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He went on to win multiple races before being sent to stud.
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The series moves through the s and s in the next 10 episodes, with the final 10 episodes covering the international era when South African racehorses started racing overseas with great success.
Lithgow originally planned to do a prologue episode for Legends about the history of racehorse breeding in South Africa. We uncovered racing history dating back to when the British colonists arrived in the Cape and started to race their horses. The horse must have been marooned from a Spanish vessel as up until that time there had never been any horses in South Africa. Footage galore Editor Kathy Pienaar has been working on both documentary series off and on for about a year and a half.
We do our best to personify each horse to try and get into the hearts and minds of viewers. Each horse has its own character and unique story. What happened behind the scenes in the pursuit of glory and prize money is fascinating. We found a wealth of material from African Mirror newsreels but they came to an end in the mids and nothing was really archived after that.
My home is stacked to the brim with scrapbooks, photo albums and old racing magazines that people have kindly lent me. The money game Ironically, whereas horse racing is totally money-driven, the biggest challenge Lithgow has faced is trying to find funding for the two projects.
Legends was initially funded by the TBA but requires more money. At the moment series one is nearing completion, with series two and three ready for post-production. In terms of the prologue series, Lithgow has managed to secure a funding commitment from a private investor within the racing industry. He notes that horse racing in South Africa has never been well marketed and is traditionally regarded as an elitist, white sport.
The response from test audiences has been overwhelming — we have found that the stories touches a chord with all viewers, whether they are racing fans or not. She is co-creator, director and producer of the award-winning drama Bay of Plenty and directed and series produced the local version of Who Do You Think You Are?
Blecher currently lives in Johannesburg and has just completed her first feature film, Otelo Burning, which has received great acclaim worldwide and has won numerous awards. I love the break at Scottburgh — also the Bluff, but only when I am super fit.
Actually I was living in Paris. I had, seriously, no money. I was working as a waitress and babysitter and pretty much doing everything I could to feed myself. Anyway, I met this guy and he invited me to a party. So eventually someone came up to me and started talking to me. He introduced himself as a photographer and asked me what I did. Seriously, this was the moment I decided to be a filmmaker. I decided right there and then that I would never again be at a party like this and have to say I was a waitress.
Or even worse a babysitter.
So I went back to New York and enrolled in film school. Not a sexy story but a true one. There young kids line up to watch local films.
I wish we had a culture like that here. The first scene I ever had to shoot was a necklacing and the second was a hut being burnt to the ground — both for an episode of Zero Tolerance.
This was slightly challenging for a director who had never shot any drama before. My favourite film last year was an Israeli film called Footnote. Below the recce base on the Durban Bluff. This is right by the entrance to the harbour so huge ocean liners pass by constantly, as do trains. I think Oliver Hermanus is truly talented. I have been struggling to answer that question for years.
Working in television in South Africa at the moment is totally soul destroying. So this is hard. But nothing compares to having to work for public broadcaster SABC. A romantic comedy called Andani and the Mechanic. So I am working on this. The documentary projects will also have an opportunity to pitch their projects to a panel of international commissioning editors in DOC Circle a structured pitching forum co-ordinated in association with the International Documentary Festival of Amsterdam IDFA.
Durban FilmMart Partners and Supporters CineMart is an annual co-production market which takes place over five days during the International Film Festival Rotterdam and is the first and largest international co-production market in the world. Each year CineMart presents projects from all over the world to an international audience of around professionals to facilitate financing, sales and distribution of these projects.
CineMart plays an important advisory and skills transferral role in the Durban FilmMart and also assists DFM in inviting and facilitating the participation of appropriate fund representatives and potential co-producers. These producers are awarded accreditation, accommodation and transportation to this valuable incubator lab. The Dubai Film Connection is the co-production market of the Dubai International Film Festival that aims to raise the visibility of Arab filmmakers and stimulate the growth of film production originating from the Arab world.
Hot Docs is the largest Documentary festival in North America. Africa in Focus is a range of Durban International Film Festival seminars and panel discussions featuring local and international filmmakers and industry experts with a special focus of African issues and initiatives. Africa in Focus programmes are open to all Durban FilmMart delegates. Established twenty-four years ago, EAVE aims to provide training opportunities and bring producers of different regions together in order to facilitate co-production relationships.
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