Andre Cronje, Carlos Francisco and Brenen Nortje – all three surfers – are the directors of ‘Zulu Surf Riders’ being screened at Encounters 2008. Carlos answered some questions for us about the film.
WAS THIS THE FIRST DOCUMENTARY THAT YOU OR ANDRE HAD DIRECTED?
This is indeed my debut independent documentary production, I’ve directed many other genre type productions in the past but this is where my true passion lies. I’ve always been a dedicated fan of documentary films and their festivals and would always watch as much as I could. I studied all the different production techniques being used all over the world, I made mental notes on what approaches I thought and felt to be effective in objectively telling a great story.
Andre has a strong background in production and directing but this too was a first in terms of being strictly independent about it.
WHAT DID YOU LEARN ABOUT YOURSELVES, YOUR RELATIONSHIP AS DIRECTOR WITH YOUR CHARACTERS, YOUR STYLE OF WORKING, DIFFERENT FILMIC STYLES, ETC?
The entire project was a learning experience and an extremely valuable one.
We’ve learnt that as long as you’ve identified an interesting story and if you’re half in the position to document it, go for it. Film it, film it as well as you can and film as much as you can (strategically). Once it’s recorded, the film is there, just a matter of fitting it all together and potentially doing a few small follow-up or pick-up shoots.
In terms of our relationships with the characters, we were all really sincere mates with the common love of the ocean and surfing. I think we were lucky because there was a lot of trust and we made it clear that this was a film about these people for these people.
Our style was an attempt to combine the elements of purist and conservative documentary approach with contemporary surf film editing technique (soundtrack, grading). In my ideal approach toward documentary production I feel too much music is unnecessary and too influential, but in the case of ‘Zulu Surf Riders’ it was a must, surfing and music share a very close bond.
In order to achieve flow and an organic filmic feel we set up a bunch of sequences based on our subjects’ lives but they were never asked to do anything they didn’t ordinarily do. We just shot, all the time building sequences and tried to get as many angles of any moment as possible, holding shots for longer too to create as much cinematic effect as possible.
YOU ARE BOTH CREDITED AS DIRECTOR – HOW DID YOU HANDLE THAT IN PRACTICE?
The film was actually directed by three of us: Brenen Nortje, Andre and myself. Brenen approached me with his idea to film this story and I knew right away that it would be a winner.
I actually take to heart a quote from Alfred Hitchcock, ‘In feature films the director is God; in documentary films God is the director.’ If you immerse yourself deeply enough into the lives of communities and people the story will unfold in front of you; just make sure you’re prepared – in the right place and rolling.
We decided unanimously that this was a joint project and we would all contribute towards it as equally as possible, creatively, financially and practically. The alliance Scratch the Surfers was born. We divided up all the responsibilities of directing: Brenen researched the angles of the story, the characters and prepared prompts for the interviews and was our third eye when Andre and I had our’s stuck in the camera viewfinders; Andre and I shared similar roles in camera operation, sound, as well as tactical and technical decisions. So once we had filmed all that budget and time would allow, we declared our filming complete … we had no choice really. Eventually I managed to sacrifice 2 months of paying work and edited what we had, I used practically everything we shot – with the advantage of being experienced editors Andre and I shot very much for the edit.
When I had a draft of the film we sat together for a viewing and then negotiated the final structure of the film.
We were always very democratic in all that we did and were just fortunate enough to have shared a very similar vision.
THERE MUST HAVE BEEN SOME TENSE MOMENTS OR AT LEAST OCCASIONS OF DISAGREEMENT IN THE EDIT. WHO HAD THE FINAL SAY IN THE EDIT?
I had gone ahead with the edit and because of that had to establish the structure and style. In the beginning Andre may have felt that some of the drawn out naturalistic scenes were a bit much and being the way he is (hyperactive) expected more action; but he came to realise the value of the project as a documentary versus a surfing film. Brenen was just stoked to be seeing the story coming to life. But they all gave very valuable suggestions and I learnt to listen and to at least try alternative ideas. Once the editing of the film started I went full steam ahead, I put the sequences together and then we just decided the best order to put them in.
FROM YOUR PHOTOS IN THE ENCOUNTERS PROGRAMME, BOTH YOU AND ANDRE LOOK LIKE SURFERS. WHAT IS IT ABOUT SURFING THAT MAKES IT MAGICAL?
Just about everyone involved in the production was a surfer. We realised that the sacrifices we made with producing the film would bring awareness to the needs of this aspiring surfing community and we would be helping kindred spirits in the best way we could. Surfing and the ocean is life changing: by being out at the backline you’re given a different perspective of the world. To get out there you need to be respectful, confident and motivated. No-one can make you get there – you have to find it in yourself. It’s all up to you.
The ocean reveals many awesome wonders once she allows you into her playground and those gifts remain in your senses forever.
DESPITE BEING SURFERS MAKING A DOCUMENTARY ABOUT OTHER SURFERS, YOU CHOSE NOT TO FOLLOW ONE OF THE DOCUMENTARY CONVENTIONS, WHICH IS TO INCLUDE YOURSELF AS THE FILMMAKERS IN THE FILM. WHY?
I don’t think I’ll ever include myself in one of my documentaries? I think once you enter as a character into your documentary you are making a film including your perspective and emotional attachment, you want the audience to relate to you as well as the subject. When I watch documentary I want to be allowed to understand the visuals and facts in my own unique way. When people enter into their documentaries, I see this as shaping the film from the inside whereas I prefer to produce as a witness from the outside.
THERE IS A WHOLE GENRE OF THE SURFING FILM. WAS IT A CONSCIOUS CHOICE TO STAY AWAY FROM USING ANY OF THE SURFING FILM ELEMENTS, E.G. ENDLESS SHOTS OF SPECTACULAR WAVES, OF SURFERS RIDING THE WAVE, LIFESTYLE ELEMENTS?
To be quite honest our initial impression was that it was going to be very much a Surf film, lots of waves, fun and games. After hanging out with the Zulu surf riders and filming their story, we realised we had a situation where the story behind the pioneers of the movement had to be told first: where they come from and what it took to even consider surfing the oceans waves. That great African surf film epic will be made in years to come … their amazing raw talents are in the process of being fine tuned.
THIS IS A SELF-FUNDED FILM, WHICH IS SHORT HAND FOR A WHOLE LOT OF THINGS. WHAT DID THAT ENTAIL IN THE CASE OF ‘ZULU SURF RIDERS’?
When we sat down in one of our few pre-production meetings we decided that we were making the film first, asking questions later. We believed that whatever we spent on the film could be recovered with selling its license to a national broadcaster. We’re under the impression it is subject matter that our South African people would appreciate.
Andre and I had our own cameras. We got dirt cheap hiring rates for a rifle mic and extension lens, I mean what else do you need!?
We planned a 7-day surfing road trip down to Umzumbe – the location on the south coast – and we tried to see the expenses over those days as part of a surfing experience for us too. The next expense came when I had to commit to the edit and had to sacrifice paying work. As the film came to took shape I became confident that it had selling value and my faith pushed me through.
In my case my savings have been depleted, but I believe we’ll be able to recover them. Some money has been spent on marketing the film to film festivals, but I feel with the credibility it gains from being an official selection a few times we will be in more of a position to negotiate a decent selling price. The idea is to have some money left over to put towards starting capital for the future Umzumbe Surf Riders’ Club.
NOW THAT YOU HAVE COMPLETED THE FILM, HOW DO YOU PLAN ON DISTRIBUTING IT?
Now that’s a lesson from the production process we are still about to learn. The theory is all there. Like I mentioned, we aim to build some credibility and hype around the film and take that to the broadcasters and have it aired. Once we get some money back from the film we will print DVD copies of the film to be distributed freely to the very community that gave us its story. Then we’ll have to look at international broadcasters, online broadcasting, DVD’s etc. We’ll probably focus on those channels looking for African content.
We’ll see what happens.
IS THERE ANYTHING YOU WOULD LIKE TO ADD?
I would like to mention that it was an honour to have been entrusted by this community to be the safe keepers of their accounts on the beginnings of Zulu surf riding. Being white South African guys we are telling a Zulu story in Zulu and I hope that we have succeeded and with that showing that maybe our society is getting that little bit closer to really understanding and valuing one another.
Interviewed by Odette Geldenhuys
Zulu Surf Riders runs at Encounters 2008 in:
Johannesburg on Friday 27 June and Sunday 29 June
Cape Town on Sunday 6 July, Friday 11 July, and Sunday 13 July
