AN INTERVIEW WITH WRITER-DIRECTOR GUSTAV KUHN

Winning the Audience Award and one for Best Script at the 2006 Apollo Film Festival, it enjoyed equal success at the 2007 Klein Karoo Festival, playing to full house.  One of South Africa's most prominent producers, Jans Rautenbach said after a screening of the film at the Klein Karoo Festival that it was one of the best local film he has seen.

Ouma se Slim Kind is the first Afrikaans language feature film for cinema release since Paljas. Told by young Afrikaans voices this landmark production aims to invigorate the South African Afrikaans film industry. 
Originally a short film, Ouma Se Slim Kind, was well received at the Toronto, Africa in picture, Chicago, Manchester and several other European film festivals.
Ouma se Slim Kind tells the triumphant story of a young mentally handicapped boy who transforms the fabric of his society, and emerges as a heroic icon.
The story plays off in the 1940's and unfolds against the often harsh, yet strikingly beautiful rural South African landscape.
Ouma se Slim Kind is an honest tale of the foibles of humanity, love, and friendship that audiences across all cultural spectrums, young and old will be able to identify with. This family-viewing story is mainly a drama but contains strong elements of action, comedy and suspense, creating a highly emotional delivery.

SYNOPSIS
Kareltjie, a six-year-old mentally handicapped child finds himself and his pet piglet Poppie orphaned in a tragic accident. Fate delivers him into the hands of a young black boy Fan Jan and a caring old white lady, Ouma. They develop into an unconventional family unit on the family farm, Suurklip.
A government order forces all white children to attend school regardless of their mental or physical disability. Kareltjie who until now has been safely protected by his adopted family and farm surroundings is now thrust into the harsh and unforgiving real world.
The care of a young girl Klaradyn, and his friendship with a Mampoer brewing sage, is not enough to protect him from the cruel bully, Steyn Struwig and his gang of misfits.
Faced with the challenges of life, Karreltjie soon discovers bravery in the face of danger and the true meaning of compassion and family love.

DIRECTOR'S STATEMENT
Ouma is truly a landmark production by young Afrikaans filmmakers who want to be central in the recreation of an Afrikaans feature film industry. The story focuses on the less explored side of relationships in the old South Africa i.e. the relationships that were not affected by the political circumstances.
When writing the script, I was determined to construct a narrative with the story as its strongest aspect. Personally I feel local content often lacks strength in terms of story and tends to focus on the messages embedded in the themes. We definitely have relevant and unique stories to tell, we just need to tell them in an entertaining and non-prescriptive manner.
With Ouma I have tried to tell a story free of political and religious constraints, yet in its simplicity Ouma does touch on certain aspects of those very themes. The difference being that they form part of an ever-developing narrative, and not as overt themes.
Ouma Se Slim Kind is in essence an extremely simple film, but it invites the audience to explore the complexities of the subject matter. The characters, both good and bad, are easy to identify with, are real and lend an extremely human feel to the film.  I feel that the real strength of this film lies in its ability to access human emotion.

ABOUT THE PRODUCTION….
Ouma se slim Kind is the first Afrikaans language feature film to be released theatrically since Paljas.  Originally a short film, Ouma Se Slim Kind, has been well received at a number of international festivals, amongst them Toronto, Chicago and Manchester.
The original idea for Ouma se Slim Kind was born out of circumstances more than design.  "The idea came about in my final year at film school," recalls Gustav Kuhn.  "My objective was to write and produce a ten minute short film of such standard that I would be able to graduate."  He toyed with the concept of an old woman raising a boy, but the original draft of Ouma was for a comedy.   "Somewhere in the writing process, the story took a dramatic turn resulting in the 20-minute dramatic short film, Ouma se Slim Kind," explains Kuhn.
Throughout his three year course, Kuhn has tried to be as diverse as possible in subject matter, style and delivery. Most of his attempts ended in disaster, but he did learn one major lesson and that was to move people emotionally.
While shooting the short film, Kuhn realised how suitable the material was for a feature film.  "It became clear to me that the narrative had potential beyond the short format and more and more possibilities presented themselves during the shoot," says Kuhn.  It took Kuhn a year to develop and adapt the script for the feature format, using the short film as the starting point.  "I had a full time "paying" job to maintain and was forced to work on Ouma over weekends and during my free time," says Kuhn.  One draft followed another until finally, after consultation with an ex-tutor, he draft nine was completed and shoot ready.
Finding a suitable period-style farmhouse was the first major challenge faced by the filmmakers.  "About three quarters of the story plays out in and around a farmhouse - the farmhouse is almost another character - and it was imperative that we found a house that would perfectly suit the demands of the story," says Kuhn.   Furthermore, budgetary constraints dictated that the location of the farmhouse had to offer diverse settings for the other sets that had to be built. 
The problem encountered by the filmmakers was that many of the original 1940's style farmhouses had either been totally remodeled or in other cases abandoned or neglected.  Some 30 farms were looked at before the filmmakers finally found one that met their criteria.  "We were lucky with the farm we found.  The house was ideal and the farm offered perfect environments for the other sets we built, without compromising the illusion that all the locations are unique," comments Kuhn.

ABOUT THE CASTING…
Ouma se Slim Kind brings together some of South Africa's most loved Afrikaans actors, both young and old.  Casting the film was relatively straight forward for Kuhn because he knew from the outset who he wanted for the lead roles.  "I was in the fortunate position to have met and worked with many highly skilled actors," recalls Kuhn.  "This afforded me the opportunity to see them work and identify each individual's unique strength - a bit like watching auditions."  This allowed Kuhn to write with specific actors in mind.
Central to the story is the Ouma of the title and when casting this role Kuhn looked no further than Annalise Bosch.  "Annelise brings a wealth of experience to the role and perfectly captures the essence of a single mother and sole provider," says Kuhn.  "She is a veteran in the industry, has experienced her own hardships in life and brings a wonderful warmth, strength, compassion and understanding to the role.  I think many of the tears she cries as Ouma are her own."
In casting the role of Steyn, the villain of the story, Kuhn looked to Hykie Berg.  "Hykie gave one of the most phenomenal and disturbing auditions I have ever seen," says Kuhn.  "I had seen about fifteen actors for this role and then Hykie came along and blew my mind. I hired him immediately."
While South Africa has a wealth of young talent, Kuhn auditioned dozens of youngsters for the roles of young Kareltjie and young Fan Jan.  In the case of Kareltjie, the actor would have to be able to convincingly play the role of a mentally disabled child.  "I knew that, although I would be able to guide the young actor every step of the way, it was vital that I find a child who had natural talent and the strength to pull off the role," says Kuhn.  He finally settled on Duaan Saayman who convinced the director that, with careful direction and guidance, he would be able to deliver.
Casting young Fan-Jan was far more of a challenge for the filmmaker. After exhausting all the obvious options and not being able to find the right child for the role, Kuhn finally to took his camera and went from school to school conducting auditions. 
"Son proved to be something of a miracle," says Kuhn.  "He had never acted before, had no experience whatsoever and yet managed to nail the part.  I knew that in him we had found that rarest of things - a natural God-given talent.  I believe this is only the beginning of big things to come."
"I could not help but fall in love with Yule Masiteng - as a person and as a caliber actor," recalls Kuhn.  "He radiates warmth, his voice has an intoxicating quality that could touch the even the coldest of hearts.  As the narrator, he has no equal."

ABOUT THE SHOOTING…
In choosing a DOP for Ouma, Gustav Kuhn approached long-time friend and colleague, Marius van Graan. They studied together and have enjoyed a long and productive working relationship ever since.  "As a director/cinematographer team, Marius and I have learnt and grown together in the industry and we have forged our own unique approach," comments Kuhn.  "We have reached a level of understanding where our individual ideas naturally meld together as one vision." 
Since graduating from film school, van Graan has earned his stripes filming wildlife documentaries something that proved invaluable when translating script to screen.  "Marius knows how to work with nature in an unobtrusive manner and this proved vital when capturing the raw beauty of the extensive exterior settings we have in Ouma," says Kuhn.  "He has a wonderful ability to incorporate deferent landscapes which has, in the end, resulted in a visual feast that amplifies the narrative spiritually, emotionally and psychologically."
Most importantly, van Graan had shot the 20-minute short version when he and Kuhn were still at film school and he knew exactly the look that Kuhn wanted for the film.  "The only drawback, was that Marius had little experience of HDcam.  We managed to get round this by bringing on board an HD engineer to advise and assist with all the technicalities," says Kuhn.  "We were really fortunate in that we managed to secure the services of the gaffer, his team and also the sound recordist who worked on Tsotsi."
The final result is an exquisitely shot and beautifully crafted film that celebrates the beauty of the land while transporting viewers back in time and paying homage to a gentler, more caring era.

ABOUT THE FILMMAKERS

DANIE BESTER Producer
Danie Bester is a multi award winning writer, director and producer and is one of the directors of The Film Factory.  He has written, directed, and produced several short films, various music videos, commercials, and feature length films. He has won numerous AFDA, M-Net, VUKA and GMT awards as well as several selections at international film festivals. 
Danie Bester graduated Cum Laude from AFDA in 2002. He was the top Director, Producer and Screenwriter in his class and received an Honours Degree in Motion Picture Medium.
He served as director, writer and co-producer of Blood Hunt, a Nigeria/South Africa feature film collaboration. Bester went on to write, produce and direct Camera Boy, the multi award-winning M-Net Edit short film and Die Gevoelsorgaan, a multi award-winning AFDA short film. He further wrote and directed Skitterwit, a multi ward-winning M-Net New Directions short film.    His other directing and producing credits include numerous commercials and award-winning music videos.

GUSTAV KUHN Director
Director, Gustav Kuhn, is one of the directors of Southern Sky Pictures; he has written and directed five short films, including the short, Ouma Se Slim Kind. He has been nominated for various awards including best director and best screenplay at the AFDA film festival.

ABOUT THE CAST

ANNALISE BOSCH (Ouma)
Annalise Bosch hails from Pretoria and took to the stage at an early age performing in amateur productions with her father, Pieter Bosch.  Acting has always formed an integral part of her day to day existence, even as a little girl.
Annalise was fortunate in that her family encouraged her to live her dream and supported her decision to study drama at the University of Potchefstroom.  She finished my drama degree and in 1974 and started working for the old Performing Arts Council of the Transvaal (PACT).  She briefly went to work for SUKOVS, but returned to Johannesburg where she working as a stage and TV actress.
Annalise has extensive theatre experience both as an actor and director.  She has played lead roles in Windmaker, Breek, Klein Prinsie, Skilpoppe, Vlerkdans, Droom, Sonder Vlerke and Perskepitte in Brakwater.  In recent years, she has turned her hand to directing such plays has Lippetaal, Volstroom and Elke Ander Duim n Dame.
Her television credits include: Villa Rosa, Song vir Katryn, Ietermago, Suburban Bliss, Konings, Die Huisjakker, Adam and Kooperasie Stories.  She made her feature film debut in Kooperasie Stories - Die Film and went on to a small role in the phenomenally successful Agter Elke Man.
Annalise is married to Arnold Hoon and has three children, a girl, Helena and two sons, Johan & Pieter.

RENIER BASSON (Kareltjie)
After matriculating in 2000, Renier Basson enrolled at the AFDA film school to study for a 3 year BA Degree in Drama.  During his time at AFDA, he played lead roles in the short films Stof and Space Tyd, both of them MNet projects.
He was also cast in KykNet drama, Intermago.
After graduating from AFDA in 2003, Renier co-founded Southern Sky Pictures with friend, writer and director, Gustav Kuhn. Most recently, Renier was cast as the lead in Darrell James Roodt's Lullaby.

AUBREY POO (Fan Jan)
Aubrey Poo, a talented actor, singer, and dancer, completed his National Diploma in drama at the Pretoria Technikon in December 2000.  Since leaving the Pretoria Technikon, he has featured in the musical Annie, presented on On Track, a television youth programme; and has performed in a number of Corporate and Industrial theatre programmes. 
In 2002, he won an award for Best Performance by New Actor for his role in the critically acclaimed Play@Risk directed by Megan Wilson.  He then landed the lead role of Gabriel in the musical Far From the Madding Crowd at the Durban Playhouse and later travelled to Spain performing a musical tribute to Motown.
Aubrey wrote corporate theatre material for the unveiling of the FIFA 2010 Emblem presented in Berlin and co-wrote the most successful of the Barnyard Theatre works ever produced: Diamonds and Dust, in which he also performed the lead role.   
Aubrey broke into the TV and Film industry with roles in the youth drama Gaz' Lam, Muvhango, Zero Tolerance, Zone 14, Akin Omotoso's Nomzamo.  Ouma Se Slim Kind marks Aubrey's feature film debut.  He can currently be seen on SABC as the male presenter of the love show All You Need is Love. 
FNB Vita Award - Best performance by a new actor 2001/2002

QUINNE BROWN (Klaradyn)
At 20 Quinne Brown's life changed when she was chosen for the role of Connie v d Lecq in the popular SABC2 soap opera, 7de Laan.  She spent five years on 7de Laan, during which time she continued to hone her acting skills by studying with David Dennis and Annie Basson. She also became a member of the Actors Centre at the Civic Theatre in Johannesburg.
Before embarking on her acting career, Quinne studied Geography and Anthropology at the University of Johannesburg and also spent time traveling.  During a year spent in the UK, Quinne qualified as a groom and trainer with the British Horse Society.  Her love of travel continued and while working at 7de Laan she managed to travel to a new destination every year.
In 2000 she became a volunteer on Project Noah, which was the relocation of 15 elephant from Madikwe Game Reserve across the Angolan border to the Quicama Reserve. FC Hamman Films made a documentary for Discovery Channel and Quinne was used as commentator on the program.
She has featured in a number of music videos for local artists including Klopjag and Vusi Moholo. Another highlight was her stage debut in Hartsondes directed by Henry Mylne for the Klein Karoo National Arts Festival.  In 2005 she returned to the stage in Homebound, written and directed by Diaan Lawrenson.
After leaving 7de Laan, Quinne worked as a presenter and also did work for the popular magazine show "Pasella".
In 2006, Quinne married American entrepreneur, Ryan Huffman and now lives in San Francisco, where she continues to pursue her acting career.

HYKIE BERG (Steyn)
Hykie Berg was born and raised in Pretoria and graduated from the drama department of the University of Stellenbosch. 
He started acting whilst still a teenager and has appeared in various stage productions including S.A. Rock Alternatief directed by Roystan Stoffels, The Lounge by Lanan Priege and King Lear directed by Roy Sargeant. Hykie's first television roles were in the youth series The Res followed by the thriller Plek van die Vleis Vreters.  He also played a lead in South Africa's longest running soap Egoli. Ouma se Slim Kind marks Hykie's feature film debut.

Website: www.ouma.co.za 

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