The compromise begins

Over the last few days, when people in the crew have been asking me questions like "what colour should Reitz' horse be?", I've been responding somewhat facetiously, that "as long as it has 4 legs and a pulse, I'm happy!" While I'm not (entirely) serious, the fact remains, that as I am forced to think more and more with my producer's hat on, I find myself making statements like "it doesn't matter", or, "we'll trick it", or the dreaded "we'll fix it in the grading"! These statements should really be reserved for 2am, at the (hopefully, near) end of a 16 hour day, when your actress is nearly having a breakdown and her co-star is nowhere to be found! Luckily this scenario is purely fictional, but, these things happen...

So, to safeguard us all from such a situation, much much pre-production has been done, and still needs to be done!

I've been slack with regards to updating the blog, but let that not be an indication of general tardiness, rather, the opposite. The "overall to-do list" is extensive and daunting, and contains items such as " Secure 2 very similar mules/ass’/Basuto ponies, one for Lesotho, one for S.A." These are the kind of nightmarish challenges facing us all. Yet, I write this, and feel a very distanced ambivalence. Like, I'm unable to process the enormity of how extreme the requirement is. Not necessarily getting the ponies, but the myriad of other script requirements that need sourcing. Perhaps it's a survival mechanism. One can't invest emotionally in what you need to do, rather, simply, just to get on with it. Pick up the phone, make a few phone calls, do some detective work, etc.

With pre-prod, which has actually been going very well, it is very often a case of 2 steps forward, 1 step back...on a good day. But the trick is just to keep going, make another phone call, when you hit a dead horse, I mean end...Speaking of which...I spoke to the wrangler I'm hoping to use (pending her quote!) and the horse she initially suggested might be able to lie down on command, as the script requires, has been sold, and her plan B is dead...I think...so...the compromise begins. I suggested that even if we can find a horse that will droop it's head on command...which, I'm told, is easier to find.

So, in essence then, I feel like we're in a good place. The schedule is basically locked, the locations are finally decided on!!! The crew is pretty much set, the film is basically cast, accommodation is sorted (kind of), and we've got 29 day's till we start shooting. We still need to source all props, source all costumes, negotiate about a million deals (if we're to bring the film in under budget). I need to rehearse, need to make a dent into the storyboard (which I've been putting off), and clarify the vision. I wander if you can ever get the vision clear enough...at least to the level that I hope for it to be...

Ending the old location debate...On the weekend, myself and Ant Delport, who is on board as location co-ordinator/P.A./Stills/Assistant Producer (Yes, we're all wearing too many hats!) took a 2 hour drive into the Drakensberg on Sunday (26/08/07), and found some of the most sublime locations which will ever be captured on film (or Video in my case)! We went to Loteni, and it fitted the vision perfectly! We were basically able to scout all the major needed locations within a 3.5 km walk. Which is still a 45 minute walk from camp, and will present some interesting challenges in terms of the shoot, but it's stunning! Am very excited to tell the story there. Quite a challenge actually. Representing that magnificence and weaving it seamlessly into the narrative so that it serves the STORY most efficiently.

Just one of many challenges. No one said it would be easy...but hell it's exciting!

Images of the past or sleepless nights

I couldn't decide what to call this blog, and in a somewhat noncommittal fashion, went with both options.

As it turns out, in a decidedly inconvenient manner, my imagination is spinning nearly out of control. Inconvenient in the sense that it is currently 1:47 in the am. Compounding this situation is the reality that in the morning the supreme creativity I feel to be in current possession of, will no doubt have vanished, or worse still, linger but the morning light will illuminate it for what it is, that is, somewhat less supreme than I gage it to be.

Be that as it may, I have been running the film in my head, playing it over in slow-mo, in black and white different characters, with no characters, as freely and fruitfully as my imagination will allow. I feel like I've transcended the initiatory, introductory stage with the film, forging rapidly an excitingly consuming relationship with the story. I was pondering it earlier today, and it struck me how there is this definite moment in pre-production when it strikes you that you ARE making this movie. Till then, it is a surreal, disjointed reality, and all sorts of other Life gets in the way. But past that "threshold" there is no going back, and it is your energy, your commitment and passion that holds the entire process together. Your energy seems to radiate with an electric magnetism, attracting and manifesting the most remarkable occurrences as you charge wholeheartedly toward the shoot.

I was reading, more enlighteningly than I had at first suspected, a book on directing, "The Directors Journey", by Mark Travis. Thin, paper back, badly designed cover, I didn't expect ground breaking realisations, but he unpacks the whole process in a truly supportive, systematic manner. Anyhow, the point being, I was reading a section on "the Script Breakdown". Not in a literal, producing manner, i.e. "we need 12 horses, 3 midgets, 7 explosions, and something to transport them all in - tomorrow!" Rather, the section deals with the need for the Director to come to terms with the story at a functional, narrative level. He reminds the reader how utterly crucial it is for the director to understand why a scene is in the movie, what the movie would be like without the scene, and what the Director needs to achieve with this particular scene in order to maintain the integrity of the plot, as well as to progress the narrative. These seem like fairly rudimentary questions, indeed they are rudimentary, but all to often, in the chaos of it all, they can get overlooked, or brushed aside, or (fatally) ignored. So, I started going through each scene, each moment within the scene, how these tie into the sequence they are in, and how this moves us through the story. It was pretty illuminating realising just how much of the story is still superfluous! So, I feel quite confident, indeed relieved, knowing what can now be cut! And importantly, what can't.

I feel I've solved the issue of the location, rather the setting of the film. After having yet more devastatingly enticing options of the Karoo dangled in front of my nose, I've set my sights firmly on the Drakensberg. Indeed, how the story is existing in my mind's eye at the moment, I could tell this story no place else. I know, I know, you're thinking..."But he said the same thing about the Karoo?". Maybe you're right, but I don't have all the answers, certainly not at 2am, but this just feels right.

This resolution has freed up some pretty awesome visualisation, and as the narrative is turning in my mind now, the film is taking on a much more mythic quality. Truly, a Hero's Journey. Whether I have thus hijacked a true life tale, and a sensitive segment of South Africa's complex past, I'm not sure. I don't think so...

The image at the top of the blog came to me as I was sitting down to write this, hence the hybrid title. While one of the more "popular" images from the war, it nonetheless has a haunting quality which I think serves to remind me one of the reasons as to Why, I'm making this film, and, importantly, telling it in the context I'm telling it in. What so few people realise, is that every able bodied Boer was called up for commando duty. They were a Volk, with a national identity forged through blood shed in the veld. Then there is that quite poignant image of 3 generations of Boer, going off to fight for their country, from the grandfather to the grandson. There seems to exist these images and the tales that are passed down, an incredible honesty, a transparency and a total lack of pretense or agenda. This war, and by extension, those (Boers) involved in it seemed to be fought and revolve around core values. Well, perhaps not. There was the Lord Milner's and the Cecil Rhodes', serving to remind us that perhaps mankind never does change. Whether it's the gold of the Witwatersrand, or the "Black gold" of the middle east, the enticement is enough to push those with ambition to send innocent young men to die. However, the imperialists aside, and believe me, I'm not proclaiming all Boers to be innocent, perhaps the majority of Boers fought and died, so that they may have a place to call home. Perhaps I'm wrong. Perhaps it was a foolish, unnecessary, bloody campaign on both fronts, but the history books tell a story which elicits my sympathies. Not 70 years after leaving the Cape Colony in search of a place to call their own, away from the uninvited crown, the Boers were fronted with Imperialists casting a very intrigued look at the worlds richest gold mines on their Rand, not to mention ideals of painting the African continent red. And if some of that hue had to be drawn from Boer blood, then so be it....

Dealing with Writers Blog

Well, it's been another couple of eventful days. The long weekend has been a joy, affording me some much needed time away from campus, lectures, and so on. But unfortunately, every second that slips by seems to push me closer to those (at this stage dreaded) shooting dates. I really question how/if we'll get ready on time! You can never have enough pre-production, but this time, with the somewhat mad deadline from Mnet's side, and the fact that I'm effectively forced to shoot during the September vac, as a producer, I've had very little freedom in the scheduling and setting of the production dates. But, less moaning and more action. Besides, until you're actually committed, nothing will ever get done. So...

Yesterday I took a drive around the outskirts of Maritzburg, to the Bisely Nature reserve, seeing once and for all if it will be possible to shoot locally. And whilst there were some awesome spots (the pic above was taken there, yesterday evening), I'm still not entirely convinced it will be possible. Well, it will be possible, but it's just a question of how big a compromise it will be.

Over the last couple of days it has really been my priority to try and get the new draft on the script done, and hopefully be ready to "lock" it, and begin pre-production in earnest. But, as I've mentioned in previous blog's, I've been in this weird tug-of-war tension. Unable, it seems to rid myself of my first visualisation of the story, i.e. set in the vastness of the Karoo. So, rethinking it all has been an interesting learning curve in terms of my writing, and how it is to have to do a major rewrite, as opposed to the general tweaking of dialogue that constitutes most other rewriting.

Shifting the narrative to another context, i.e. away from the factual setting of the true life Reitz adventure, has seemed like a serious betrayal of the honesty of the plot. At the best of times I've been struggling with how to maintain the integrity of the "Novel" (I've extracted a scene from Deneys Reitz' journal on the Boer War, entitled Commando - not sure if I've ever stated that). So, it's always been difficult. Not only from plot and structure point of view (how do you either condense a section of the tale into 15 mins, or chose which section to extract), but also, interestingly, from an ethical moral point of view. I've based my character on a real person, borrowing his name, age, and general adventure, but just how much "creative license" is OK? How much tweaking and upping the drama for convenience and structure's sake, is allowed? I was watching a very poignant documentary on the Boer War the other night, "Scorched Earth", dealing with Kitchener's nefarious farm burning policy and the subsequent detaining of Boer women and children, in the concentration camps. And it struck me that, when you narrate an historical tale, you are somehow given a lot of responsibility. There is perhaps the expectation the viewer may have that you will narrate the tale in line with their ideology, that their agenda will be matched. Perhaps I'm blowing it out of proportion? But, it seemed almost criminal for me to piggy back on Reitz' hardships, and infuse his adventures with what is arguably a very modern (postmodern???) character arc; that of a character coming to terms with his identity in the face of the senseless death and destruction that surrounds him. Even then, this line of questioning opens up a whole new can of worms. Is that my theme? If so, is it easily communicated? Can I pull that off in 15 minutes? Can I pull that off full-stop?

Enough questioning. I have, I suppose hit some sort of a breakthrough with the script. I managed to rewrite the opening that I was struggling so much on. And in so doing, I feel I'm creating a new setting and landscape which I hope will carry through organically into the rest of the tale. This setting is very much located in what I imagine to be the Drakensberg. I trust that the magnificence of these mountains will bring with them a new dynamic and element to the story that, whilst not suggesting what the barrenness of the Karoo would, will nonetheless resonate with the transformational arc of the character.

The picture below was the catalyst for the new found mental imagery I'm giving to the script, and whilst it will probably be impossible to get to where this is, I'm hoping to capture some similar scenes. Shooting in the Drakensberg will present a myriad of complications, but it's good to have mostly decided on this place. Now it's a question of preempting and overcoming the problems as and when they arise.

I've uploaded a video of some of the locations visited so far. It's viewable at this link: http://www.youtube.com/watch?v=MWmEYSaw3r4 How I have time to edit videos as well, is a mystery...well, truth is I don't. But...what can you do?!

A scouts honour

Today was pretty eventful. The sun broke through the clouds, the birds were joyously proclaiming the day's beauty in a myriad of harmonious melodies, and the energy of pre-production was building and buzzing within me.

Over the last weekend, as suggested in the previous blog, I took a drive up into the Natal Midlands, the Dargle area for those of you familiar with the area. Scouted some awesome locations! But...as anyone familiar with the area will understand, there is something very "un-flat" about the Midlands. In fact, adjectives like "rolling" and "picturesque" spring more easily to mind. Think; "The Shire"! So, until I remake the adventures of a little hairy footed fellow, I realised I should have to keep looking. No..."facetious-ness" aside, the location we first visited, a game farm called "Tilly Tudlum". Somewhat ironically and, in that, reassuringly, the farm had very many of the rather ridiculous requirements I had from the script breakdown. Antelope, horses, a mule, rivers, waterfalls, cliff's, forest, etc. First thing I see driving down the "driveway" (like 2 km's long) is a heard of tame Eland. Largest antelope in Africa (the world I think?). Majestic creatures, really. Anyway, so, could easily have had access to them. They have a (far to luxurious for a student film crew) lodge which could accommodate most of us, and, at a push, with some script "tweaking", I could certainly shoot some of the film there.

But, as I mentioned above "something" was missing. I've pre-conceptualised the script with a definite "look" in mind. The actual segment of the Boer War that I'm exploring and contextualising the narrative in, took place in the (then) Cape Colony. Near the Eastern Cape border, heading into the "Klein Karoo". And I've come to feel that that particular setting is very crucial to the narrative, in terms of the feel and seeming "rawness" of the place. Not to mention the arid, harsh, antagonistic elements the place would bring to the story.

So, I was/am facing a dilemma. Do I "trek" (move/journey) the whole cast and crew down to the actual Karoo, braving the cost and time implications of the trip, not to mention the fact that I would be going in somewhat blind, as scouting from here, now with my schedule as it is, would be pretty impossible. Or, do I seek to recreate that feel, locally, by hunting for the "right" locations, and basically "tricking" the Karoo, in KZN. OR...(another option), do I rethink the story, somewhat radically, moving further away from historical authenticity, and contextualise the narrative here, in Natal (KZN).

At this stage, this last option seems the least problematic. In fact, after today's scouting, this last option is seeming less and less like a compromise.

We went to a nature reserve (see above pic) literally 15 minutes outside of Pietermaritzburg! While certainly lacking the vastness and flatness that I (still) feel the story needs, it has its own elements of "severity". An awesome river gorge, which would lend itself to the "symbolic river crossing" and entry into the unknown world of the 2nd act. Note to self: You WILL remember that you are (only) making a 15! minute film!!! Anyway...I'm set on my symbolic threshold crossing.

Another 10 minutes from there, we visited a different game lodge, which could seriously have been in Kenya!!! I was blown away! They had giraffe, zebra, wildebeest, and plenty other buck. Plus, they had a river, and a (kinda) forest! I need to remind myself that every place that has a river, also seems to have a forest. So, it seems that I might be able to shoot a Boer War film, 15 minutes away from Maritzburg. Definitely worth considering...will perhaps save the Karoo for the feature that is sure to follow!

Locations, Locations, Locations...

Never underestimate the importance of casting....so "they" say. I quite agree, totally, absolutely. I think one of the factors contributing to the (what I'm optimistically calling) success of "Three Cigarettes", my last film, is the casting. "They" also say that the single most important function of a Director is to elicit the strongest performances from the actors, possible. And indeed, good casting is winning half the battle.

Nonetheless, I somewhat impulsively entitles this post "Locations...etc", and hold on to the hope that there was a reason for my doing so. Ah, yes! My preface on casting served a point. Well, the thing is, I was putting together a rough script breakdown for the new film, tentatively entitled "Commando", and it sunk home how important the locations will be in this film.

Locations are always important, don't get me wrong, but one of the sub-themes in Commando is (will be) the old Western motif of "Man vs Nature". What's interesting here (I hope) is that I'm also wanting to explore the tension within the protagonist's relationship with nature. In many ways, I'm drawing on the notions of the Romantic Sublime, wherein the character feels a calling to, and finds solace in, all things Natural. Yet, the landscape and Nature, function in the film as antagonistic elements.

Anyway, this is still all not "the Point". In dissecting the script today, breaking down the scenes, looking at all the "ingredients" needed to actualise cinematically, this 15 page, digital Word document, it struck home how crucial finding the right location is going to be. Not only from a thematic and/or character POV, but more simply, from a practical one. The script (as it is now - perhaps things will have to change) calls for a river, a railway line, great open plains, sublime valleys, forests and of course, herds of antelope. Hey! I can dream can't I. So, yes, getting all of this in one location (i.e. one farm or park) will be ideal. Correction, will be a MIRACLE! Getting all of this full-stop will be ideal. So, in terms of the casting analogy, dealing with the Location as a character in the film, scouting for the "right" location, is in many ways analogous to casting for the "right" actor.

So, with time severely limited! In fact, I'm mad even sitting here blogging! With time SEVERELY LIMITED, 45 days till I want to, need to, start shooting, I'm off location scouting tomorrow. Weather permitting that is. It rained somewhat today, and where we're off to; that magical place of rivers, canyons, forests and of course, antelope, access may be tricky with wet and slippery roads.

I shall however update on the outcome of events!

In the beginning...

Shew! Well, here goes. The problem with starting something like a blog, is the loaded sense of scope we give the undertaking...it's like writing an overdue letter (does anyone still write letters), or email for the more techno-savvy of us. By "us", I don't necessarily include myself in the above mentioned techno group, I guess the lateness of my joining the "blogosphere" is indicative of that. But I ramble, and I hope this isn't setting the tone of future blogs to come. But yes, about scope...I suppose we to often delay something (like the letter or email) so long that to begin it becomes a near impossibility. Fearing the same would happen with my starting this blog, I've decided simply to do it! Regardless of the banality which may come forth. But there...it is done...so, on with more meaningful posts!

I'm beginning this virtual journal (I suppose that's what it is at a practical level) now, at a fairly eventful time in my life. As a young, independent filmmaker, work, projects, entrepreneurial undertakings are all going exceedingly well! Which is fantastic! So, having just come out of shooting my biggest film to date, and about to enter shooting another possibly (albeit differently) more ambitious project, I decided the timing was ripe for some sort of self reflexive and (hopefully) continual diarised account of the whole process.

Attempting something similar, I started my first official website for the last film "3 Cigarettes", viewable at http://www.threecigarettes.co.za/, and whilst it is great having an authentic, dedicated site, the site seems to lack the immediacy and interactivity of a blog.

So, the latest in the saga is that I have just been awarded a grant by Mnet (our South African pay TV channel for the international readers), to shoot short film. I'm outrageously overjoyed! This really is the realisation of a long and patient dream. The thing with shooting a film is, that it's "shooting-a-film!!!" Probably one of the most ambitious undertakings and individual can, well, undertake... So, the nice thing from a self-reflexive writers POV (point of view in film jargon...forgive me, but this blog may very well, and somewhat appropriately, become littered with "filmspeak"), is that a whole bunch of LIFE happens en route through the filmmaking adventure.

With that, I leave things for now, and faithfully look forward to posting news worthy items of info, as they occur and unfold in the adventure that promises to be my life over the next couple of months!