - bits and pieces today. And where are you by the way?

SASFED statement on SABC crisis

Press Statement 8th May 2008.

In view of the present crisis within the SABC, the South African Screen Federation representing 17 professional bodies in the film and TV industry:

1/ Support the role of the SABC as a public broadcaster committed to quality local programming

2/ Believe political interference has undermined the original public service mandate of the SABC

3/ See the existing crisis as symptom of a long standing operational disfunctionality

4/ We independent filmmakers who make most of South Africa¹s TV programmes, experience daily the ineffective management which has undermined our capacity to produce quality and challenging programmes for the South African public.

We wish to see the SABC fully functioning for the entire public and all key stakeholders who make this possible.

Rehad Desai
Chairperson

Meltdown

The local broadcaster SABC appeared to be in meltdown today after the suspension of the CEO early this morning - following his earlier suspension of the Head of News.

The unfortunate timing coincides with Input2008 currently underway in Johannesburg and attended by a host of international TV commissioners and execs.


*******
Today's page count: 9. Mood: distracted

thatandthis

Bits and pieces really this one. February's whizzing by with much happening under the radar and intriguing opportunities opening up here, there and everywhere. Is that vague enough to deflect blog karma?
Lately have been budgeting and re-budgeting. Once in a while, every scriptwriter should perhaps sit down and minutely cost a film (any film - short or feature) - if only to realise how much more gratifying the process of scriptwriting is - ha!

What else? - interesting post over at WC Martell's blog today He suggests that the key to writing successful films that are both political and mainstream - is subversion. I would agree.

Local news for those who may not have spotted it is that the briefs are up - that's the SABC'S latest request for proposals - a hefty document at 126 pages) so if you want to save paper, then probably better just to print out those that are of interest. There are only a few drama briefs.

That's it for now. Laters.

Submitting TV proposals (local)

A number of recent hits to this blog have been searches for 'how to submit proposals to the SABC' and 'submitting proposals to local broadcasters' - so I thought I'd post a general overview on 'how to' - based on my own recent experiences.

The SABC issues a RFP (request for proposals) booklet once a year usually at Sithengi. This contains tenders for numerous programmes across a range of genres including: religion, education, factual, drama, entertainment, children and reversioning. Last year, in an attempt to provide greater scope for programme development, they also introduced 'research and development' (R & D) briefs across all genres. Since the future of Sithengi is hanging in the balance at present - the next SABC RFP booklet could be issued at any point over the next few months. The RFP booklet is usually available to download from their website or a hard copy can be picked up from any of the main SABC offices. In the current booklet, there are still a number of drama R&D proposals whose deadlines are yet to expire - so it is still worth looking through.

The RFP booklet contains a comprehensive guide on how to submit and a list of names and contact numbers of all the various commissioners. There are a few schemes where individual writers can submit proposals directly but most of the time proposals must be submitted via a local production company. Small or new companies can sometimes pair up with more established companies, in a 'joint venture' to make a submission. In some instances the genre teams may guide newer companies - if they sense an idea has merit. It can be worth sending an email query - or phoning..

So how to submit? First of all, it is best to read through the RFPs carefully and see what attracts. Then do what it says on the tin. Many of the RFPs provide strict guidelines of what materials need to be submitted (in addition to the company and other administrative documentation and budgets). For drama they usually require a step outline of one episode, a synopsis of the remaining episodes (for a series) a character bible and 10 pages of sample dialogue.

For factual and other genres the application materials vary but usually require a detailed proposal of not less than 10 pages showing evidence of research. Evidence of research means proof that characters (for the documentary etc) have been located and that experts have been approached, logistics worked out etc. Sources of archive material, historical references, supporting organisations should also be listed. If a particular presenter, anchor or personality is to be used within the programme then a letter of intent from them or their agent should be included.

It is important to adhere to the language/ representation requirements of the brief and address these adequately in the proposal. If applicant team members do not speak the language of the proposed programme then they need to provide evidence of how they will meet the language requirement, who will be involved and how etc.

For all genres the proposal must provide what the broadcaster terms 'a goal statement.' This is a brief sales pitch for the programme - describing what makes it stand out from other shows and who the audience is.
A synopsis should then provide more detailed overview of the programme content.
A more detailed treatment should then provide a breakdown of at least one episode for factual programmes (and most other genres.) The treatment should describe the specific format, style, content, new media elements, graphics etc.

The key word to remember when writing up a programme proposal is simplicity. Keep the language easy rather than academic. Make the proposal fun to read - convey a sense of the style and energy of the programme in the language. Make reference to similar programmes.

Always read through and check the proposal carefully before printing it off. Make sure that all the correct materials have been assembled. Companies based in Cape Town can actually hand deliver proposals to the SABC in Seapoint right up to the day of the deadline. These are then sent up to Jo'burg overnight. Short listed candidates are supposed to hear within 2 months of the submission deadline.

In the past the SABC have also run road shows for unsolicited proposals. It is also worth checking out their website for separate RFPs that may be issued throughout the year.

Mnet have put out several drama industry briefs over the last year and it is worth checking out their website for updates. They usually require a comprehensive proposal and a full script or sample script for drama proposals.

eTV run an occasional regional documentary strand which is usually advertised on their website.

If anyone has a query about any of this (or anything else related to the world of scriptwriting) then feel free to email me (address in profile) and I'll respond in a future post.

TV

Radio was quite big in my home as a child since we didn't have a TV until I was well into my teens - a fact which often bemuses producers and others that I work with nowadays. I remember my grandmother in Wigan had a huge radio on her sideboard that was always tuned ready for 'Waggoner's Walk'. When her programme came on, she sat in front of the radio and listened.

I don't remember missing out by not having TV - although in one lesson at school we were asked what our favourite programme was and I sat anxiously wondering what I could say. It didn't matter anyway because the first child said 'Starsky and Hutch' and so did the next and the next and the next. So when it came to me I just said 'Starsky and Hutch' and hoped I was pronouncing the title correctly because I hadn't a clue what it was.

Later on when we did have a TV - viewing was carefully regulated by my mother (who now doesn't have a TV at all.) After 7.30pm TV watching was over. I don't know whether they had the watershed but my mum's cut off time was well before it! I remember standing in my pyjamas peeking through a central heating grill half way up the stairs trying to watch the end of 'Z Cars'.

Now here with satellite DSTV there are over a hundred channels - more to choose but less choice (of anything that I really want to see.) When I first moved to these shores, I watched Eastenders probably more avidly than I had in the UK. The characters and storylines were familiar compared to those in the local soaps. Also Eastenders had a regular early evening timeslot and was pretty much synchronous with the UK transmissions. Last year they suddenly revised the schedules and lumped Eastenders into an omnibus edition on Sundays. In a family - even with a split decoder - TV watching is often about bagging your programme ahead of others - ahead of the children's TV and ahead of the sports or news. So for me, Sunday afternoon was out. BBC Prime is still my channel of choice - despite being crammed with lifestyle/makeover programmes fronted by curious hermaphoditic presenters with plastic spectacles and names that are either monosyllabic or double barrelled.

In this household, local stations are 'must see' mainly for news or local sports. The main broadcaster SABC attracts the greatest share of the South African audience - mainly because it is free-to-air. The vast portion of the population does not have access to anything other than terrestrial TV, if that. Radio has a wider reach particularly in the rural areas. In the townships there are often up to 30 people in a room - all watching a popular local TV drama such as 'Home Affairs'.

snip: this rather rambling post has been cut. I'll write more about the local broadcaster in a separate post

Rumbles

Problems with SABC reach crisis point.

The full article in the Mail and Guardian is available here.

Initiation

Ok this is not something I normally do - and for readers outside South Africa - this post may hold little interest (and readers within South Africa are few in number anyway!).

Right now there is a quite a hot debate in moviezone about a 4 part TV drama series which the main local broadcaster developed and commissioned, aired the first 2 episodes of and then abruptly pulled from the airwaves. Apparently this was done in response to the concerns of several powerful organisations including Contralesa who objected to the subject matter.

So what is this controversial topic that is too 'hot' to be dramatised in the new South Africa?

Xhosa 'initiation' (or male coming-of-age ceremony.)

Update: "SABC1 took the decision to halt the broadcast of the local mini series 'Umthunzi Wentaba' due to objections raised by various interest groups and the general audience." Clara Nzima Programme Manager of SABC 1 explained that in line with the corporation's organisational value of "Conversations and Partnerships" (which encourages ongoing dialogue with stakeholders), it became necessary to raise the issues in the public domain through open discussion on 'Asikhulume'. After the consultative process the SABC re-briefed the producers of Umthunzi Wentaba, taking into account the valid views raised from all stake-holders."Starting on 3 May 2007, 'Umthunzi Wentaba' will enjoy an uninterrupted 4-week broadcast, in line with the original channel schedule strategy", says Nzima.


I have also written a script on the same topic - (albeit a completely different narrative take) My story was in fact about Sotho initiation. At the time I wrote a statement of intent which I am re-posting here - as a contribution to the debate:

A close friend of my family went off to his Sotho initiation and after 10 days, was brought back dead. Shocked by this untimely death, I wanted to delve deeper and over the last two years - talked to men who have been through initiation. I found out more - although the subject is pretty much taboo.

'Death during initiation' is both important and problematic to write about. As a woman I'm automatically an outsider. Here, a Xhosa storyteller could be accused of tribalism or attacking Sotho tradition. A Sotho storyteller could be criticised for 'selling out' or even betraying their own culture. I wrote to try to understand and as an outsider, I had to try to 'get it right'.

'The script tells a story which neither condemns nor condones tradition but which unearths some of the darker aspects of ritual. Just as in gangster initiation or even the army where young men, holed up together are forced to prove themselves under duress. Though it is not what happens on the 'inside' that interested me particularly but how men 'outside' (friends and family - in particular the father) try to cope with such a sudden and terrible death. Thus it is a story that explores men's relationships via the emotional landscape of loss.

For those interested in finding out more about the controversy there's a local news story here and another news story about initiation deaths here (may be slow to load)

Scripts (and rats)

If in doubt talk it over with mum - ha! My mum is a children's author (and poet) so very cool to discuss work 'issues' with.

Let's go back to the beginning. A while back there was a brief - for an intriguing children's TV (storytelling series). I wrote up a proposal for a prodco - it got commissioned. I scripted and then directed it. Some bits were great, a few bits weren't. It gets re-commissioned - is that not affirmation? I receive an email from the prodco making an offer (for directing and scripting.) I say yes to both. In between I complete my own doc series, have a falling out with the 'powers that be', get over it - do everything they say. Get it finished. It goes on air. People like it.

Ok fast forward to a workshop (about the second series) I think I'm there because I'm directing and scripting again. 15 people attend - some fly in. Copious scones and tea. Colourful lunch - a big, bright, shiny occasion. We discuss the first series. Exchange opinions and ideas. Write loads of notes. The next day I receive an offer from the prodco - but only for scripting - and for a lot less than the previous series. I ask about directing and re-state my terms of trade. They agree to my terms but say the 'powers that be' want an alternative director.*

I smell a rat. (Funnily enough mum smells a rat too!) Hub says just 'take the money and run'. But I don't think I can. It's not quite like a jobbing job where I just hit the keyboard hour after hour and churn it out. I'd prefer to put my heart in it - after all I was there at the start.

So I ask to know their reason*.

It's not always about being an 'awkward so and so' (writers and directors generally are). Sometimes it's about refusing to be fodder in some unfathomable agenda...

Let's see.

Where are the stories?

The expert (who had contemplated the cosmos from observatories all over the globe) mentioned that there were now lots more stories from 'all over' and 'they were in a box somewhere.' The expert preferred stars to people. He had grown pallid and flabby from years of sedentary study.

The co-ordinators made an appointment to collect the stories. They arrived to find sheaves of stories and myths on odd shaped papers, in numerous languages, some typed up, some handwritten - in a stack that touched the ceiling. 'Oh you can't take them away', the expert said, 'that's years of research'. He pointed to the photocopier in the corner. The co-ordinators made another appointment and came back early in the morning. They were looking for moral stories - not just any old stories. The expert giggled knowingly into his telescope.

The co-ordinators shuffled and stacked and read and sorted until they grew dizzy. Finally they had a pile of stories that was not too big. Photocopying took a whole day. Then they took the stories back to the office and tried to order them.

The producers grew impatient 'Where are the stories?' they asked the writer. 'I'm waiting for them' the writer replied. The producers emailed the co-ordinators 'Where are the stories?' There was no reply.

In the office, the co-ordinators started to panic - the more they read, the more unmanageable the task became. The stories were unruly - they had no morals, they were uncontrollable - they refused to be sorted.

*update*
In the end the co-ordinators gave up and stuffed the photocopies back into boxes and hid them at the back of the stationery cupboard. One of the co-ordinators put half a ream of blank paper into an envelope. The other typed an apologetic letter.

The producers emailed the co-ordinators again, 'Where are the stories?'
'In the post' came the reply. The producers waited three days then emailed the writer; 'Do you have the stories yet?'

'Yes' she replied.

Global local

The annual highlight of the local film and TV industry's social calendar Sithengi starts here next week.

Friday has various discussions on TV drama for most of the day - I'm hoping to get to this:

Local and international broadcasters discuss international trends in international drama
Chair: Indra De Lanerolle (Ochre Moving Pictures)
Panelists: Kethiwe Ngcobo (SABC) • Andy Harries (Granada
TV) • Tara Ellis (Alliance Atlantis) • Gub Neal (Box TV)
Here the panel will present case studies including five minute clips on popular international television dramas, with the objective of showcasing why these dramas work for an international audience, what challenges they face with regard to international co-production, and what South African producers need to be aware of when developing international drama co-productions. The SABC will also highlight what their strategy is in relation to international drama co-productions.

Eish

18th October

Not updated for a while and what a horror of a day eh? what a horror (as they say in Leeds, God bless 'em) of a day- which thankfully is over and I can still laugh. About 'the children series' - which up to this point I can say I've been really enjoying...

Up til today..

Then 'the meeting happened'. I behaved quite well. Took notes, nodded and mm and ha-ed sporadically to all suggestions, criticisms, advice - worldly and unworldly, I didn't object very often and when I did not too vociferously....

I'm growing up. Learning.

You can't invest emotionally in everything you do. Some of it is just a pay cheque. Give them what they want. Get it done.

Save that space.

'We saw it go.
A blue bird'