Hazel Friedman
The SABCs drama department is filled with intrigue, but not of the scripted variety. The mystery revolves around the criteria used to commission scripts for drama series and sitcom programmes.
Independent film-makers claim they are being discriminated against as they are SABC outsiders, while the SABC drama department insists everything is being done to accommodate new and independent talent.
At the core of the conflict is the SABCs Commissioning Task Report which sets out guidelines for the commissioning of dramas and comedies to film-makers. According to commissioning task team members, the proposed document stipulates that new television series should not be given endless runs and the commissioning editors must promote the influx of scripts by independent film-makers.
But no one knows when the report will be released. According to SABCs chief commissioning editor Jill Chisholm, it will be in the near future, but task force members are less sure. And eyebrows are being raised over the commissioning of 104 episodes of family sitcom Suburban Bliss, even before a single episode was tested in front of television audiences.
By contrast, the popular sitcom SGudi SNice was commissioned for a mere 14 episodes when it was first shown in 1985. Three years later after its ratings remained high it was granted another 26 episodes and a third season three years later.
Even the successful Going Up was tested extensively before being allowed to be screened for 12 episodes in 1992. In 1994 it was commissioned for another 26 episodes and in 1996, it will screen 26 more.
Says independent film-maker Eddie Mbalo of Dynamic Images, who was a member of the commissioning task team: We agreed on many principles which would change the existing commissioning processes and criteria but I am worried the report will not be implemented as there are so many structures at the SABC that no one really knows what decision to take. We are also worried that SABC insiders might have more say in getting their scripts accepted without having to go through the due process.
At present, all potential scripts for SABC1 and SABC2 are directed to executive script editor Clara Mzima in the form of a synopsis. If the synopsis is approved, the scriptwriter is contracted to write scripts for 13 episodes. However, 30% collateral of the cost of the episodes is required before the SABC gives the go-ahead. This makes it difficult for new scriptwriters to get their work into the production stage.
There is so much talent out there, says Mbalo. Yet until the SABC actively encourages new work and provides more financial assistance, the potential to elevate our local drama and sitcoms above their present mediocre levels will remain untapped.