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South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
State of Georgia Audits Division Department of Revenue
State of Georgia Audits Division Department of Revenue GEORGIA FILM PRODUCTION TAX CREDIT GENERAL GUIDELINES 12/14/2018 The following chart represents expenditures that apply only to the film production portion of the Film Tax Credit codified in Code Section 48-7-40.26 (not to the interactive entertainment portion of the Film Tax Credit). This chart does not apply to the Postproduction Film Tax Credit (codified in Code Section 48- 7-40.26A, effective January 1, 2018), or the Musical Tax Credit (codified in Code Section 48-7-40.33, effective January 1, 2018). Any qualified production expenditures claimed under the Postproduction Tax Credit or Musical Tax Credit are not eligible for the Film Tax Credit. The Georgia Department of Revenue has determined the expenditures listed herein are generally "directly used" in a qualified production activity, as defined by Georgia Regulation 560- 7-8-.45, subject to the following overarching guidelines: 1 Actual facts and circumstances. The actual facts and circumstances of the transaction may change the determination. 2 All expenditures must meet any applicable Georgia Department of Economic Development rules included in Chapter 159-1-1. 3 Loanout Companies. All payments to loanout companies for services provided are subject to 6% withholding unless the payment is for reimbursement of expenses that are not required to be included in the loan out withholding amount. 4 Georgia Vendor requirement - Goods. All purchases and rentals of tangible personal property used in the production must be from a qualified Georgia Vendor as defined by Regulaton 560-7-8-.45. 5 Georgia Vendor requirement - Services not at the filming site. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
Film & Video Resume
719-922-1640 Grant Garrison www.grantgarrison.net [email protected] FILM & TELEVISION RESUME Feature Films: “King Pin” Lead Man - Swing Gang Motion Picture Corporation “The Searchers Pt.2” Weapons & Stunts Jaron Entertainment “Phantom Seductress” Production Designer Mystique Films “Fatal Glance” Visual Effects Dancing Coyote Films “Hidden World” Costume Painter Mark Rappaport Creature F/x “Demon In A Bottle” Miniature Set Design Mark Rappaport Creature F/x “T2 – 3D” Puppeteer Mark Rappaport Creature F/x / Digital Domain “The Glass Cage” Art Director Motion Picture Corporation “Cheyenne” Special F/x Pyrotechnics HALO Pictures / Player Special Effects “Yesterday’s Target” Special F/x Pyrotechnics New Line Cinema / Player Special Effects “The Dream Master” Scenic Sculptor Full Moon Entertainment “Dumb & Dumber” Swing Gang Mojo Films “3 Ninjas Pt. 2” Lead Man - Swing Gang Touchstone Pictures “Puppet Master IV” Art Department Full Moon Entertainment “Puppet Master V” Scenic / Carpenter Full Moon Entertainment “Hybrids” Miniatures / Scenic David Allen Productions “The Call of Mr. Sumatra” Carpenter / Scenic Full Moon Entertainment “Midnight Kiss” Assistant Art Director In The Midnight Hour Productions “Other People’s Secrets” Assistant Art Director Pirate Pictures “The Media Madman” 2nd A.D. The Movie Outfit “Reality and Fantasy” 1st. A.C. Gary Gibb Productions “Trancers IV, V, VI” Art Department / Swing / Scenic Full Moon Entertainment Television and Video Experience: “Longmont Clinic” Grip, Editor, Sound Front Range Media “I am UC -
The Migration of U.S. Film and Television Production
PREFACE In the early 1990s, important segments of the U.S. film industry became increasingly concerned about the growing loss of film and television production to foreign shores. The phenomenon of “runaway film production” began as a trickle, but has since become a persistent trend that is affecting thousands of jobs in certain segments of the film and television production industry, such as sound engineers, lighting technicians, assistant directors, unit production managers, supporting actors, costume designers, and set designers. In addition, there may be an even greater number of jobs affected that are connected to film and television production, such as caterers, truck drivers, carpenters, electricians, construction workers, hotel employees, and small businesses that provide services or material goods to productions throughout the United States. Some industry observers fear that the exodus of film production could threaten the viability of important segments of the film production industry in the United States, with potentially devastating effects on local communities in many states. Last year, the Department of Commerce was asked to examine the flight of U.S. television and cinematic film production to foreign shores. In September 2000, Commerce received an additional urgent request from a bipartisan group of Members of Congress to ensure that the final report address the following issues: (1) the impact of runaway production on the “below-the-line” employees throughout the United States, including (but not limited to) caterers, -
Attracting Film Production
Attracting Film Production The California Film Commission (CFC) prepared this manual for the sole purpose of presenting educational materials to the California Regional Film Offices. Various authors have granted the CFC permission to use their materials for this manual only. Please note this guide is for information purposes only. The CFC does not endorse the sources mentioned herein. Before using any sample legal documents, please consult your own legal counsel as appropriate. If you wish to copy any materials within this guide, credit must be given to the California Film Commission as the source for the material. California Film Commission 7080 Hollywood Blvd., Suite 900 Hollywood, CA 90028 (323) 860-2960 www.film.ca.gov table of contents I NTRODUCTION: WHAT IS FILM DEVELOPMENT? 3 THE CALIFORNIA FILM COMMISSION 5 CREATING A FILM DEVELOPMENT PROGRAM 7 PROMOTION 13 HOW TO PUBLICIZE SUCCESS 16 SUMMARY 18 FILM INDUSTRY TERMINOLOGY 19 OTHER FILM TERMINOLOGY 25 ADDENDUM 35 A TTACHMENTS: . STANDARD PHOTOGRAPHY/FILMING PE RMIT . SAMPLE CERTIFICATE OF INSURANCE MODEL . ORDINANCE & REGULATIONS . ECONOMIC IMPACT QUESTIONNAIRE California Film Commission | 323.860.2960 | www.film.ca.gov 2 introduction: what is film development? The motion picture industry employs an estimated 250,000 Californians. However, competition from other states and countries is luring a significant portion of film production away from California. Runaway production is the term that describes those feature film, television and commercial productions that leave California to shoot in other states and countries. Film production is a clean, non-polluting industry, and produces a quick injection of revenue to a local community. When a feature film production goes on a location requiring overnight stays, the cast and crew may remain for two to six weeks, or even longer. -
Guideline of Crew Rates
SOUTH AFRICA FILM COST GUIDELINES - UPDATED DEC 2015 Compiled by Malcolm Scerri-Ferrante for Production Value ™ Important notes 1. All weekly crew rates are based on 5 or 6 day weeks, maximum 72 hours including main meal breaks. 2. Pro-rata during shooting is 1/5th of weekly rate. Pro-rata during prep is 1/6th of weekly rate. 3. Fees are SA Rand(ZAR) based. Exchange rates used: EUR=16 and USD=15. Indicative only. 4. Salary rates are for the most experienced personnel only. Low/High ends fluctuate as per market forces. LOW BUDGET HIGH BUDGET SELECT CREW ZAR EUR USD ZAR EUR USD International Line Producer/UPM weekly 50,000 3,125 3,333 67,500 4,219 4,500 Local Production Executive (exclusive) weekly 25,000 1,563 1,667 35,000 2,188 2,333 Local Production Executive (non-exclusive) weekly 18,000 1,125 1,200 20,000 1,250 1,333 Local Line Producer weekly 15,000 938 1,000 22,000 1,375 1,467 Local Production Manager weekly 10,000 625 667 15,500 969 1,033 Production Coordinator weekly 7,500 469 500 9,500 594 633 Location Manager weekly 12,000 750 800 12,500 781 833 Unit Manager weekly 9,000 563 600 13,500 844 900 Location Scout weekly 11,000 688 733 11,000 688 733 Location Assistant weekly 5,500 344 367 7,000 438 467 Production Assistant weekly 4,000 250 267 6,500 406 433 Production Accountant weekly 12,000 750 800 13,500 844 900 Accounts Assistant weekly 6,500 406 433 8,000 500 533 DOP weekly 22,000 1,375 1,467 44,000 2,750 2,933 Camera Operator weekly 20,000 1,250 1,333 25,000 1,563 1,667 HD Operator weekly 17,000 1,063 1,133 27,000 1,688 1,800 -
Middle of Nowhere
MIDDLE OF NOWHERE Written and Directed by Ava DuVernay WINNER! BEST DIRECTOR AWARD SUNDANCE FILM FESTIVAL 2012 PRESS CONTACT: Tilane Jones | AFFRM | 818.995.0050 | [email protected] PRESS QUOTES NEW YORK TIMES January 27, 2012 | "Amazing Child, Typical Grown-Ups" by Manohla Dargis "Further under the radar though far more successful is "Middle of Nowhere," a heartfelt, slow to build, slow to burn drama from Ava DuVernay about a young married woman, Ruby (Emayatzy Corinealdi), keeping body and soul together while her husband, Derek (Omari Hardwick), serves out his sentence in a California prison. Working with the terrific cinematographer Bradford Young, Ms. DuVernay fills her movie with long shots and meticulously framed images of casual beauty that reflect the quietly evolving inner life of her heroine." LOS ANGELES TIMES January 30, 2012 | "Sundance Film Festival: From 'Beasts' to 'Ice,' wonder wins out" by Kenny Turan "…At the other end of the spectrum is "Middle of Nowhere," winner of the U.S. drama directing prize for Ava DuVernay. This is classic filmmaking of a completely different sort…" THE HOLLYWOOD REPORTER January 20, 2012 | Review by John DeFore "Strong performances and a restrained script sell drama about a couple separated by prison walls. Solidly crafted by budding writer-director Ava DuVernay, it should find a warm reception at fests and in a niche theatrical run." LOS ANGELES TIMES January 20, 2012 | "Meaty Roles for Black Actors in MIDDLE OF NOWHERE" "It's a real challenge to find African American characters with depth," Oyelowo said at a post-screening Q&A, "But when I read this, it was just like 'Do the Right Thing,' or 'She's Gotta Have It,' the characters just lept off the page... -
THE CRAFTS an Introduction
THE CRAFTS An Introduction In the beginning, there was no book, no precedent, no rules set in stone. Various job jurisdictions evolved over time - not out of a sense of provincial ism, but because production crews sought out the best, most efficient delineation of responsibilities in the interest of a smooth-running production. As the film industry developed into a burgeoning new business, the flourishing studios had the resources to hire and retain the finest craftspersons in the world. Born out of this Hollywood Studio System was a tradition of unsurpassed excellence and integrity, of well-honed skills and innate talent, of veteran personnel and eager new workers - the tradition of IATSE Local 44. The varied Craft divisions within this local evolved after much thought, energy, time and debate. And the evolution continues - today the entire entertainment industry is in a state of flux due to the ever changing landscape of how the various studios are structured and do business, as well as to the extraordinary advances of technology. The present is always a product of the past, but these two eras - "then" and "now" - are quite different in a number of compelling ways. Longtime members (some of whom were present when Local 44 received its official IATSE charter in 1939) remember the early days, when working for one studio for a lifetime was the rule, not the exception. The studios kept their core ranks continually employed; if one wasn't working on a film or television project, one was working on lot improvements. IA members even played important roles in constructing studio amusement park "spinoffs," such as Disneyland and the Universal Studios Tour. -
Film Crew Film Crew
FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process. -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
Here We Are in 2015 38 Announcements
ACADEMY AWARD® NOMINEE Over 20,000 “The Best Animated Film props made Of 2014. A Total Delight.” NIGEL SMITH / indieWIRE ANNIE AWARD NOMINATIONS 13 INCLUDING NOMINATED FOR THE CINEMA AUDIO SOCIETY AWARD FOR OUTSTANDING ACHIEVEMENT IN SOUND MIXING IN A MOTION PICTURE ANIMATED Carlos Sotolongo, Tom Myers, Ren Klyce, Nathan Nance, Nick Wollage, Mary Jo Lang, CAS For more on this extraordinary film, go to www.FocusGuilds2014.com THE BOXTROLLS - CAS QUARTERLY - Final WINTER ISSUE - FULL PAGE 4C STREET: 1/23/15 B DUE: 1/16/15 PAGE 1 OF 1 BLEED: 8.625" X 11.125" • TRIM: 8.375" X 10.875" • SAFETY: 7.875" X 10.375" January 16, 2015 6:50 PM PST BT_CAS_1_23_4C_3_Fnl FEATURES 51st CAS Award Noms .......................... 16 Technical Achievement Awards ................... 20 Production & post-production nominees CAS Student Recognition Award Finalists ........... 21 CAS Career Achievement ........................ 22 An interview with recipient David Macmillan 16 Building “Soundtopia” .......................... 34 Sound for a reality show on steroids Auro-3D ...................................... 38 All about this immersive sound format The Value of Mentorship: Part One ................ 44 How to write about sound ....................... 48 34 DEPARTMENTS President’s Letter ............................... 4 Welcome to Awards Season From the Editors ................................ 6 Here we are in 2015 38 Announcements ................................ 10 Important deadlines & MemberClicks Technically Speaking ........................... 12 iZotope RX4 Advanced Been There Done That ........................... 51 CAS members check in The Lighter Side ............................... 54 44 Cover: David Macmillan, CAS CAS QUARTERLY WINTER 2015 3 Welcome to our winter edition, as we are in the thick of our Awards Season! These are exciting times! I wish each and every one of our nominees good luck, and I will see you all at the CAS Awards on February 14, 2015.