SA TV drama briefs

Four briefs outlining new SABC drama requirements were launched at DIFF last month.

They include a brief for literary adaptation from South Africa, family comedy, a youth drama and a call to research new local telenovelas.

Briefs can be accessed here. See DIFF 2008 - Request for proposals.

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.


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Today's page count: 9. Mood: distracted

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.

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)

Opportunities round-up

A mixed bag this latest round-up - with opportunities gleaned mainly from other blogs & padded out with whatever arrived in my inbox since last time. There don't seem to be any new, local scriptwriting initiatives at present - but come back soon for updates. There's still plenty of time to prepare proposals for many of the local broadcaster's drama commissioning briefs which can be downloaded from the website here.

I'm highlighting one FREE scriptwriting competition. (There is a comprehensive list of fee-charging script contests at moviebytes.com) Kaos films in the UK are running an international short film scriptwriting contest for which there is a fee. However they also advertise an open call for ideas for hi-concept feature scripts. For those with their eyes on Hollywood, the rules are available here - read them carefully as they are very specific about the information they want to see.

And for those who have a killer pitch for the next blockbuster why not try the professional Hollywood 'pitchmeister' here? The website makes interesting reading - even if you haven't got round to writing the script just yet - hey maybe you can go and sell the idea first? On closer inspection, it seems that you have to purchase a 'how to' CD rom for $20 before you can pitch - maybe not so good after all.

For independent filmmakers and scriptwriters with less mainstream, more arthouse scripts, it is worthwhile considering the Mannheim Meetings. The submission deadline is somewhere around the end of July for meetings in Germany in October. The Mannheim Meetings can provide an invaluable opportunity to further projects at all stages of development - attract producers and even development/production finance. Pre-selected projects are published in a catalogue circulated to all the industry attendees. Further information is available on their website here.

Another avenue for scripts/projects (that have already reached a certain stage of development) is the World Cinema Fund. Information is available here - applicants do need a German partner but the WCF co-ordinators can help - if they are attracted to a particular script. Worth visiting the site just to download their rather lush brochure.

A similar fund targeted at filmmakers in 'developing countries' is attached to the Goteburg Film Festival. Information is available here. Small amounts of seed finance for development are available. The next deadline is October 1st 2007.

The wonderful Lianne over at Light and Shade has just alerted me to the upcoming Africa in Motion film festival in Edinburgh. There is a call for 'emerging African filmmakers' to submit short fiction films or documentaries. Deadline is 31st May 2007. Keep an eye on their website!

Update

This year's All Roads Film Festival have just put out a call specifically for African films. "As the May 15th submissions deadline approaches, we are stepping-up our outreach to filmmakers, distributors and producers." For further information click on the link here: All Roads Film Festival

Finally for playwrights, iceandfire and Amnesty International UK announce the first ‘Protect the Human’ playwriting competition "exploring individual stories of displacement and conflict." The deadline is May 14th 2007 and it does appear to be open to international applicants. The information is available here - read it carefully since they are quite specific about what they want and how to apply.

That's it for now. To catch up on previous updates, click on the 'opportunities' label in the sidebar. Anything I may have missed, email me at the address in my profile and I'll add it.

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'