kwetu film institute

KWETU is the home that brings value to our faces, voices and future film prospects through the dynamic of the creative force.


One Week Master Classes in Production Design

Dear Friends,

KWETU Film Institute is delighted to announce a week of master classes with Katarzyna Filimoniuk of Poland. These classes shall be commencing on the 12th January 2012, in the week preceding the start of our 3-month Digital Filmmaking Course (16th January 2012).

Katarzyna has traveled to join us at KWETU on the recommendation of our friend and supporter, Volker Schlondorff, Director of the OSCAR winning ‘Tin Drum” (1979).
Her past collaboration with Volker is part of a stunning CV that boasts over 20 years of experience in production design.

For those that don’t know, Production Design involves artistically crafting the scenery in any theatrical art form, be it on the stage, on a film set, or in television broadcasting.

Therefore, the knowledge Katarzyna has to offer will be of great value to individuals working in the field of media/theatrical productions, and all those generally interested in the wider workings of television, film or theatre production.
Starting from 12th January, 2012 Katarzyna shall be hosting classes that shall run daily for five days.

The full week’s course is priced at 50,000RWF and is open to everybody. Significant discounts are available to current and prospective KWETU Film Institute students.
To register please call 0722306480. or write to info@kwetufilminstitute.com

You can also visit us at our BOURBON COFFEE (UTC) STAND and our GACURILO OFFICES.


Making Documentaries: Interview with Filmmaker Kate

California-based filmmaker Kate Schermerhorn recently completed her second documentary film, After Happily Ever After (2011), a quirky look at modern marriage. This is a great example of a documentary told from a personal point of view. We asked Kate if she would be willing to share some documentary filmmaking tips and lessons learned.

Question: First of all, congratulations on completing your film. (I always feel like filmmakers should get an award just for finishing their project.. and then bonus points if it’s actually good) 🙂

Kate Schermerhorn:
Thanks, Faith!


Question: How long did you work on your film from concept to completion?

Kate Schermerhorn:
‘After Happily Ever After’ took me over six years to make! It’s a film about modern marriage; I started shooting it together with my second husband on our honeymoon as a quest for the secret to marital bliss. Ironically, the making of the film outlasted our own marriage and I became the sort of tragic comedy heroine who lead the film’s journey.

Question: How did you initially come up with the idea for your documentary?
Kate Schermerhorn:
I am a still photographer as well as a filmmaker. A while back I started photographing long married couples; I was interested in their body language and how they had grown alike (or not) over the years. While the photos were interesting, film was an obvious extension of the original project. Once I’d gotten married for the second time myself, making a film suddenly seemed like a great way of finding some answers that were relevant both to the viewer and to me personally. In the end, the film became a much broader view of modern marriage than I had originally intended and looks at not just how to make a marriage work but also why we marry in the first place and whether we actually should.

Question: “After Happily Ever After” is your second feature-length documentary. What lessons did you learn from your first documentary that you applied to this project? What did you do differently?
Kate Schermerhorn:
I didn’t know anything about making a film when I shot my first hour-long doc. While I used to work in commercial production in LA and my father and brother are both producers, I had never made a film of any length myself. On my first film, ‘Seeking 1906,’ (KQED/PBS) an interesting subject had fallen into my lap and I couldn’t turn it down so I bought a camera and sound equipment, pulled it out of the box and started shooting the film without any time to think about what I was doing. I got very lucky with that one in so many ways, not least because the film actually turned out the way I had hoped it would despite my inexperience! But really, the lessens I learned on that first film are endless – I essentially learned to make a film through the process of making one myself! Before I started shooting ‘After Happily Ever After,’ I did realize I should probably also invest in a lighting kit and a really light boom pole.

Question:What will you do differently on your next project?
Kate Schermerhorn:
Because of my limited funds, I shot much of my last film myself. I have approached filmmaking like a still photographer, thinking that I can do everything myself. It’s not an ideal approach and can make things hard. On the next film, I want to shoot with a great DP and I want to produce it within a shorter timeframe. In order to do that, I have to be more strategic about funding. I am in development on a new doc and this time it is a subject with more funding possibilities.

Question: What was your fundraising strategy for ‘After Happily Ever After’? Any advice to filmmakers struggling with this issue?
Kate Schermerhorn:
I think fundraising is the hardest part of making docs. While I did receive a Pacific Pioneer Fund grant for ‘After Happily Ever After’ (and was so grateful for it!), I got a lot of rejections for other grants that I applied for and in the end decided that it would be more productive to shoot the film over a long period of time whenever I could, on as low a budget as possible using my own money, and shooting most of it myself. So shooting cost me very little but that’s also why the film took so long to make.. We held a couple of successful fundraisers to cover some of the post-production costs and also saved a fortune by having services donated, including our color correct, sound mix and most of our music. I could never have completed the film without those incredibly generous donations.

Question: You seem to be getting some really good publicity and distribution deals. I’m intrigued your film got picked up by Russian and Israeli Television. How did that happen?
Kate Schermerhorn:
So far the film has been broadcast on television in Israel, Russia and France. It also did really well on-line in Australia (theage.com). Those were all through our international sales agent Electric Sky. We are expecting more international broadcasts next year.

Question: Did you go the film festival route or what is your distribution strategy (if you don’t mind sharing).

Kate Schermerhorn:
The film was rejected from a few festivals and I decided to skip the cost of applying to more and go straight for the distribution I was looking for. With limited resources, it seemed to make more sense to go directly for what I was looking for, rather than spending money on festivals that might or might not accept the film.
We have gotten lucky with distribution and have been particularly lucky to have had Peter Broderick consulting on our distribution plan. In addition to Electric Sky, we have Gravitas Ventures dealing with On Demand, Passion River for DVD and Films for the Humanities/Films Media Group for educational. And Film Sprout has been consulting on community screenings. The film will also be broadcast on PBS stations nationwide in 2012.

Question: What is the biggest piece of advice you’ve gotten from Peter Broderick?

Kate Schermerhorn:
Best piece of advice from Peter… well, it’s hard to answer that because everything he says is so damned brilliant! One piece of Peter’s advice that I keep in mind was his encouragement to view my film as a long term commitment that will steadily generate income over a long period of time, rather than in one quick, concentrated burst. Of course, this approach is also more time consuming for the filmmaker, but gives the film and its message a much longer life than it would otherwise have.

Question: Any final words of advice for someone working on their first documentary?

Kate Schermerhorn:
Don’t listen to the nay-sayers. If you have an idea that you are passionate about, have access to your subject and some gear, have patience and above all, the ability to persevere, you should just go for it.


KATARZYNA joins KWETU Mentorship Team

KATARZYNA FILIMONIUK

The management of the KWETU Film Institute is pleased to announce the entry of KATARZYNA FILIMONIUK to the institute. Her wealth of experience in the film industry is what the institute urgently need to reinforce the current pool of mentors. Below is a sneak preview of her filmography.

EDUCATION
1984-1988 Secondary Education Music College
1988-1996 Academy / Architecture department / Krakow / Poland
1994 Study computer graphics design and animation / London
1994-1995 Graduate / co-operation Architecture in Krakow and Munster/ Germany
1995-1996 Scholarship post-graduate Lyon / France/ scenography degree
1997-1998 Public Relation course/ London school for publishing
English language course/ Cambridge certificate of proficiency in English Kensington Academy of English London.
2001 completion of Spanish language course

WORK EXPERIENCE
2011 -THE LIVING AND THE DYING” – production designer, fiction cinema film,
produced by Alex Stern Sp.z.o. Dir. Barbara Albert
– “ENGLISH LASSON” – production designer, theatre performance,
produce by Teatr Wybrzeże. Dir. Krisy Pieczynski
-“SĘP” – production designer, fiction cinema film, produce by Scorpio Studio,
Dir. Eugeniusz Korin
-SIŁA WYZSZA” – production designer, series for TV, produce by Studio A,
Dir. Wojciech Adamczyk
2010 -WOJNA I MIŁOŚĆ” – production designer, series for TV, produce by TV 1,
Dir. Maciej Migas
-“WINTAR FATHER” -– production designer, fiction cinema film,
produce by Pokromski Studio. Dir. Johannes Schmid
– “UWIKŁANIE” – interior designer, fiction cinema film, produce by Studio Filmowe
“Zebra”, Canal +, Dir.
Jacek Bromski
2009 -“SALA SAMOBÓJCÓW” -– production designer, fiction cinema film,
produce by Film Studio “KADR” Dir. Jan Komasa
– “MISTYFIKACJA” – interior designer, fiction cinema film, produced by Yeti Films,
Dir. Jacek Koprowicz
– FASHION DESIGNER AVORDS 09’ – production designer
2008 – “IDEALNY FACET DLA MOJEJ DZIEWCZYNY” – production designer,
fiction cinema film, produce by
Van Wordem Dir. Tomasz Konecki
– „LIMO DRIVER” – art director, fiction cinema film, produced by Ozumi Films
Dir. Jerome Dassier
2007 – „GENERAL” – production designer of Marocan part, fiction cinema film
produced by TVN Dir. Anna Jadowska
– „CONTACT HIGHT” – production designer, fiction cinema film produced by Lotus
Film &Ozumi Films & BojeBuck Production. Dir. Michael Glawogger
2006 – „THE AMAZING RACE” – art. director , produced by Word Race
Production
– „LEKCJE PANA KUKI” – production designer , fiction cinema film
Polish–Austrian cooperation, Dir. Dariusz Gajewsk, produced by Opus film and Prisma Film & Femsehen.
– „PAWELEK– interior designer, fiction cinema film,
Dir. Tomasz Wisniewski, produced by Zebra Film Studio
– “POGODA NA PIATEK”, interior designer, series for TV ,
Dir. Ryszard Brylski, produced by Polish Film Agency TVP
2005 – “STRAJK.DIE HELDIN VON DANZIG” interior designer, fiction cinema film
Polish–German cooperation, Dir. Volker Schlondorff,
produced by Paisa Film & Provobis
• “POPE JOHN PAUL II” art director on the set, fiction cinema film, Polish
American – Italian cooperation.
Dir. John Kent Harrison, produced by Granada America & Lux Vide & Baltmedia
– “POWIEDZ COS” – production designer, costume designer, fiction film,
Dir. Wojciech Szarski, produced by ITI film Studio
2004 – “ZAKOCHANY ANIOL” – interior designer, fiction cinema film,
Dir. Artur Wiêcek, produced by Polish Film Agency TVP & Gremi Film Production & Bereœ Baron Media Production
– “GORALENVOLK” – production designer, costume designer, document
Dir. Artur Wiêcek, produced by Polish Film Agency TVP.
• “HISTORIA FILOZOFII PO GÓRALSKU WEDLUG KS. JOZEFA
TISCHNERA – production designer, costume designer, series of
documents for TV,
Dir. Artur Wiecek, produced by Polish Film Agency TVP.
1999 – 2003 – designer and set dresser for TV programmers. ( „Tv.onet”„Twój problem nasza glowa”„3/6” „Miliard w rozumie” ”Ananasy z naszej klasy” „Urzekla mnie twoja historia”, „Telegra”…)
– editorial co-operation to a TV programmers.
-„Mala Wytwórnia Wielkich Snów” (Big Dream’s Smal Faktory)
duties included scenography, process of organization musical performances, balls, festivals, culture and educational entertainments.
– Art-project+ – advertising agency –stage designer for performances.
1997 – 1998 -„Delemar Academy of Makeup” / London – duties included
public relation, interior design
1995 -1997 -„Bit Art” Advertising company / Krakow / Poland – duties included
set design for video clips, TV adverts, Furniture Catalogue design
-„Wisla” TV Station / Poland – furniture design.
– Photography competition- „Osaka 95” – award.
-Translator, interpreter- English-polish/ trade negotiation in China ,
Hongkong,Taiwan – -„Nycz Intertrade”.
1992 – 1994 -Shop front design contracts, interior design / England
1990 – 1994 -„TVP Krakow ” / Poland / stage designer


Merry Christmas and a Happy New Year

Goodbye 2011….

This has been an exciting and challenging year for the Rwanda Film Festival (RFF), ending on a complete high with a record number of submissions, the highest festival attendance to date, and some fantastic feedback as well.

We would like to thank all our supporters and sponsors who have continued faith in the festival, this meant that RFF can continue to support and promote emerging talent. We would also like to thank everyone who submitted to the festival and all who came last July- we hope to see you again in 2012. And finally many thanks to all of you, who continue to wave the filmmaking flag- we salute you!

Hello 2012….
As you make your new year’s resolutions, and predict what fortunes 2012 may bring, RFF prepares for big changes in the festival office with new dates, new staff and new ideas on the horizon. Sadly we will be saying goodbye to a member of staff and recruiting a new Marketing & Events Coordinator, so please visit the website in January for more information on the role and how to apply.

And most importantly the festival is moving dates next year, to our new slot between 14th – 28 July 2012. Submissions are currently open. Please visit www.hillywood.org for more details. With all this plus another edition of filmmaking workshops and Outdoor Cinema, it’s going to be a busy year!

The festival office will be closed from 24th December 2011 – 3 January 2012 as the team enjoys a good holiday break, ready for all the action that 2012 will bring.

We hope you have a wonderful holiday and look forward to seeing you in the New Year.

All the best,

Management
Rwanda Film Festival/KWETU Film Institute


Life on the Screen: Visual Literacy in Education


The visionary filmmaker argues that students must learn a new language of image and sound in order to succeed.
By James Daly

In the rolling hills of California’s Marin County grows a brittle amber grass known for one thing: its combustibility. If ignited, this thigh-high tinder burns furiously, rapidly consuming everything in its path.
The same can be said of the filmmaker who calls these hills just north of San Francisco his home. George Lucas is regarded as one of the legends of American cinema. By the mid-1980s, he had made a number of blockbusters, including Star Wars, American Graffiti, and Raiders of the Lost Ark. Released in 1977, Star Wars is still one of the top-grossing films of all time.

Just as Lucas once envisioned new intergalactic worlds, today he envisions a new world of learning. He grew up one-hundred miles inland from these coastal hills in the searing heat of Modesto, California, tinkering with cars and helping out at his dad’s stationery store. He was, he recalls, “an average student who daydreamed a lot.” It is perhaps those early memories of unfocused ambition that have infused him with a desire to promote a new way of learning that prepares students to succeed in a highly wired and visual world.

Lucas habitually dresses in jeans, sneakers, and work shirts — a man looking like there is much work to be done. For the American educational system, he says, that work must begin now.

What do students need to be learning that they’re not?

They need to understand a new language of expression. The way we are educating is based on nineteenth-century ideas and methods. Here we are, entering the twenty-first century, and you look at our schools and ask, ‘Why are we doing things in this ancient way?’ Our system of education is locked in a time capsule. You want to say to the people in charge, ‘You’re not using today’s tools! Wake up!’

What would you change?

We must teach communication comprehensively, in all its forms. Today we work with the written or spoken word as the primary form of communication. But we also need to understand the importance of graphics, music, and cinema, which are just as powerful and in some ways more deeply intertwined with young people’s culture. We live and work in a visually sophisticated world, so we must be sophisticated in using all the forms of communication, not just the written word.
When people talk to me about the digital divide, I think of it not being so much about who has access to what technology as who knows how to create and express themselves in this new language of the screen. If students aren’t taught the language of sound and images, shouldn’t they be considered as illiterate as if they left college without being able to read or write?

Unfortunately, most learning institutions find that idea very difficult to swallow. They consider the various forms of nonwritten communication as some type of therapy or art, something that is not relevant to the everyday life of a student. This is wrong.

You can measure verbal or math skills by determining whether a student is right or wrong on a test — in other words, whether they’re learning or not. With visual communication, some might argue it’s trickier to measure progress and competency.

But there are rules for telling a story visually that are just as important as grammatical rules or math terms, and you can test people on them as well. There is grammar in film, there is grammar in graphics, there is grammar in music, just like there are rules in math that can be taught. For instance, what emotion does the color red convey? What about blue? What does a straight line mean? How about a diagonal line?

In music, if you want somebody to feel sad, what kind of a chord do you use? A minor chord? A major chord? We know that a fast rhythm makes you feel one way and a slow rhythm makes you feel another. If you want to get somebody excited, you use one kind of rhythm; if you want people to feel important, you use another. If you’re going to put together a multimedia project, you need to know that you can’t have a fast rhythm track if you’re talking about death. It just doesn’t work. You’re not communicating well.

We also know that if you’re trying to calm people down, you don’t use the color red. Or, if you’re trying to get people excited, you do use the color red. If you want people to be calm, you use a flat line; if you want them to be excited, you use a jagged or a diagonal line.

Knowing these things is as important as knowing what a verb and a subject are, what a period and an exclamation point mean.

How do we bring these lessons into the classroom?
We need to look at the whole world of communication in a more complete way. We need to take art and music out of “the arts class” and put it into the English class. For instance, the various forms of communication form a circle. On one end of this circle is math, the least emotional of all forms of communication. It’s very strict and very concise, and has a very precise way of explaining something. Then you start moving around the circle, and you get to the other end, where we have music, which primarily appeals to your emotions, not to your intellect.

So, in this great circle of communication, you go from the emotional end of music and painting and art — the visual forms of communication — to the written communication and spoken communication. Finally, you end up at math, which is the most precise. It forms a beautiful circle of communication. But it’s all part of the same circle.

All these forms of communication are extremely important, and they should be treated that way. Unfortunately, we’ve moved away from teaching the emotional forms of communication. But if you want to get along in this world, you need to have a heightened sense of emotional intelligence, which is the equal of your intellectual intelligence.

One of my concerns is that we’re advancing intellectually very fast, but we’re not advancing emotionally as quickly.

What’s at stake if this understanding doesn’t make its way into the classroom?

You’re already seeing it. You often see very educated people — doctors and lawyers and engineers — trying to make presentations, and they have no clue about how to communicate visually and what happens when you put one image after another. So their lectures become very confused because, from a visual perspective, they’re putting their periods at the front of their sentences, and nobody understands them.

We must accept the fact that learning how to communicate with graphics, with music, with cinema, is just as important as communicating with words. Understanding these rules is as important as learning how to make a sentence work.

It seems that there have always been two parallel paths in education. The first is the formalized path of the schools. The other is the knowledge of the street, the information gained outside of school. Is the information students now gain outside the classroom more in touch with learning the language of motion and sound and graphics?
Students understand that they need to have these skills in order to exist in this world, so they’re way ahead of us. Most kids relate to each other through music or graphics. They are regularly bombarded with images and sound. Most of their awareness comes through the language of moving images and cinema. That’s why it’s so important that they learn the language of it.

In most formalized education, graphics in cinema or music training is taught as a craft or discipline. That is, you learn the notes so you can read music and play a song. But that doesn’t teach you how to express yourself. What I’m talking about is learning the grammar, but also learning how to express yourself. When you are trying to write a paragraph and you want to get a point across, how do you clearly make your point? What does your first sentence say? What does your last say? Take that and apply it to graphics.

Some might say you’re being too idealistic, that the schools don’t have enough money for pencils. Shouldn’t we focus on that first?
Education is based on a whole number of issues, and two of the most important are, what are the kids learning, and why are they learning it? The educational foundation, though, tends to be based on what you are going to accomplish, rather than how and why.

We have to ask, What is important for the kids to learn? The old idea of education as a way of storing facts is not that significant because nobody can store the number of facts there are. Every year it seems to double. Instead we need to teach students how to tell a story. It’s not enough to learn geometry; you have to learn how to build a house. We need to treat the language and grammar of the screen exactly the way we learn writing or music or painting.

Where did your passion for education come from? What kind of student were you growing up?
I was an average student who daydreamed a lot. I had a very hard time with education, and I was never described as a bright student. I was considered somebody who could be doing a lot better than I was doing, not working up to my potential. I wish I had known some of these rules back then.

Do you think the education field will get your message?
I hope so. Right now we are having a huge paradigm shift, on all fronts, from analog to digital. The business world has pretty much accomplished this already, and education is still taking its first baby steps in this direction. This is more than just teaching kids how to use computers. Kids already know this. They know how to use computers before they get to school.
There is one major hurdle, though. The business world thrives on change. If you don’t change, you don’t improve, and you go out of business. The education world, it seems, thrives on stability and limiting change. There seem to be an awful lot of people protecting the status quo.

The problem is that people don’t get the bigger picture. And the bigger picture is that a country survives on its educational system. Go beyond that: The human race survives on its educational system. That means that a country with the best educational system becomes the prominent country or society. The society that has a great educational system becomes the prominent society because that’s the way the human race survives.

People seem to forget this fact, and often these are the same people who are running the society. They would rather spend money on the military than on the educational system, unaware that the military will bring them zippo. It’s not a great idea to want to take over the world if you don’t know what to do with it and how to run it. Nothing is accomplished through conquest. Everything is accomplished through education.

James Daly is the former editorial director of Edutopia.


Richard join KWETU's editing department

Richard Mugwaneza is a popular name in the Rwanda’s film Industry. He is among the founders of a Rwandan based company, Almond Tree Films. Despite the fact that he also seat at their administration, his hand in editing suite stands tall among his many roles at the company. It is against this backdrop that KWETU Film institute decided to bring along the young talent into the editing department.

FILMOGRAPHY
Richard’s Back ground is Almond Tree Films as an editor and editing mentor at the film club, a monthly workshop at the Goethe institute.
• -In July 2010 Richard worked on a miscellaneous crew as Production researcher of “Man vs. Volcano” TV Series aired at National Geographic Television in April 2011.
• -In December 2010 He worked as Assistant Director and Editor of three short films that premiered at the Tribeca Film Festival in May 2011:
• SAA-IPO By Jean Luc HABYARIMMANA
• LYIZA By Marie Clémentine DUSABEJAMBO
• SHEMA By Kayambi MUSAFIRI
• -In June 2011, Richard directed and edited “NOTA BENE” a 17 – minute short film that he wrote during the Maisha screenwriting Lab in May 2010.
• -In June 2010, Richard edited “My Camera, My Story” TV series on Rwanda television.
• -In November 2009 Richard directed and edited the making off of “KINYARWANDA” a feature film by Alrick Brown and Ishmael NTIHABOSE that won the Audience award at Sundance, 2011 and the Best Film award at Rwanda film festival in 2011.
• -In December 2009, Richard worked as Camera Operator of “MAIBOBO” (30 min) a film by Yves Montand NIYONGABO that premiered at International Film Festival Rotterdam (Netherlands) in 2010, and won a jury prize at Festival Cinema Africano et d’asia, Milano (Italy).
• -In January 2010, Richard worked as post production assistant on ”DIRTY SUIT” a short film by Noel MUNYURAMGABO that was premiered at the International Film Festival Rotterdam in 2011.

• -In May 2011, Richard directed and edited “WHO I AM” a 9-min short film by Ange BAHIZI.
• -From January to April, 2011 Richard worked as editor of a weekly TV show” The wedding Show” for Rwanda television.

Application to join the KWETU Film Institute is on progress…

Click here to download application form

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Filmmaking journey is never for cowards

Writes Apollo Ndungutse, edited by Joseph Njata

In my opinion, joining film industry is like joining the army especially for a common man. People join knowing too well that at some point, they will come face to face with death. Filmmakers are prepared to make films, money or both. This takes me to the famous three Ps that William Frog illustrated in his book ‘Screen writing Tricks of the Trade’. These are Passion, Patience and Persistence. Without these perfect Ps, it’s a herculean task for one to expect going far in the industry.

Many people including my parents criticized me to ‘death’ after learning that I had dropped pieces of chalk – read teaching, to join the Rwanda Film Institute 24/7. My relatives and friends could not fathom how in my right senses could throw my teaching profession to the dustbin. Matters sounded elephant to them as it happened during a time that I had just landed a job in one of the prestigious schools in Kigali. They argued that, I had swindled a life time chance that would have ensured that I was well buttered financially. Many people do not understand the value in the art of filmmaking. It is only the filmmaker who knows what he/she wants and once successful, the critics join in celebrations.

Many people do not know what they want to achieve in filmmaking. So, if you lose focus on what you want, you will ends up wasting years of quality time chasing an evasive dream. Focus is the denominator here.

Most people, who do not understand film business, have a tendency of associating it with immorality because of the realities that it produces. They base their argument on the nature of film halls and the people who patronizes them. They do not realize that filmmakers go an extra mile to reveal the world of humanity and the consequences. They do not understand that it is a job of imitating character and nature. Had they watched some quality movies in theaters and attended Oscar award ceremonies, perhaps they would possibly understand.

Another huge problem for many budding filmmakers is delving too much on the money aspect before mastering the art. Everyone out there tends to think that, the industry is dotted with rich people. To some extent yes, but on the other side of the coin, there is a considerable cost that is associated with success.

Few can imagine for example, how budding filmmakers walk on foot to film locations, how they spend days on empty stomachs, how they have to re-write their projects now and again, the disappointments, brags, and all the hustles involved. The public might think its just fun but this cannot be further from the truth!

Filmmaking involves various departments which includes; Script writing, Directing, Acting, Editing, Sound Design, Graphics Design, Animation, Production, Costume design, Stage Design, Cinematography, Photography. However, people understand filmmaking in the language of actors and actresses only. If an upcoming filmmaker joins the industry without a self discovery on what he/she needs to achieve, there is a great possibility of falling off along the journey.

However, if a filmmaker joins the industry with a specific target on a given domain, the success degree is heightened. Most successful filmmakers major in one field. This will be well illustrated in our coming interviews with established filmmakers in the region. There is a new rise of indie filmmakers due to new technology in digital filmmaking where one or two individuals start and finish a film. They have to be extraordinary talented and skilled to make it, this involves collaboration of talents on set.

There are three traditionally ways to penetrate the movie industry and I still think they are reliable in modern times. Being lucky, joining a film school and being famous. If you are lucky for example, you can resemble a lead character in a movie script which could land you into acting role. You can be lucky enough to get someone to sponsor you join a film school to hone the art.

If you can afford university tuition fee, then this is a sure way to success. Start now! study film! It is a new career on the block, very modern and relevant. If there is no film school in your region, hustle and look for one elsewhere.

Lastly, you can invest in the industry as a producer or become a celebrity. A music star, a football star might find it easy to join film industry because they can use their profile to access money and crew to make a movie.

I can sums this up with a single word, focus! If you agree or disagree, say it (comment).

The writer is a filmmaking student at KWETU Film institute and an upcoming novelist.