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RONNIE APTEKER isn't someone who thinks small. Having been one of the brains behind Internet Solutions, he now spends his time pondering how to make the South African film industry an economic success. And with his next endeavour - Footskating - he's hoping to have hit on the right formula.
The film, which will premier on SA screens in September, is likely to be viewed as the spiritual successor to Crazy Monkey - Straight Outta Benoni, although Apteker is at pains to point out that it's not a sequel. "This is a completely new film that will hopefully bring those who liked Crazy Monkey back to the cinema as well as appealing to those who may not have enjoyed the previous film.
"What we've done from a commercial perspective with Footskating is to deliver a better film on a budget that is dramatically tighter than that available for Straight Outta Benoni. We went from a production budget of R8m to one of R1m and from a crew of 100 to one of five. Everyone had to fulfil multiple tasks to ensure that we came in on budget."
Apteker explains that shooting the film on digital cameras instead of traditional movie cameras and leveraging the digital projection facilities installed by Ster Kinekor and Nu-Metro, the cost of distributing the film has been cut from close to R1m to less than R100 000. In the life of this film, every rand saved will make the difference between the production making a small profit and making a loss.
"We're also covering the marketing of the film largely through sponsorship deals with the likes of Absa, Fanta and 5FM, among others. We estimate that if we had to buy the kind of exposure that we're planning, we'd be looking at a bill of close to R20m. But by partnering with other organisations we're able to form a part of their marketing exercises and both sides come out as winners."
Apteker says that Absa has 400 000 account holders under the age of 18 and being able to get direct access to that group will be invaluable in promoting the film.
At issue is far more than this one film, says Apteker. "What we hope to achieve with this film is to create a template for future SA films. Right now the film industry in SA has gone backwards. While there have been successes such as Tsotsi and Mama Jack - funding from the IDC, which was a large source in the past, has largely dried up. To make the industry viable we have to focus on how to make films that turn a profit and with the lack of a cinema culture in SA that requires we do it on a very tight budget.
"Any film maker in SA doesn't just compete with other local films but with the big budget blockbusters that are the bread and butter of the US film industry. We're never going to be able to make those kind of films, as the cost of production is just too high.
"The industry needs to focus on films that are story driven rather than action driven. That's what drives industries in countries like Australia and Britain and has made them a force to be reckoned with.
"In the artistic field it's not enough just to be good as only the best survive, while a retail store won't be measured against British or US institutions simply because they don't operate in this market. Any artistic endeavour - be it film, music or literature - has to compete for the attention of the consumer with the best in the world and needs to be measured in those terms.
"What SA films don't have is the level of support from Government that music has had. In countries like China there are quotas on US movies and in France there are surcharges on foreign films to incentivise the local industry," Apteker says. "Giving SA filmmakers that type of relief - even for a limited time - could give the industry the impetus it needs to build itself up." While Apteker has the next script ready to go into production if it's possible to deliver a profitable film without relying on international sales to break even, the industry in SA should sit up and take notice.
Apteker says that he'll know from the first weekend whether they've got the formula right with Footskating. He says that if it doesn't work this time he's not sure how to do it better the next time round.
The film, which will premier on SA screens in September, is likely to be viewed as the spiritual successor to Crazy Monkey - Straight Outta Benoni, although Apteker is at pains to point out that it's not a sequel. "This is a completely new film that will hopefully bring those who liked Crazy Monkey back to the cinema as well as appealing to those who may not have enjoyed the previous film.
"What we've done from a commercial perspective with Footskating is to deliver a better film on a budget that is dramatically tighter than that available for Straight Outta Benoni. We went from a production budget of R8m to one of R1m and from a crew of 100 to one of five. Everyone had to fulfil multiple tasks to ensure that we came in on budget."
Apteker explains that shooting the film on digital cameras instead of traditional movie cameras and leveraging the digital projection facilities installed by Ster Kinekor and Nu-Metro, the cost of distributing the film has been cut from close to R1m to less than R100 000. In the life of this film, every rand saved will make the difference between the production making a small profit and making a loss.
"We're also covering the marketing of the film largely through sponsorship deals with the likes of Absa, Fanta and 5FM, among others. We estimate that if we had to buy the kind of exposure that we're planning, we'd be looking at a bill of close to R20m. But by partnering with other organisations we're able to form a part of their marketing exercises and both sides come out as winners."
Apteker says that Absa has 400 000 account holders under the age of 18 and being able to get direct access to that group will be invaluable in promoting the film.
At issue is far more than this one film, says Apteker. "What we hope to achieve with this film is to create a template for future SA films. Right now the film industry in SA has gone backwards. While there have been successes such as Tsotsi and Mama Jack - funding from the IDC, which was a large source in the past, has largely dried up. To make the industry viable we have to focus on how to make films that turn a profit and with the lack of a cinema culture in SA that requires we do it on a very tight budget.
"Any film maker in SA doesn't just compete with other local films but with the big budget blockbusters that are the bread and butter of the US film industry. We're never going to be able to make those kind of films, as the cost of production is just too high.
"The industry needs to focus on films that are story driven rather than action driven. That's what drives industries in countries like Australia and Britain and has made them a force to be reckoned with.
"In the artistic field it's not enough just to be good as only the best survive, while a retail store won't be measured against British or US institutions simply because they don't operate in this market. Any artistic endeavour - be it film, music or literature - has to compete for the attention of the consumer with the best in the world and needs to be measured in those terms.
"What SA films don't have is the level of support from Government that music has had. In countries like China there are quotas on US movies and in France there are surcharges on foreign films to incentivise the local industry," Apteker says. "Giving SA filmmakers that type of relief - even for a limited time - could give the industry the impetus it needs to build itself up." While Apteker has the next script ready to go into production if it's possible to deliver a profitable film without relying on international sales to break even, the industry in SA should sit up and take notice.
Apteker says that he'll know from the first weekend whether they've got the formula right with Footskating. He says that if it doesn't work this time he's not sure how to do it better the next time round.
