The Commercial Film Industry: Shooting for Change

These include entry-level training programmes for aspirant filmmakers from disadvantaged communities, specialised courses and mentorship programmes, as well as closer collaboration with the non-commercial film sector.

These initiatives are occurring against a backdrop of phenomenal industry growth in the past few years, particularly in the commercial film sector. But in the last year there have widespread fears that the commercial film industry is in danger of shooting itself in the foot, so to speak. This is due to growing perceptions, both locally and overseas, that the Cape Town-based industry has become tainted by greed, elitism and myopia. The commercial film sector in particular has been accused of escalating production costs, while neglecting the development of a sustainable local infrastructure. The CPA acknowledges that in order to uplift the industry's image and transform the country from a seasonal film "location" to a viable, all-year round film destination, it has to start taking care of its own backyard..

According to Bobby Amm, Executive Officer of the CPA "The industry needs to embrace the processes of training and transformation and view this as an opportunity to grow and develop a more sustainable industry."

At its August 2002 AGM, the CPA voted in favour of devising a transformation charter. Its vision was to implement a CPA-funded, practical, short and long-term approach to training previously disadvantaged individuals into the film industry.

Says Amm "The CPA recognised that there are unique challenges in the commercial production sector and that it was necessary for us to actively commit to the process of transformation".

Towards this end the CPA appointed training specialist Heather Setzen of Consulting Dynamix. Her brief was to design a CPA specific, entry-level course for runners, production assistants and chaperones, and a more specialised programme for "scarce skills" departments, such as production management.

At least 44 local production companies are members of the CPA. This represents about 90% of the commercial business in the country. Production companies actively championing this pioneering initiative include Velocity Films, Peter Gird Productions, Reel Africa, The Picture Tree, The Gatehouse and Egg Films, with endorsements from equipment houses and post production facilities such as MCC, Media Film Services, AFM and The Video Lab. All have agreed to make their skills, resources and equipment available to trainees.

The first initiative was held during April this year, in Johannesburg and Cape Town respectively. Sixty trainees (30 in each city) from diverse background and with varying professional experience - were selected for a four-day intensive introductory lecture course. Crew agencies and production companies were asked to submit the names of suitable candidates. Independent filmmakers with vast community experience, but little commercial know-how, were also invited to attend. Participants ranged from security guards and rehabilitated street youths to freelance technicians and booking agents.

"The objective of the course is to ensure that aspirant film makers of all walks of life are given the opportunity to experience the industry first hand and make educated career decisions," explains Setzen.. "It also gives them a sound foundation on which to enter the industry at a more advanced level than would normally be expected of relatively new recruits."

Setzen acknowledges that teething problems were inevitably part and parcel of the pilot project. For example the course was held at a time when the season had ground to a rather sudden halt, partly the aftermath of the war in Iraq.

The stronger Rand has meant that South Africa is slightly less competitive with other international markets. Also, the local season only begins to pick up from September, when the international service companies become most active, leaving a huge hiatus during the winter months. During that time the commercial sector survives mostly on the local industry which is really only about 25% of the annual work-load. It therefore has been more difficult than expected placing trainees with production companies. Consequently the practical follow-up for the CPA entry-level trainees has been erratic.

Meanwhile the second initiative spearheaded by the CPA is already underway. In May 2003, the CPA received MAPPP SETA funding for a one-year period. This amount has been used for more specialised "Scarce Skills" training initiatives. These include free courses for aspirant production managers who hail from disadvantaged areas and who are currently active within the industry. Ten trainees from Johannesburg and ten from Cape Town are currently enrolled for a six-month period, which includes lectures by industry stalwarts such as Peter Gird, Executive Producer of Peter Gird Productions, Oliver Nurock of Reel Africa and Gary King of Picture Tree. After the workplace preparatory lecture period, each traine is allocated a mentor - usually a producer at a production company - who will provide six months of on-the-job training. It would be premature to evaluate the efficacy of this production management course, as it is still very much in its infancy. But beyond conjecture is the commitment displayed both by the CPA and the trainees currently involved.

Throughout the industry the awareness of training has been heightened. Specialised courses are in the pipeline for technical and creative departments, as well as post-production. Funding is also being sourced for a training co-coordinator to oversee, monitor and co-ordinate all industry training efforts.

In the past the commercial film sector and community-based initiatives have been on parallel tracks, never quite meeting in the middle. As Gird points out, "People tend to overlook the fact that the commercial film sector is in the business of advertising, telling a story creatively, in 30 seconds. Obviously we have a different constituency to that of the documentary or feature film-maker." But Gird agrees that closer collaboration between the different sectors can be achieved.

Towards this end the CPA has made overtures towards the Independent Producers Organisation (IPO) with whom they intend collaborating on training initiatives. The CPA has also guided and assisted the National Film and Video Foundation in many of their training initiatives. One of these is a new programme proposed by the CPA whereby the Department Of Labour together with the VUKA sponsors will generate funding for newcomer directors and technicians.

These initiatives signify much more than just a shift in vision. In fact they are nothing short of revolutionary for an industry previously renowned for its insularity.