CONTROVERSY
Oliver Hermanus
she interviewed were critical of Sediba, with“ the programme being seen as an infringement on ������������� ���� ��������� ��� ������� ��� �������� ����� trying to do something different, so I’ m not interested ��� �������� ����� ������ ������� ����� ������ ���� ������� Oscar nominee Darryl Roodt told her:“ Faith’ s Corner, where we tried to get money from them up front? They said‘ change the ending and, yes, we’ ll give you money.’ Excuse me? It doesn’ t make much sense to me. I think that I’ ll make the movie. You fund it!”
����� ���� ����� ��� ��������� ������� ����� ���� ����� ���� criticism of the NFVF’ s approach. In a 2011 interview with me, Oliver Hermanus, director of the internationally ����������� ���� ����������������� ���������� ������“ More importantly, the audience comes as long as you keep providing quality material, you develop an audience. But you can’ t just then try and apply what you think your audience wants to watch. Which the NFVF assumes is Hollywood genre stuff.”
�������� ��������� ���� ��������� ��� ��� ������� who had struggled through the NFVF feedback process and funding process for about six years, ������ ������� ��������� ������ ��� ������ ��� �� �������� thinking mode and doesn’ t take into account at all any local idioms that one is trying to tackle.”
While the use of Sediba is not a requirement for funding, spokesperson Neiloe Khunyeli for the NFVF said in an email that its use was“ a direct result of the NFVF being inundated with script proposals in which the writers were able to articulate interesting ideas,
���� ����� �������������� ��������� ��� �������� ������� ��� scripts”, adding that,“ instead of simply rejecting these ideas, the NFVF carefully evaluated the potential of the writers to succeed if provided with training in the fundamental principles of story. When writers are selected for this training, a number of other additional factors were taken into account, eg they would have had to be engaged in the industry for some time in some capacity, should have had some training, preferably ����������������������������������������������������������� idea for a story. In rare cases, newcomers with passion, commitment and a great idea may also be eligible.”
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But it is the fundamental principles of story that are ���� ��������� ������� ��������� ����� ����������� ����� ����� ��� �� ������ ���������� ����������� ������ ������� �� Jo’ burg gallery called the Whitman Independent, says: ������������������������������������������������������� the NFVF would never consider awarding adequate ��������� �������� ��� ���� ����� ��� ��������� ����� ��������� ����� ����������� ��� ����� ����� ������������ ������� in the galleries but the cinemas are ghost towns.”
������ ���������� ��� ������������� ���������� �������� Goatley’ s thesis,“ is evident in Haidarian’ s discussion ��������������������������������������������������� which is written and directed by the black South African ��������� ������ ���������� ��� ��������� ������ ������� ��������������������������������������������������� Afternoon( 2005), Matabane can’ t go experimental. ������ ������� ���������� ����� ����������������� ���� needs a strong plot, a strong structure.” Maybe this ����������������������������������������������������� in 2012 as State of Violence it seemed as though ����������� ������ ���� ����� ����������� ���� ���� ���� tightly controlled around a series of hackneyed and, in some places, nonsensical plot devices that limited ����������� ����������� �������� ������������� ������
This also goes some way towards explaining ���� ���� ������ ����� ��� �������������� ��������� �������������������������������������������������� about two children’ s journey on to the streets after ������ ������� ������ ������� ���� ������ ����� ���� ������
30 | WGSA MAG June 2013