EH How did you feel when the film was nominated for the Golden Bear at the Berlin Film Festival and what were your expectations? Did you believe that you would win amid the stiff competition?
RG We were thrilled just to be in the official competition, which was only the second time a South African film had achieved this. We thought we had done respectably, perhaps critically mid-table out of the 21 films, so to win the Golden Bear was an absolute shock.
EH Did you face any challenges at the Berlin Film Festival? If so, what were these?
RG We went to the festival without a sales agent, and it is difficult to grab people's attention when you are competing with major international distributors. But it all worked out in the end, so sometimes the exception is the rule.
EH The film is based on the Opera by renowned French Composer, Georges Bizet. One can say that Carmen was Bizet's claim to fame - it is still considered the most popular and vital French opera of the 19th Century. When you made the film, did you anticipate that a South African adaptation of the opera would resound the same success in the 21st century?
RG I think we all believed that we had a magic combination, between this opera which has stood the test of the time, Dimpho Di Kopane's (DDK) successful stage version of Carmen, and the freshness of a musical film in Xhosa set in Khayelitsha.
EH Other than it being based on the opera, were there other social or political factors that inspired the making of the film?
RG Not in the overt narrative of the film. Somewhat in the sense of our methodology, in that we tried to crew up with a very diverse and empowered crew and used an unconventional approach in production. I think that added to the magic of the film. We also wanted at some level to say to South Africans and the world that we can take high art and reinterpret in new ways at the highest level. Hopefully it will make fellow South Africans both proud, and believers in the unbelievable raw talent we have in our country.
EH Tell us more about the making of the film.
RG It was shot in April / May 2004 in Khayelitsha and on the Spier Wine Estate. Post production was at the Refinery in Cape Town and Johannesburg, and Media Film Services provided our equipment.
EH What challenges did you face in the making of the film?
RG The musical element was the biggest challenge for me, from the pre-recording in a makeshift shed at Spier to truly out of the box live recording on set by Simon Rice, and complex sound editing in post. All the way through, getting the sound right was the biggest challenge, because the film succeeds or fails on this element.
EH Tell us about the characters and how you went about selecting the right actors to portray the characters. Did all members of the cast have training in singing opera?
RG Yes, the cast was all drawn from the stage show that DDK has taken around the world since 2000. Their comfort in their roles I think allowed them a great degree of creative freedom with their performances on camera.
EH Tell us more about the director - what has he directed before this film?
RG Mark Dornford-May has been a theatre director for 25 years, the last five years with DDK, the lyric theatre company that he founded. This was his first film.
EH How long did it take you to complete the film?
RG One year from first week of pre-production to delivery of a sub-titled 35 mm print, which is quite fast for an independent film I believe. But DDK's history with Carmen is a five-year journey.
EH What challenges did you face in completing the film?
RG Producing a film I have realised is a marathon. It is very hard to sustain one's energy throughout the creative and manufacturing process. There are many hurdles to be overcome, so it is important to have dogged and sustained commitment to the film, and to keep sight of the initial and overall goal.
EH What was your marketing strategy during and post the making of the film?
RG Our marketing strategy locally was to delay going to the market until close to the release of the film. So we only starting going to the press at Xmas and are planning to ramp up our PR in March / April as we approach our release. We need as many people as possible to know about the film as early as possible, and hopefully the public will now be intrigued enough by our award in Berlin to head to the cinemas in our first week in significant numbers.
EH How did you finance the film?
RG Nandos was the main financier, with support from the NFVF and DTI. Nandos, in its strategy of being an innovative and proudly South African brand, saw the potential in being associated with a high art South African product both locally and domestically. The Golden Bear has certainly put a smile on their faces.
EH What is your distribution strategy in South Africa?
RG Ster Kinekor will be distributing the film, and it will be released locally in multiplexes in April 2005. We are also distributing the film in a few select township venues in March 2005, in order to try and reach the broader population. Hopefully each of these markets will benefit from the other.
EH How do you think South African audiences will receive the film?
RG I think it will be fascinating. Internationally the response has been so strong. But the South African audience is a strange animal that is difficult to read. Partly because local audiences are only recently being engaged with a material number of South African feature films. Hopefully local audiences will be entertained and moved, and maybe also feel some pride in our local talent.
EH Did you secure a sales agent? If so, who and what territories will be covered?
RG We are about to appoint a sales agent, although their name is still confidential. They will handle worldwide sales, in which there has been substantial interest following Berlin.
EH How was the film received at FESPACO?
RG It was well received with positive feedback, but in the panorama section of Fespaco it is difficult to stand out.
EH Have you received any assistance from Sithengi with regards to this film? If so, what was this assistance? If not, how could Sithengi have been of greater assistance to you?
RG Yes, I met a few key sales agents at Sithengi 2004, and I think this was a great addition to the market. The HIVOS/Sithengi Film Fund will also help fuel the fires of local projects.
EH What are your plans for Carmen now that it has received the Golden Bear Award?
RG First, a successful release at home, second, widespread international distribution with theatrical releases in key territories and third, participating in key festivals around the world to help with the marketing and distribution of the film.
EH Are there any other projects you are working on currently or do you have any other projects planned for the future? If so, can you give us some idea of what these are?
RG DDK is currently shooting a film version of another of their shows,"The Mysteries". I have other projects I am hoping to shoot later this year, including a local comedy road movie I have written, and a Xhosa language drama.
EH What advice can you give to other filmmakers entering their films in competition at festivals?
RG I have more advice if you get into competition. Getting into the competition is the hard part, and my view is that the film has to speak for itself. There is a lot of logistical work to be done, so I suggest getting stuck into this process as soon as possible. It helps to know people at the various festivals in terms of negotiating some of these logistical hurdles.
Posted on Wednesday 16 Mar 2005
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