”I became involved in South Africa’s struggle after my visit in the 1970s, during the worst period of apartheid. Since then I have followed South Africa’s fortunes. Antjie Krog’s book, Country of My Skull, made a deep impression on me. The Truth and Reconciliation Commission was an inspired idea that could, and would, have repercussions beyond South Africa. I vowed to make a film that would bring it to the attention of the world. To reach a wide audience we decided to fictionalise it.
But even with Samuel L Jackson and Juliette Binoche in the cast we failed to get any money from the United States. Bob Chartoff, the producer, and I trudged round all the major and minor Hollywood studios and, although the script was admired, no one would back it. We also failed to get a single pre- sale deal from any European distributor. We eventually cobbled a budget together made up of various tax shelters, lottery money from the United Kingdom Film Council, a bank loan, and an investment from the Independent Development Corporation.
So when I am asked, ”How do you internationalise a South African film?” I have to say — with great difficulty. The current climate in the US is very inward-looking and suspicious of anything foreign. European distributors are suffering setbacks and are wary. The Japanese do not respond to films with black people in them.
There are, however, many initiatives that would help. South African films need an international promotional body to arrange festival screenings and viewings for distributors. There needs to be an integrated investment programme that backs talent over a programme of films.
There is no better time than now to make movies as South Africa forges a new nation and vibrant stories abound. The hit Brazilian film City of God could have been made in South Africa. It got to the heart of violence and poverty in the favelas (slums) with verve and style. Films have to be aimed at the international festival circuit and hope to break out from there.
My experience of shooting in South Africa with a largely South African crew and cast was very rewarding. Technical skills are of the highest order. There is a fund of wonderful actors, black and white.
But the South African films I have seen exhibit an uncertainty, perhaps a crisis of identity. Who will see them? There are no cinemas in the townships to speak of. White people making films about black people to be seen by white audiences is unsustainable. Working with impoverished budgets, South African films are not confident enough to aim for the world.
The films often exhibit the confusions of society in general. A case in point: Promised Land was brilliantly acted and directed, but could not decide if it was an art film or a thriller.
I have talked with many potential filmmakers and have read their scripts. There is clearly abundant talent in the country. It is never easy to get a film made anywhere in the world, and even more difficult to get it seen. Tenacity and the ability to endure delay and disappointment are the qualities required.
The details
John Boorman will discuss filmmaking in a workshop at NuMetro cinema, Killarney, Johannesburg, on November 21 (1pm to 5pm). Entrance is R60; R30 for students. See www.gatehouse.co.za