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.


KFI to give five Scholarships in June 2012

Kwetu Students on Set

The KWETU Film Institute (KFI) is a center of academic excellence for exploring new kinds of communication, cultural expression, and regional civic engagement, through cinematic education and training, including programs in film, television and mobile, as well as supporting programs in the performing arts. KFI provide East Africa with a holistic, sustainable and internationally recognized media training facility.

During the next five years, KFI expects to enroll approximately two thousand students who will be exposed to all the important aspects of cinematic media creation. With practitioner instructors, experts in various fields of media, KFI will offer professional, hands on media training programs founded upon on solid academic criterion.

The training is aimed at professionalizing the craft of filmmaking. This will be actualized by providing instructions to filmmaking students in various departments by professional filmmakers, as well as the realization of a quality short film as an on the job training that conveys filmmaking in practice.

KWETU Film Institute hands-on training enables the participants to learn how to make a film on their own and enhances their cinematographic and creative know-how.
We at KWETU look life a little differently than most people. We see moments captured through the lens of a camera and the glow of a spotlight. We watch people in moments of desire, love, pain, sorrow and hope…’

If you want to be part of our team, if you have the heart and determination to put yourself out there and expose your passion, we welcome you! Turn your passion for films into a career.

REGULAR CALL FOR APPLICATION
KWETU Film Institute invites applications to three-months training course in digital filmmaking.

The course commences by in JUNE 2012 and is taught by industry professionals.
We offer the following departments of study

Camera, Editing, Acting, Script writing, Sound, Light, Directing and production.
Express your unique talents and creativity at the
KWETU Film Institute!

Why train at the KWETU Film Institute?
Individual training with qualified mentors, both visiting and local
Quality hands on training with flexible timings
The school is accredited by Rwanda ministry of education.
It’s one of its kinds in east and Central Africa.
We offer scholarship opportunities to deserving needy students.

The trainee graduate with relevant government grade test certificates.
“Building your career is our goal”

How to apply,

Click here to download application form and send it to our email address indicated below

Email:info@kwetufilminstitute.com
Registration Fees: 20.000Rwf (40$)
Tuition Fees: 300.000Rwf (500$)

NB: Applicant must have a strong interest in building a career in film industry.

SCHOLARSHIPS

KFI in collaboration with the Rwanda Cinema Centre invites applications to three months scholarship in digital filmmaking. Five successful candidates will be enrolled during our next intake scheduled for early June, 2012.

How to Apply

Submit a complete application in English, including a script and a story line. The application is individual and we cannot accept team applications. The script should be professionally written, correct format. Use of celtx software is highly advised and should be approximately 15 minutes long.

Application deadline

All applications must reach us by 20th May, 2012 following which the successful candidates will be notified by 25th May, 2012. Please include your full time telephone contacts. Basic knowledge in TV and Video production will be an added advantage.

The training will be conducted in English and Ladies are highly encouraged to apply.
All application should be sent to info@kwetufilminstitute.com. Alternatively, you can drop your application to our offices, Estate 2020 Gaculiro, Benjamina Street Opposite #18

You may circulate this information to your fellow colleagues or friends interested in media industry that would benefit from this course.

NB: The selection is by merit and only deserving students will access the scholarships.

For more information call 0722306480, 0785217946

Click here to download the application form


‘One Day on Earth’ screened at Heaven

EVERY Saturday, a movie is screened at Heaven Restaurant located in Kiyovu, Kigali. However, last weekend was different and a special film was shown under the moonlight.

The restaurant was one of the venues in 160 countries around the world where the film, One Day On Earth, was screened. Among other notable locations included the U.N. headquarters in New York.

The film shot in all countries of the world, on October 10, 2010, shows how extraordinary a single day on our planet can be.

According to Shane Bartlett, the manager Heaven Restaurant, the choice of the venue was a coincidence.

“People from the United Nations who were involved in the film project had dinner here one night and they heard that we screen movies. They expressed their interest to partner with us during their film’s global screening,” said Bartlett.

“We feel very lucky and honoured to participate in this record breaking moment on behalf of Rwanda. I think it is important because this is a movie that connects the entire world,” he said.

Directed by Kyle Ruddick, the film takes a hard look at pressing global issues like endangered species, carbon emissions, and poverty. It tells, for instance, how 1.3 billion people have no access to clean water, and a species that become extinct every 20 minutes.

More than 19,000 filmmakers, professional and novice, contributed more than 3,000 hours of footage to the project, which has the support of the United Nations and 60 non-profit organisations.

It was a different experience for Eugene Safari, who was in the audience.

“Watching this film, I felt a little closer to the rest of the world. I think it’s a film starring everyone on Earth.”

Christian Gakombe, also from the audience, believes the film reminds us of our equality.

“It is a very important film because it reminds us that despite our geographical differences, we are all the same people.”

Some in the audience felt short-changed. “I find it unfair to see that while many countries, like Rwanda and Kenya got seconds in the film, North Korea military parade got a lot of screen time. Listening to their military speech somehow diverted my concentration on the film. I didn’t like that,” said Susan Kiragu, a visiting Kenyan actress.

Film lovers in Kigali who missed the screening and might want to catch the film have to wait a little longer.

“The film producer gave us a copy for this premiere; we do not have any right for further screenings. However, we are planning to ask them if we can own the copy. Our goal is to make the movie available to everyone who would like to watch it in Kigali,” explained Bartlett.

Apart from the weekly film screenings, the restaurant promotes Rwandan culture by providing space for different cultural events. They also work closely with local artists and the spot is one of the popular selling points for Rwandan crafts in Kigali.


Six Things to Make it in the Film Industry

As a coordinator and production supervisor in television and film and now as the Chair of the Film Division of Chapman University, Barbara Freedman Doyle is an expert at the mistakes people just entering the film industry make. Here, in an excerpt from her new book Make Your Movie: What You Need to Know About the Business and Politics of Filmmaking, now available from Focal Press, she gives some tips on how anyone entering the film industry can make sure they stop themselves from saying what they really think and stay in the good graces of those with the power to hire.

REPUTATION IS ALL YOU HAVE.

In a business where much of the deal-making and negotiations are verbal, your word and your reputation is EVERYTHING. The film industry is small. Everyone who is established can easily make contact with anyone else or can get the straight scoop by making a few calls. How much you are paid, your title on a project, how hard you work, how honest you are, how you treat people— there are no secrets. The business is populated by talkers. Even “enemies” communicate all the time. There is no place to hide. If you are seen as creative, reliable, capable, and easy to work with, you will find luck. If you are seen as difficult, a primadonna, high-strung, or irrational you will be known that way even by people who haven’t met you. No one cares that you’re tired or have had a rough day. With no track record, it won’t matter how talented you are. When it comes to a decision as to whether or not to work with you, the decision will be negative. They will say, “Life is too short.” If you promise things and don’t come through, that will follow you and you will have damaged your credibility. Delivering what you say you can deliver is key. Extenuating circumstances don’t count. You’re trying to break into an industry of impatient people. Rationalizations won’t work. These people have seen it all and maybe done it successfully themselves.

RELATIONSHIPS ARE ABOUT HISTORY, NOT FRIENDSHIPS.

The word “relationship” is possibly the most overused word in the film business. Someone gives someone a chance because he and the other person have “a relationship.” Person X always works with Person Y because there is a “relationship.” A producer would prefer that a director hire a particular cinematographer but won’t interfere with the director’s first choice because the director and the second choice have “a relationship.” Relationships are not about friendship, they are about history. In the Industry people come and go and a shiny new flock of ambitious competitors fly and drive in every day. History—having worked together on a previous project, gone to school together, and experienced something together in the past—can feel like protection against the hostile unknown factors that arise when trying to make a film. A relationship is the sum of shared goals and the hope of mutual loyalty. Friendship might play a part, but in fact there are long-time filmmaking teams where the people involved never see each other outside of the office or the set. Successful working relationships are often based on astute co-mingling of strengths and weaknesses that might gel creatively but not socially. People trust an unpleasant history that resulted in success more than no history at all. People in the industry often believe, “better the devil you know.”

KNOW THAT YOU’RE DEALING WITH GAMBLERS.

The people with the power to say yes to you are educated gamblers. They plays the odds, hedge their bets. An abundance of anxiety accompanies most decisions, and the most anxiety-provoking of all decisions are those that lead to the spending of cash. These decisions are rarely spontaneous. This philosophy extends even to something as minor as hiring someone for an assistant spot. If someone has held Industry internships, if they have some kind of pre-training with a stellar reference from someone the employer already knows or knows of, that diminishes the risk that the new hire (maybe you) will do or say the wrong thing, breach a confidence without even knowing it, or behave in some way that might prove embarrassing. It’s stacking the deck. In a business where most people work their way up from assistant—and on set from Production Assistant (PA) to almost every other position—the decision to hire someone at the lowest rung of the ladder is about potential. If you received a good reference or if someone with influence made a call for you, you must be at least OK. It’s common sense that the known is more comfortable than the unknown.

ATTITUDE

Your attitude is one of your most precious assets. Chances are given to young newcomers because they’re talented, bright, and have a great attitude. If you’re in a business where the tensions run high, you want to be able to count on “your” people to handle things well, efficiently, and with a lack of bad attitude. On a film set where the days are long and the working conditions often not ideal, the crew member with the bad attitude is the one who is complaining, finding fault with someone else’s work, laying blame, and nagging about how long until wrap. It doesn’t even matter if this person is correct in his judgments or if everyone else agrees that Yes, it sucks to be out all night in 20-degree weather in the mud and rain, and No, no one is making enough money for this. No one has to hear it. You must be agreeable, helpful, and in general happy that you’re on the set of a film (commercial, television show, music video). The whiners and troublemakers are noticed, and they are not invited back. Even if their complaints are justified, everyone is in the same boat—who needs to hear about it? Write it in your private diary or journal if you keep one. Tell your best friend. Do NOT blog or post about it!
Along with the whiners are the princes and princesses, the egos: “I could do it better”; “I saved their butts”; “They couldn’t have finished the movie without me.” I promise you, they can always finish the movie without you. You are expendable. There are lines of people behind you, waiting for you to leave or be told to leave.
In an office, the people with an attitude are the drama kings or queens. It’s all about them. They do everything. They work harder than anyone else. Everyone else is incompetent. Their ideas are the best. They don’t get the credit they deserve. And of course there is the gossip. The drama king or queen is the first with the bad news, the nasty comment, the information that may or may not be true but is certainly no one’s business. These people are a drain on the energy of the work environment. They are also the manipulators, the connivers, the liars who set their co-workers up for a fall. Succeeding in a hypercompetitive industry is hard. Stay away from the attitude-challenged. You’ll be stunned at how a bad attitude rubs off on you and how it effects other people’s perception of you. Keep your eye on the road ahead of you, SMILE, and be the first one anyone thinks of when they need someone they can count on to do the job with a minimum of fuss. You will do well.
What follows here are two cautionary tales. Both are entirely true, but the names are changed.

CAUTIONARY TALE #1: You’re at the Bottom of the Food Chain Until You Aren’t

Will was volunteering on an independent film. Every day he was asked to run to a specific vegan cafe ́ to fetch lunch for the lead actress. He had to leave set and fight the L.A. traffic to do this, and he was quite put out about it. He felt that getting lunch for an actress he’d never heard of was demeaning, and that since he was working for free, he should at least be doing something worthwhile.
On the third day of the shoot he was asked again to pick up the lunch. He rolled his eyes. The producer, who was himself doing the director a favor on this one and who usually made much more high-profile films, pulled Will aside. He told him, “No one should ever know you’re unhappy or that you think you’re better than this. You know why? Because when they started ALL these people, including me, had to do something we didn’t want to do. We were ALL better than that. Every job on a set is the same. It’s doing whatever has to be done to get the movie made. If getting the lunch helps, then that’s the most important contribution you can make, and you’d better hustle and do it gladly, until it’s not your job anymore. There are people waiting for you to get booted so they can snag your spot. Once you move up you’ll be telling the next guy what I’m telling you. You have to suck it up and look as if you’re having a good time.”

CAUTIONARY TALE #2: Just Because It’s in Your Head, It Doesn’t Have to Come Out Your Mouth.

This is a sad one. Danny idolized a certain big-name director. Danny was charming, personable, and very smart. He spent a year digging up anyone who had a connection to his director hero. He wanted to “shadow” this director, to watch him work and to learn.
Many beginning filmmakers make the mistake of thinking that Industry people are casual about behavior. They are not.
Someone who knew someone and was sympathetic to the cause arranged for Dan to meet the director. The director liked him, and finally after a prolonged process involving reference checks, phone calls, and emails that went unreturned, finally Dan was given the go-ahead. He was told when and where to show up on the first day of shooting a major film. He arrived on set early. So far, so good. As instructed, he found the director’s assistant, who promptly sent him to the catering truck to get the director his espresso. He was a little surprised that he was being told what to do by an assistant, but he did it. He got the coffee and handed the cup to the director. The director took it and continued his conversation with the cinematographer. The director handed his empty cup to Dan, who returned to the catering truck, got another, and handed the full cup to the director. Over the course of the morning, this was repeated several times. It was the only interaction Dan had with the director. Towards lunch, Dan’s girlfriend called him on his cell to ask how it was going. He told her, “OK, I guess. I’m the director’s coffee whore.”

This was overheard by the makeup person who told the director’s assistant who told the director, who fired his unpaid “shadow” at the end of his first day. The director had enough to deal with. He didn’t want anyone working close to him who was resentful and indiscreet. If Danny wanted to voice his opinion to his girlfriend, he could have waited until he was home and in private to do it. Danny thought he was being hip and funny, but the director’s assistant and the director felt he was being negative and rude.
What’s the point here? Neither Will or Danny did anything truly awful, they just didn’t understand the politics. The hesitation before you agree, the rolling of your eyes, what you say over your cell phone, even if you whisper, is noticed. What you post is PUBLIC. You are trying to convince people to invest in your talent, your skills, AND your ability to navigate the often treacherous waters of the business. They must trust in you personally.
You may say to yourself, “I hate politics, I can’t deal with this kind of BS.” But you have to learn. Some of it is common sense, some of it is courtesy, and some of it is BS, but it’s all part of the business. You may think, there are lots of jerks out there—I’ve read about their bad behavior, and they succeeded. True. But usually the bad behavior didn’t begin until after they were successful. And these bad guys or girls get work and are able to get their films financed because they bring in the big bucks. The minute a film is less than hot at the box office, they find that their calls are not returned as quickly, their scripts are not read as eagerly, and their green lights come more slowly, if they come at all. When people behave badly there is a crowd of people sitting back gleefully awaiting their failure. Human nature is such that payback often tastes sweet. Why go there at all?

Many beginning filmmakers make the mistake of thinking that Industry people are casual about behavior. They are not. Most people with the power to help you make your film are sharp observers, with acute instincts. They are constantly checking you out, consciously and unconsciously. Are you a good risk? Do they believe you? Do they believe in you? Perhaps because so much money and ego is tied up in the decisions they make, they feel betrayed if you prove their initial impression of you was incorrect. No one expects you to be perfect, but you are expected to be credible, and they remember when you’re not. Picture a neighborhood in a very small town, all the residents sitting out on the front porch, watching, noticing, and commenting. That’s the film business.