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Financial sector pledges funding for filmmakers






MONDAY OCTOBER 24 2016

Oliver Litondo stars in the award-winning film, The First Grader. PHOTO | FILE  
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By JAMES NGUNJIRI
The financial sector has pledged to develop products tailored for filmmakers to boost the industry.
Financial institutions KCB Group, Daraja Microfinance Bank as well as insurers Kenindia and Hollard Insurance pledged to promote film and audio visual sector through funding at the conclusion of Africa Film Finance Summit, part of the Ambika Afrika Safari Film Festival, held from October 12 to 19 in Nairobi.
The institutions’ representatives were set to table the proposals to their respective boards for further considerations.
“Financial institutions have committed to embrace the film industry as a viable enterprise and resolved to develop products tailored for the film industry,” said Pan African Federation of Filmmakers (FEPACI) executive director Jane Murago Munene.
She said FEPACI’s goal was to mobilise $200 million in two years and catalyse growth of commercial funding for Africa’s audio-visual and cinema sector.
The funding seeks to enhance the quality and quantity of films, documentaries and other forms of audio visual productions.
Filmmakers at the summit were also pushing for the State financial support citing success stories elsewhere in Africa and the sector’s immense potential for gross domestic production (GDP) contribution.
The industry is estimated to contribute Sh7 billion to Kenya’s GDP. Of this, Sh2.3 billion comes from the Riverwood production, according to data Ecocapp Capital presented at the event.


















http://hiiraan.com/images/2016/Oct/20161021636126126700363718fusion.jpg
Friday, October 21, 2016
By Collier Meyerson

http://hiiraan.com/images/2016/Oct/20161021636126126868785739the-stray.jpg

It might come as a surprise to some, but Minnesota—a state where 85% of the population is white—has one of the Midwest’s largest and most visible immigrant communities.
Large numbers of Somalis fled to Minnesota shortly after a civil war broke out in the eastern African country in 1991. Today, there are at least 26,000 living in the Minneapolis-Saint Paul area, according to the Minnesota State Demographic Center.
Despite this community’s sizable population, however, America only hears about Somalis in Minnesota whenever they’re connected to terrorism. For example, one recent article said three Somali-American men from Minneapolis were found guilty of planning to join the Islamic State.

But filmmaker Musa Syeed hopes to change that with his new movie, which debuts on Friday. A Stray follows Adan, a young Somali immigrant wandering the streets of Minneapolis, after his mother kicks him out for stealing her jewelry. In it, we see Adan struggling to make a life for himself as an outsider.
As a Muslim American from Indiana, Syeed wanted to present a new immigrant tale set in the Midwest, a region largely considered to be sleepy (and racially homogeneous) farmland territory.
“Everyone associates New York with immigrant stories,” Syeed told me. “But telling the story in the heartland of America points more towards the future of what America is now, and what it’s going to look even more like in the future.”
I spoke to Syeed about filming A Stray and the Somali-American experience.


In general, national news coverage of Minneapolis’ Somali community is negative. We only hear about the community when a select few have been apprehended by the FBI for becoming “radicalized” or plotting to join ISIS in Syria. Your film addresses that full-on. Were you thinking about the way Minnesotan Somalis are depicted in the media when you decided to make this film?
I didn’t start it as a response to media coverage. I’m Muslim and grew up in Midwest, and I was just interested in the community because it has built up so quickly. To me, it’s a major center of Muslim life in America (in terms of the people there and the institutions that are built there). So, my initial attraction to the community was that there were a lot of visual possibilities for the audience in this complete world.
But I think as I got to know the community more and spent more time there—seeing news cameras in the neighborhood—that helped me understand where a lot of people [are] coming from. [Negative media portrayals are] something Muslims in America are so conscious of; and I think in Minneapolis, specifically, it’s so pronounced because it’s such a hyper-visible community. Even in the local news, there has been tension, just because the coverage has been very intense at times and also insensitive—or just maybe not fully informed.
Through Adan’s eyes, who is the main character in the film, we see an American dream just beyond his reach: fancy condos in plain view of the housing projects he grew up in, a visit to his old girlfriend’s college dorm, and a late-night stroll through the city’s tony riverfront district. I was wondering if you could talk to me a little bit about class and class consciousness in the film.
Something that I’ve been constantly aware of in the film is Muslim representation. I think for a lot of people like my family, who immigrated decades ago to America—for some people, there’s an impulse to portray ourselves as a monolith; that we’re a model minority, that we’re professionals and doing well, that we’re good citizens. So I think … there hasn’t been as much space to explore class issues within the Muslim context.
But something I was very conscious of—especially in Minnesota—from neighborhood-to-neighborhood, you could kind of get a sense that people were sort of separated along class lines. Cities are designed in many ways to keep people apart. So in just thinking about coming from a neighborhood: What are the structural designs that keep someone from being successful? And that was something we tried to portray visually in some way.
Minneapolis is a major character in the film. In many of the city’s famous landmarks, Adan appears uncomfortable, an outsider. It’s only in Somali spaces that he seems truly comfortable. Can you talk to me more about Minneapolis as a character in this story?

I think I was interested in telling the story in Minneapolis because there isn’t a lot known about it, and I think it being a Midwestern city, it has a different resonance. Everyone associates New York with immigrant stories, but telling the story in the heartland of America—a story about immigration—I think, points more towards the future of what America is now and what it’s going to look even more like in the future. Obviously, there’s this large Somali population, but there’s also this large population of Native Americans, there’s a large Hmong population. I was just curious to see how [Adan] could navigate all these communities, and where he could find opportunities for connection with all these different people.
There are several other oppressed communities represented in the film: when Adan comes across a Hmong woman on the light rail, or when news of Syria’s refugee crisis blares in the background. What were you trying to do with these representations?
I think just putting into context those different communities tells the bigger story of immigration in America. There hasn’t always been as much discussion about what happens when people get to a new home, and what is the process of creating that new home; that itself is a new journey. Putting all these different displaced peoples in the film was a way of showing the one universal experience of being an immigrant: trying to create a sense of home away from home.
Throughout the film, the only constant person in Adan’s life is the FBI, which is always there to give him what he needs or what he thinks he needs: a phone, money, a new home. Other characters in the film have seemingly abandoned Adan for behaving badly, but the FBI always seems to be there to catch his fall. What is the significance of this?
The FBI and other law enforcement have had such a heavy presence in the community, and a lot of young men have been aggressively recruited to be informants; some, who have refused, have had their employment threatened or their status in the community threatened. To me, the sort of ever-presence of the FBI investigator speaks to the distrust that has sometimes been [created] by the presence of law enforcement in the community. Also, just [the fact] that informants do exist in the community is designed to make people question each other or distrust each other.
Tell me how you developed Layla, the dog, as a plot device in the film and as a character of her own.
I think man and dog stories are such an American thing, and I was curious about how to tell that story from a new perspective—a new America, in a way.
This interview has been edited for length and clarity.



Lights, camera, action as Nairobi hosts film festival















From left: Director of Film in the Ministry of Sports, Culture and Arts Ernest Kerich , Fepaci executive director Jane Murago-Munene and Fepaci advisor Hon Ndiritu Muriithi talk to during the media workshop. PHOTO| COURTESY 
·         Film-makers in Africa face a myriad challenges, not least of which is the capital-intensive nature of the business.
·         Lack of distribution channels is a major setback that has pushed most nascent film-makers online.
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http://www.nation.co.ke/image/view/-/3214646/medRes/1333042/-/4lxn5z/-/LOGO.jpgBy MILLICENT MUTHONI
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Nairobi will host the inaugural regional Ambika Afrika Safari Film Festival on October 12 to 19.
Organised by the Pan African Federation of Filmmakers (Fepaci) and a local organisation, Communication Pathways Trust, the festival brings together African film-makers in the tradition of other Fepaci festivals, such as Fespaco in Ouagadougou, Sithengi in South Africa, Ziff in Zanzibar and Ziff in Zimbabwe.
Fespaco, founded in 1969, is currently the largest film festival in Africa for African films.
“Fepaci’s main objective is to decolonise our screens. It is about Africa by Africans for Africans. We know there’s a lot of money coming from the West for film-making in Africa. But this money often comes with prescriptions.
"We are saying 50 years of independence is enough, and Africa needs to make its own films,” said Murago-Munene, a veteran documentarist and the executive director of Fepaci’s regional secretariat. She was speaking at the launch of the film festival in Nairobi in early September.
Munene said Fepaci empowers film-makers through training, creating the necessary infrastructure and lobbying for favourable policies.
Fepaci was also behind the creation of the African Audiovisual and Cinema Commission, a specialised agency of the African Union created in June this year.
The commission is tasked with growing investment in the African film industry, from the current $5 billion to $20 billion annually, and growing the number of jobs from the current five million to 20 million.
CHALLENGES FOR FILM-MAKERS
Film-makers in Africa face a myriad challenges, not least of which is the capital-intensive nature of the business. Lack of distribution channels is also a major setback that has pushed most nascent film-makers online.
The festival will also address content and distribution issues, according to Ernest Kerich, the director of film at the Department of Film Services.
“This festival gives film-makers the opportunity to take the lid off our own stories and combat the cultural estrangement. Our forefathers achieved physical liberation. Our generation shall achieve mental and spiritual liberation.
"This requires structures, skills and national policies. We are working with the African Audiovisual and Cinema Commission to see the development of a robust film industry that projects a positive image of Africa.
"We want to change the situation where African films win awards and achieve acclaim in other world festivals but are not available to Africans,” he said.
The Ambika film festival will comprise four major events. From October 12 to 16, there will be film screenings of African productions that advance the African story, sourced from Fespaco, Kenyatta University and the Kenya Institute of Mass Communication.
The screenings will be at the Louis Leakey auditorium at the National Museums of Kenya. The highlight will be the screening of Timbuktu, Abderrhamane Sissako’s award-winning film that won at the 2014 Cannes Film Festival and was the best film at the Africa Movie Academy Awards in South Africa in 2016.
The Africa Film Forum takes place on October 18 at Radisson Blu and will be a policy discussion on data collection and cinematic expressions of the continent.
Investors, financial institutions, film-makers and entrepreneurs will be talking numbers at the African Film Finance Summit, a platform aimed at launching film funding partnerships.
Finally, there will be a pitching forum where film-makers sell their idea to a jury. For those selected, they will receive training and financial support to shoot their films.




First Somali modern feature film set to premier on Idd day in Nairobi



















First Somali modern feature film set to premier on Idd day in Nairobi
Posted by NepJournal
Date: July 05, 2016
By Adow Abdi:
The first Somali modern feature film portraying true Somali stories is set to be screened on Idd day at Liberty Center in Nairobi.
Organized by Eastleighwood, the event will feature talented actors, script writers and actresses in the film dubbed ‘Mistaken’. The film will be staged from 5pm with regular tickets going for Kshs1,000 while VIP will be charged Kshs1,500.
“We aim to develop and expose the talents of this young people in Eastleigh and others from Eastland communities, in anticipation to create solutions to improve the lives of underserved youths and also enrich the community at a large. We hope that through this kind of initiatives, we will change the face of Eastleigh and beyond” said Burhan Iman, Executive Director of Easteighwood.
The production of this inaugural Somali-language film series will be largely in Eastleigh and will depict the lives of the people of Somali origin.
“As a contemporary state of the tele-film work, it will appeal to the target audience and mass and will be highly popular cultural self-projection of the Somali people in modern Kenya” added Iman.
The series will premier with a large screen showing in one of the malls in Easleigh for about 10 days during which its DVDS will be sold as souvenirs with its stars and actors featuring as the distribution and sales agents.
Eastleighwood gives youth opportunities to train as actors/actresses, opportunities for development of careers in writing, directing, producing, cinematography, editing, modeling and broadcasting among others.
Synopsis of the Film
A group of international gangs and Terrorists.  For their job to be effective and not to draw so many attention they hire jobless young men to do their job, the men marry ladies from Somalia and bring them to Kenya but when they reach Kenya, they disappear and never be seen again.  Jamal (Lead Character) finally defies their order and fights for the poor lady he brought in the pretext of marriage with the help of another gang member will they succeed?
Crew.
Executive Producer – Burhan Iman
Director – Abidweli Elmi
Script – Abdiweli Elmi
Videography – Rage Abdirahim
Video Editing – Rage Abdirahim
Subtitles – Mohamed Amin & Rahma Eleye
Cast
Hassan A Salat – Jamal
Anfac – Aisha
Qali Ahmed (Qali ladan) – Deqa
Amir – Amir
Africa – Africa
See you at the liberty center, Pangani on Eid day.





















Oct. 03, 2016, 5:00 am

By PATRICK VIDIJA @vidijapatrick

Kenya Film Classification board CEO Ezekiel Mutua address the press at Uchumi house on Tuesday,April 19 on the release of new advertising content classification guidelines. PHOTO/COLLINS KWEYU


Kenya Film Classification Board chief executive Ezekiel Mutua (pictured) yesterday said he will not surrender his diplomatic passport.

The Immigration Department last week announced that Mutua, currently in the US, should surrender his diplomatic passport when he jets back as he does not qualify to hold one.
This was followed by a social media outrage after Mutua posted a photo of the passport on his Facebook account.
Immigration director general Gordon Kihalangwa said Mutua’s passport will be revoked when he returns and issued with an ordinary one.
But Mutua said in a statement, “The passport is a privilege granted to me by the government in 2012 after I was transferred from the Ministry of Information to the Ministry of Foreign Affairs.”
He went on, “At no point have I abused or used the Diplomatic passport for personal gain.”
Mutua said withdrawal of his passport must follow the procedures.
“I must protest ... the purported revocation of my passport without prior notification,” he said.
Mutua criticised learning of such a development from the media while abroad, saying it is not embarrassing but unfair.
He said the passport was issued “legally and procedurally”.
Last week, the Film Board boss posted a photo of the diplomatic passport saying, “ ... someone wrote in a local daily that I will never get a visa to the US. Well, I not only got it but it came with a Diplomatic Passport.”
Source:Star
Stop judging us, we are not all terrorists



Forget Riverwood and Machawood, there is a new filmmaking location in town, Eastleighwood! It has taken the Kenyan film industry by storm. We sat down with Burman Iman, one of the founders of Eastleighwood to discover the story behind the story

How did Eastleighwood come about?
I have always had a passion for film. My love for media was driven by the fact that I am a Kenyan Somali. You see, coming from a marginalised community, no one is  willing to tell our stories in a positive way. All you will find are negative stories told by outsiders who know nothing about our culture. The only stories available were stories of pirates and terrorists. In fact, most African stories told in the media revolve around the three Ds: disaster, displacement and drought. I wanted to be part of the movement that would use media as a forum to change that image.
How exactly did you start?
 Initially, I started a website, imanebusiness.com, in 2011 and a magazine that was both in English and Somali, but I was not reaching my audience. I realised that Somalis  don’t like reading. They like watching TV or listening to radio.  I had to change my mode of communication and that is how Eastleighwood was born.
Why did you take the community-based approach instead of just starting your own production company?
My vision for Eastleighwood was not an individualistic one. I wanted it to be inclusive and include the community in every step. I wanted to kill the stereotypes and racial profiling of the Somali community, not just in Kenya, but the world over, and at the same time, bring empowerment to the community. 
We began with short plays, documentaries, short films and feature films. Soon, we introduced a music and fashion department, basically Eastleighwood is now not just about film, but is a community centre for art and culture. It is a forum where the youth can nurture their talents. It is also a platform to educate the youth about drugs, HIV/Aids, early marriages and female genital mutilation.
What do you hope to accomplish with your films?
 We want to give our side of the story. We want to expose the fact that not all Somali are  terrorists, and to show how vulnerable and jobless youth get drawn in by international Mafia. Most of these youth who are involved in terrorist activities are hopeless, jobless and are easily brainwashed . I hope that through Eastleighwood, we will be able to change people’s impressions of the Somali society. We want Somali movies that talk about love and our culture.
How easy was it to sell the film agenda?
It was very challenging. First, we discovered that there were no archives of Somali films. We were the people who were laying the foundation. We lacked the financial muscle to buy film equipment and also, hiring professional actors and actresses was a tough call. Most people we approached thought everything to do with the film was haram (go against our religion). So, we had to create awareness on the ground.
What’s your current film project?
Mistaken is our first feature film. The film is about a group of international gangs and terrorists. They hire jobless youth to do their dirty work. The men marry women from Somalia, whom they bring to Kenya to work undercover for the gangs. Jamal, the lead character in the film, gets drawn into the lifestyle but quickly gets tired of being used. As a result, he decides to defy orders and fights for the poor lady he brought into the country in the pretext of marriage with the help of another gang. The cast include Hassan A Salat (Jamal), Anfac (Aisha) and Qali Ahmed (Deqa). It is in Somali but has English subtitles.

Where can one watch this film? 
We will not be releasing the film on cinema. We want to adopt a community-based approach and take the film directly to the people. The film has already been shown on Al Jazeera. Next, we will screen it at community-based platforms in Nairobi, before moving to Garissa, Mogadishu, Djibouti, US, Europe, and any other possible city. So far, the film’s trailer has received 120,000 views.
What has the response been like so far?
We have a huge following on social media, not just in Kenya, but from the Somali community all over the world. We get people who support us and those who are against us. My life has been threatened a number of times. When I started out, I would go to the police but I realised they cannot protect me and that even if they killed me, my vision will live on.
How do you fund your projects?
We approach the business community and well-wishers. Since we are a registered company, we are able to do harambees and get small grants, but mostly, it is a labour of love.
Tell us a little about yourself

I have 10 siblings, I grew up in Wajir, Eastleigh and Somalia. I also lived in Dubai and Kuwait. I guess that is why I believe that we are all one, and that we should all love and respect each other, no matter the colour of our skins, race or communities we come from.
http://www.sde.co.ke/thenairobian/article/2000208328/stop-judging-us-we-are-not-all-terrorists?pageNo=2
MISTAKEN
Finally Mistaken the full movie is here and Nairobi is the lucky city to do the first screening in. 
Don't Miss Out the release of the highly awaited Film "Mistaken" with English subtitles. Screening this EID at Liberty Centre, Pangani. from 5pm to Midnight







Lights, camera, action! How to become a successful filmmaker Kenya

It is quite possible to make good money from film making, and yeah it is possible to make 71 movies in only six months

Award winning Kenyan film makers to get an insight on what opportunities there are in the industry, how to be the best and stay relevant in the industry. GRAPHIC | NATION

Piracy is a huge problem in Kenya. Take the commercial film, Dangerous Affair, produced by Njeri Karago - everyone seemed to have watched it, but Njeri was not able to recoup her money.
Appie Matere is the woman behind some of Kenya’s leading film and TV productions. Appie worked with Judy on Killer Necklace as a producer. She also produced the award-winning feature documentary, Headlines in History, which won the Best Feature documentary at the Kalasha 2010 awards.

Distribution, as the name suggests, is where the film maker ensures that you get to watch their production at a Cinema or at home, on DVD. 

Thanks to the digital migration and demand for local content, there is a lot of room for you to share some powerful stories from Kenya as a film maker. But what exactly does it take to make it in Kenya?
We had a chat with two-award winning Kenyan film makers to get an insight on what opportunities there are in the industry, how to be the best and stay relevant in the industry.
Judy Kibinge is an award-winning film writer, director and founder of DOCUBOX, a documentary film fund that provides promising East African film makers with small grants and training. Her debut in film was in Dangerous Affair in 2002, where she was a script writer and director. She is also the 2009 Kalasha award winner for Best Director for her film,Killer Necklace, which also won the Best Short film category in the same year.

Her short documentary, Coming of Age, won many international accolades, including Best Short Documentary at the African Movie Academy Awards in Nigeria. Judy also directed and co-wrote her third feature film, Something Necessary, a movie based on Kenya’s 2007-2008 post-election violence. Her last feature-length documentary,SCARRED: The Anatomy of a Massacre, about the Wagalla Massacre was released in 2015.

As a screenwriter, Judy is the storyteller, she creates a script narrating a tale of fiction or non-fiction for production for film, TV or documentaries. As a movie director, she visualises the script, guiding the technical crew and actors to fulfill the film script’s vision.

Appie Matere is the woman behind some of Kenya’s leading film and TV productions. Appie worked with Judy on Killer Necklace as a producer. She also produced the award-winning feature documentary, Headlines in History, which won the Best Feature documentary at the Kalasha 2010 awards. She also produced 260 episodes of the Kenyan telenovela “KONA”, that aired across Africa on Africa Magic Entertainment, and made what is probably a world record; she executive-produced, 71, 60-minute movies in six months for the Africa Magic Original Films (AMOF), which aired on Africa Magic Entertainment. Appie and her Zamaradi Productions team are probably the only Kenyan Film producers to own a production set where they can cost effectively shoot their productions on location.

As a Film Producer, she is responsible for a production from inception to completion, marketing and distribution of the finished production ideally. In Kenya, the biggest challenge for filmmakers is distribution.

“Piracy is distribution in Kenya,” Judy observes.

Distribution, as the name suggests, is where the film maker ensures that you get to watch their production at a Cinema or at home, on DVD. 

Q & A:  Appie Matere, Film Producer and co-founder Zamaradi Productions
Appie Matere - executive producer of Zamaradi Productions. PHOTO | MWIKALI LATI
Appie Matere - executive producer of Zamaradi Productions. PHOTO | MWIKALI LATI

How did you make 71 movies for MNET in six months? Is that even possible without breaking the bank?

Huh…Nice question! There was no need to break the bank since the films were commissioned by MNET, who paid for them. It was one of the most challenging but best experiences I have ever had. We had to produce three films concurrently, with a turn–around period of 12 days per film – six days shoot, five days post production, and one day of delivery. Our teams worked under minimum supervision and showed great determination. We are grateful that we worked with some of the best crew and cast our industry has produced. We also learnt a lot from the experience and consequently adopted the model used then as our preferred production model. 

How do you fund your productions? Is there a general funding policy for productions?

We negotiate to have broadcasters help fund the projects to a certain percentage. As for the balance, the production house figures out a funding solution. In Kenya, there is no funding policy for production entities, a factor that is solely responsible for killing most of the producers because it is very difficult to produce without funds. 

Can you make money from film?

Yes you can, but you need to explore other avenues. Film alone means pirated movies through ‘Riverwood’ which only gives you a 5 per cent margin on sales of your pirated movie. Box office in Kenya will not make your money back. When we made Killer Necklace, we got a grant, and as the producer, I was paid a professional fee. However, the broadcaster owns the rights to the film. There is a lot of money from commissioned work from broadcasters; hence TV production is a better avenue to make money. 

What is the general rule of thumb a film producer needs to consider before he kicks off a production?

Make sure you have a support system - not the people on Facebook, or Instagram who like anything you post. People who believe in you and help you in your quest. Production is a tough journey and you need all the support you can get.

Focus: There is pressure to deliver everything now; it is the nature of what we do, but try  to focus on one task at a time. The best way is to maintain a daily list of things to do, and then follow them through.

Learn to do the checks: Double and triple check to make sure everything is set. Check who you hire. I don’t claim to be perfect at this, but who you hire will affect the outcome of your production. Share your vision and mission of the project with the crew so that you have people who have similar vision for the project.

Hire qualified people even if they are more qualified than you: There is value in having someone who sees the project differently from yourself, instead of being a one-man army. For any war to be won, an army needs different tactical teams. Film is about teamwork and getting the best team together gives you the best result. 

How much do you save in long-term production costs when a production company such as Zamaradi Productions builds its own set?
I cannot mention the amounts since different productions will have different budgets, but it saves us up to 30 per cent of the production cost. 

The challenge of film is balancing passion and revenue streams. Is it possible for film producers to do both in Kenya?
It is tough! It is extremely hard for anyone to pay you anything without seeing your work. You learn a lot as you go along, provided you stay open and positive. Someday things easily work out. Sometimes they don’t! 

What’s the best way to start? Documentary, feature length, short film or TV show or series and why?
 If a producer wants to produce films, short films would be the best way to start. One can easily submit the film to various film festivals. Festivals are the gatekeepers to the industry, and this is where you meet the industry decision makers. 

How do you go about promoting and getting more Kenyans to watch your films and series?
This is another tough area because most of our series and films are on pay TV channels Zuku, MNET (Maisha Magic East and Star Times – Swahili and English. We use social media and also push broadcasters to invest in promotional aspects since they also need the audiences. 

How do you manage distribution and licensing rights of your productions?
We have two productions that we share rights with a broadcaster. The rest of the six series are independently owned by us. We have adopted the pre-license module, where the broadcaster who buys the first sale gets to have a long exclusive license period, a year-long license. After the license period is over, we are then able to sell the rights to another broadcaster. This module helps us produce since the initial broadcaster pays a certain percent before delivery, which goes to meeting production cost.

Judy Kibinge, Founder DOCUBOX, Film Writer and Director
Film maker Judy Kibinge, Founder DOCUBOX, Film Writer and Director. PHOTO | COURTESY
Film maker Judy Kibinge, Founder DOCUBOX, Film Writer and Director. PHOTO | COURTESY

Which film schools would you recommend for anyone interested in learning film production?
From what I know, there are great film schools in South Africa. They have a very vibrant industry there. My dream school was New York University (NYU). If you can get a scholarship to go to NYU or (University of California in Los Angeles) UCLA I think it would be a big plus for you. UCLA works with the Hollywood industry a lot. 

Is it essential to go to Film school? Why/Why not?
Tosh Gitonga, (Director of the Kenyan movie, Nairobi Half Life) didn’t go to film school. Different people find different routes into things. I think Steven Spielberg or Quentin Tarantino didn’t also go to film school. I think there are some things that you  take out of formally learning the craft though; I would do a one-year diploma even now if I had the time. I also think there is a beauty of landing into it and learning on set. 

How do you sustain yourself and your production house financially when you don’t make money from box office sales from viewing of your production?
I am not fussy about strictly doing film. I feel that with every film you make, whether it is a corporate documentary or a dramatic picture, there is a lot to learn from it. Choosing a career as a film maker is a precarious way to make a living. You need to be extremely tenacious. Use your skill to earn with other commercial jobs to help sustain you, as well as seek funding through grants to fund your film. 

How much does it cost on average to produce a film?
A project can range from Sh100 million (1 million dollars) to Sh100,000. The costing depends on how many days you are shooting, what kind of equipment you are using, what kind of lenses you are using, how many characters you have, are you composing or buying music, do you have graphics? It is like asking the cost of building a house - you can build a hut with cow dung or build a state house. The cost varies. 

How are you able to protect your intellectual property?
Piracy is a huge problem in Kenya. Take the commercial film, Dangerous Affair, produced by Njeri Karago - everyone seemed to have watched it, but Njeri was not able to recoup her money. If the government is serious about the creative industry taking off, they need to crack down on piracy. 

How do you go about promoting your films and getting more Kenyans to the cinema to see them?
We are in a dilemma because broadcasters are not paying proper rates for production, and there is no cultural government funding available, so it becomes a bit difficult. Since our options of distribution to the public are limited, there aren’t that many people who watch movies in a cinema.


Film Texture

Texture in a film encompasses broader expressions of quality and nature, relating to the weaving of cloth, a web or a narrative; it expresses the feel of something and thus evokes response.   Texture in Film considers texture in film as both an aspect of materiality, and in the sense of an overall fabrication. Texture in Film considers texture in film as both an aspect of materiality, and in the sense of an overall fabrication.  It also stimulates the understanding of a concept that has received little detailed attention in relation to film

Eastleighwood Film & Video Production

Eastleighwood does Film and Video Production among other programs to empower youths willing to be trained on with artistic skills. Video production is the process of creating video by capturing moving images (videography), and creating combinations and reductions of parts of this video in live production and post-production (video editing). The Film & Video Production major emphasizes the integration of theory and practice, of liberal and professional studies, and of film, video, and digital technologies. Individuals have the opportunity to develop hands-on production skills and to achieve technical proficiency and to pursue new employment opportunities in the film and video production industry to produce quality entertainment. This will help trainees with the knowledge required to develop and produce quality entertainment and documentary products and get an opportunity to develop team work skills.

BENEFITS OF FILM MAKING
Eastleighwood trains film and video editing program where we train the trainees and make them understand the use of film making t make them explore more after their trainings, they include;
A film allows you to communicate your message quickly and effectively, whilst holding your viewers' interest. It doesn't infringe on your prospect's time. He or she can watch at their own pace, wherever and whenever they want, including at home. Its ability to give a great deal of information in a short space of time. It can bring your product's features and benefits to life. Market studies show that nearly everyone given a promotional film will watch it in its entirety out of curiosity, if nothing else. Remember, film never has a bad day. It’s an excellent way to sell a product that has any degree of complexity. Film lends itself particularly well to small, highly-technical products, because it can get "inside" the product to show how small parts work. It’s simple and easy to create a film for distribution or for your website and will capture the imagination of your targeted audience. It’s such a powerful medium is because it involves the viewer's emotions. The ability to reach a prospect with images and sound can be incredibly persuasive.

Don’t feel missed out you still have a chance to come to Eastleighwood and be trained on the same.

Eastleighwood Film Production

At Eastleighwood we love films production because it’s a special kind of art. It combines everything including ideas that is wonderful about every people involved in the production, literature, theater, good music, and transforms it into one huge beautiful experience. In a film there are different types and different flavors of it that opens you up to so many different worlds of creativity, where some of us wish not to come back to the real world, and so many different experiences of all many different kinds, that’s why people tend to have different tastes when it comes to watching a film.
We ensure our film production students are organized and pay attention to every detail they are taught, we also emphasize on what is required for you to succeed as a film producer- you have to be ready to work with a team of people and also be oragnised.Peolpe will always prefer watching a film than reading a storybook or novel because with a film it consumes less time and you will be able to see the creativity in that team responsible for production.

We are planning to partner with other local film producer to enlighten and expand our film production program as we take the talented actors and actresses to the highest level, just be one of them.


At Eastleighwood we understand the discrete stages of film making   


At Eastleighwood we understand the discrete stages of film making, because we have the director who is responsible for creative storytelling, creative decisions and acting of the film. We believe a movie tells a series of small important stories, and that’s why we ensure that every composed scene is framed, lit and paced for it to bring meaning to the desired script.
Through planning and cooperation, our team spends endless hours to getting the last crew because its people’s ideas and technology that creates the movies that finally becomes part of our lives. We have all the equipment’s we need in casting, shooting, sound recording, reproduction, editing and screening the finished products.


We create good music for the film that’s relevant to the story in the movie because we know music offers more life to people and also it lifts our spirits. Discover about our talented team by watching the MISTAKEN MOVIE through YouTube, am sure you will love to be one of us.

The Film Industry In Somalia

                 Eastleighwood Film Making Photos

 The cinema of Somalia refers to the film industry in Somalia. The earliest forms of public film display in the country were Italian newsreels of key events during the colonial period. Growing out of the Somali people's rich storytelling tradition, the first few feature-length Somali films and cinematic festivals emerged in the early 1960s, immediately after independence. Following the creation of the Somali Film Agency (SFA) regulatory body in 1975, the local film scene began to expand rapidly. In the 1970s and early 1980s, popular musicals known as riwaayado were the main driving force behind the Somali movie industry. Epic and period films as well as international co-productions followed suit, facilitated by the proliferation of video technology and national television networks. In the 1990s and 2000s, a new wave of more entertainment-oriented movies emerged. Referred to as Somali wood, this upstart, youth-based cinematic movement has energized the Somali film industry and in the process introduced innovative storylines, marketing strategies and production techniques. And thats why in Eastleighwood we train cinematography /video coverage where the learners get to know how they work best on the production side. This will help the learners earn a living in their way of works and also improve on the film culture at large culture and the new generation of more entertainment-oriented movies coming from the Somali film industry will grow more popular among Somalis both within Somalia and in the diaspora.  Welcome all to our organization Eastleighwood and advance yourself on the film making production side.


Idil Ibrahim [Director/Producer/Actress/Writer]

Idil Ibrahim is a director, producer, actress and writer. She is best known for her work on the Vice film Fishing Without Nets. The film, which Idil acted in (and produced the documentary about), won the best directing award in the U.S. Dramatic Category at the 2014 Sundance Film Festival. Additionally, Idil has traveled to Somalia with relief organizations.

Barkha Abdi (Actor & Director)

Barkhad Abdi is a Somali American actor and director. He made his debut in the 2013 film Captain Phillips, for which he received various film award nominations, including Best Actor in a Supporting Role at the Academy Awards, Golden Globes and BAFTA, the latter of which he went on to win
Abdi was born in 1985 in Mogadishu, situated in the southern Banaadir region of Somalia. At the age of 6 or 7, when the civil war broke out, he and his family moved to Yemen to join his teacher father.
In 1999, Abdi and his family relocated to Minneapolis, Minnesota, where there is a large Somali community. He subsequently attended Minnesota State University Moorhead. Before entering the film industry, Abdi sold mobile phones at his brother's shop at a mall in Minneapolis. He also worked as a limousine driver at a relative's chauffeur company, and as a disc jockey.
Career
Abdi made his film debut in 2013, appearing in the film Captain Phillips. He played ship hijacker and pirate leader Abduwali Muse. He was cast following a worldwide search for the lead roles. Abdi and three other actors were subsequently chosen from among more than 700 participants at a 2011 casting call in Minneapolis. According to the search casting director, the four were selected because they were "the chosen ones that anointed group that stuck out.
For his work, Abdi was nominated for the Screen Actors Guild Award for Best Supporting Actor, the Academy Award for Best Supporting Actor, and a Golden Globe Award. He won a BAFTA Award for Best Supporting Actor. Abdi's experience in Captain Phillips was his first in the film industry. He was paid $65,000 USD for his role in the movie. After film production, Abdi returned to work at his brother's store
In 2014, Abdi began production work on the American comedy film Trainwreck, where he is part of an ensemble cast. He also appears in the upcoming international thriller Eye in the Sky, playing Jama Farah.
Besides acting, Abdi has directed a film, Ciyaalka Xaafada, as well as several music videos.In January 2014, he also read scripts for a television show

In 2013, Abdi began to serve as an Ambassador for Adeso, an NGO founded by the Somali environmentalist Fatima Jibrell.

Muna Ali [Community Organizer]

As the founder of Gashanti Unity, an organization dedicated to empowering Somaliwomen, Muna Ali’s work takes on many forms. Whether she’s producing a documentary on colorism or leading self-love workshops, she’s centering young women of color— particularly Somali women— in all that she does.












Ian Somerhalder & Nina Dobrev: ‘Very Touchy’ On Set Of Vampire Diaries


Ian Somerhalder is newly engaged to the love of his life Nikki Reed but you won’t believe what we just found out about his on-set relationship with his ex Nina Dobrev! A source told us EXCLUSIVELY that the two are VERY ‘touchy’ behind the scenes!

PDA ALERT! A source on the set of The Vampire Diaries revealed that Nina Dobrev, 26, and her co-star/ex-boyfriend Ian Somerhalder, 36, got pretty cozy in between takes on the set of the show! We have all the juicy details!

Nina Dobrev & Ian Somerhalder PDA: Former Couple Gets ‘Touchy’ On Set

“Nina and Ian were VERY touchy in between takes,” a source on the Vampire Diaries set shared with HollywoodLife.com EXCLUSIVELY.
Describing what they saw, our source said, “Nina walked in and sat next to Ian on the pew. When she sat down, she immediately leaned her head on his shoulder and just sat there for a few minutes until it was time to roll.”
                                                                                                        hollywoodlife.com

Justin Bieber Confirms ‘Ellen DeGeneres’ Appearance: Talking Selena Gomez?


Justin has been dropping hints that he would be appearing on ‘The Ellen DeGeneres Show’ tomorrow, Jan. 29, and now he’s confirmed it on Twitter! This is so exciting!

It’s official! Justin Bieber, 20, is appearing on The Ellen DeGeneres show tomorrow to wish her a very happy birthday — and to reveal intimate details about his professional and private lives! Does this mean he’ll talk about on-again, off-again love Selena Gomez, 22? Here’s what we know.

Justin Bieber On ‘Ellen DeGeneres Show’ — Singer Confirms Appearance

Justin made our dreams come true when he took to Twitter on Jan. 28 to confirm what we all suspected — that he’s appearing on one of Ellen’s special birthdayepisodes tomorrow! He tweeted:
                                                                                                                                     hollywoodlife.com
Nikki Reed Calls Fiancé Ian Somerhalder the ''Most Thoughtful Human Being on the Planet'' over Engagement
                                        Nikki Reed is breaking her silence on her                                                                                               recent engagement to fiancĂ© Ian Somerhalder!
While hosting the Third Annual Catdance Film Festival event at Sundance in Park City, Utah the other day, the 26-year-old Twilight actress gushed over her 36-year-old Vampire Diaries beau. "He's the best. He's the most thoughtful human being on the planet," Reed told E! News.
Reed played coy when asked about planning her and Somerhalder's wedding but teased that she's "sort of" started thinking about the details.
In addition to getting engaged, Reed and Somerhalder have already started expanding their family by adopting a bevy of animals together. Reed joked that having so many pets is goodtraining for having kids.
"I think animals are great training for that," she laughed, adding, "You certainly learn how to clean up after yourself and pick up a lot of poop."
As for the upcoming Valentine's Day holiday, Reed shared, "I'm always working on Valentine's Day. It's so far away. That's the life of an actor, right? You can never plan a week in advance. You never know what you're gonna be doing. So I don't know, I hope it's a date day and not a work day, but if it is, it is."
So what romantic gift does Reed want from Somerhalder? "Anyone who knows me, my family, my friends, everybody, gifts to me are all about creating and making," she dished. "I like people to feel like they're getting something, that they can hold onto something that's also a memory and not just a thing. That's kind of my approach. I'm less for killing flowers on Valentine's Day and more for getting something hand-painted or written."
                                                                                     Article from E! News 





THE ROLE OF FILM PRODUCTION IN THE SOCIETY
The world of film is very, very competitive. You may have the best movie idea of all time, but if your script isn’t formatted correctly, there’s a high chance it will never even get read.
. I think the film and its innovations sometimes have to catch up to society but sometimes it leads society too. Movies are stories; movies are people who come out with ideas about something they want to say something they want to tell someone.
 Movies are a form of communication and that communication, those stories, comes from societies- not just where society is presently and what it's doing now- but where society has been. It's been that way for as long as movies have been around!

Movies are different things to different people, that's what is so incredible about them. To many, movies are about escapism. Movies are about sitting in a theatre, watching something- watching a story unfold with people you don't know- watching that happen and emoting an emotion knowing that for those two hours or so, when one walks into that theatre, he/she don't have to worry about what is going on outside. They lose themselves in what they are watching. Movies can educate too. They tell us things we never could have known. They tell us things we might not know, and they give us a way to explore the past, the present and the future.

Movies have become popular because the images move... They're not static. Theatre and the images move. As the frames move and tell a story, it is that movement which emotionally connects you. To me, this is fundamental about why movies have become global. Every country has stories to tell, about their past, their culture now, and views of what the future will look like through their eyes. What hadn't happened for many years, and what started to happen relatively recently was a couple of things. Firstly, movie theatres began to be built all over the world. In many parts of the world, the phenomenon of movie theatres is only ten or fifteen years old. These theatres give people a place to go, to escape, to learn.
Before that, society had the stories, but they didn't really have the places to go and enjoy them like that. And all of a sudden, the business part of film allowed people to invest and make movies- and also have somewhere to make their money back, in theatres! Then the internet came along.

The world is changing now faster than you and I change our clothes! It's constantly changing, and that constantly changing world is going to induce more movie-making. If you go on YouTube, you can see the most talented young people all over the world who take a camera and start to film ideas they have and put them online. They're going to be the future of the industry. The internet has connected the world together so a person in Mexico can put a movie on the internet which can be instantly seen all around the world, you simply couldn't have done that before, we also  we learn so much about society from their movies. I believe, personally, that movies allow people to be taken places they can't get to on their own- be it travel, or culture, or learning. Of seeing your writing on the big screen.
                                                                               By: Faith Ombathi






WHY WE SHOULD WATCH MORE MOVIES AND VIDEOS
The benefits of watching movies are immense. Sitting in a theater a larger than life frame. You feel excited, scared, emotional and happy since you are transferred to a world away from reality and you enjoy every moment of it.  You will realize that you had, even for a few hours at least, forgotten about the troubles of day to day life. Its aso true that certain rapists have actually prescribed films to help patients overcome obstacles like depression or a slump in their emotional wellbeing. So what are the ways in which they benefit us?
1. Awareness:
There are movies made on social issues which are very much pertinent to our society. Movies on matters such as dowry, caste system, honour killing and socio economic divide often help create the needed awareness about the issues. They arouse the long gone conscience in people when they see individuals going through such difficult situations even if it is on screen. So yes, movies help and work in 2. Best Hangout for Couples:
.A movie hall is the place where you are not judged for going out together as a couple; or you are not looked at with skepticism.  If it weren’t for movies; we wouldn’t have the theaters which are hangout havens;
 3.Thrilling experience:
There are ample movies to take you through spine-tingling excitement till you actually find time for some actual outdoor escapade. Yes movies offer you an avenue for this too!ay say so; for the yonung people
 4 .Good laugh and bonding:
.Well this is what a good comedy does to you. It is as much a way to lighten the mood as it is a way to bond. When you what comedy films with friends, films, you will laugh together and, for some weird reason, grew closer as friends and companions.
. 5. Inspiration:
One of the prime benefits of watching movies is that it inspires you. Biopic and movies on historical figures often give you a glimpse into the simple truths of life. You get to see through your own eyes the transformation of ordinary men and women into heroes in times of needs and somewhere it motivates you to look at life in a different perspective. Yes, you realize a regular people like you and I too are capable of great things in
6. Time pass:
Imagine you are home all alone with nothing to do. Chatting on phone or Facebook could be an option Simple – watch a movie when alone in the hostel or home. Watching movie is indeed a great pass time.
7. Stress Buster:
Among the foremost benefits of watching movies, one has to be its role as a stress buster. You don’t need a shrink to tell you to go watch your favorite movies or the latest releases. You know it as well as anybody else what a good movie outing with friends or just one in the comforts of your home can prove to be. Whatever the genre, as long as you enjoy it a movie elevates your senses and refreshes your mind.
8. Entertainment:

,Entertainment is the principal reason for the entire world watching movies. Be it comedy, drama, sci-fi or action, movies are a medium of leisure and amusement for every individual ranging from those on streets to the high and mighty residing in the penthouses. Yes, such is the universal appeal of a movie. The greatest of all benefits of watching movies is that it entertains you irrespective of your social status
                                                                                                                         By: Faith Ombathi







Cinema and Theatre
Growing out of the Somali people's rich Storytelling Tradition, the first few Feature-length Somali Films and Cinematic festivals emerged in the early 1960s, immediately after Somali independence. In the 1970s and early 1980s, Popular musicals known as Riwaayado were the main Driving force behind the Somali Movie industry. Somali Plays were performed in the late Twentieth century and are now written in Somali, Arabic, English, and Italian. A well-known modern Somali playwright is Hassan Mumin (Leopard Among the Women, 1974; Contes de Djibouti, 1980).
Epic and period Films as well as international Co-productions followed suit, facilitated by the proliferation of Video technology and National television networks. In the 1990s and 2000s, a new wave of more Entertainment-oriented Movies emerged. Referred to as Eastleighwood, this Upstart, Youth-based Cinematic movement has energized the Somali film Industry and in the process introduced Innovative Storylines, Marketing strategies and Production techniques


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