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ON THIS PAGE SOUTH AFRICAN FILM EXPOSES TRUTH ABOUT ONE OF WORLD'S MOST ALARMING SECRETS! READ MORE ABOUT WRITER & PRODUCER ELLE MATTHEWS, DIRECTOR PETER MATTHEWS, AND ERAN TAHOR, DIRECTOR OF PHOTOGRAPHY; AS WELL AS A QUESTION & ANSWER SESSION WITH THE PRODUCERS
READ AN INTERVIEW WITH DIRECTOR PETER MATTHEWS
SOUTH AFRICAN FILM EXPOSES TRUTH ABOUT ONE OF WORLD'S MOST ALARMING SECRETS!
The aim of the film, according to Producer Elle Matthews, is to uncover one of the world's most heartbreaking and afflictive secrets - the effects of schizophrenia on those who suffer from it, and on those who love and live with them. "We need to expose the fact that over 51 million people in the world suffer from the disorder - that's 10 million more than the estimated 41 million people who are infected with HIV/Aids," Elle said. "Over half those who suffer from schizophrenia will attempt suicide at least once. Between 10 and 13 percent will succeed. These statistics definitely require greater awareness of this disorder."
According to the UN World Health Organization a total of 39.5 million people were living with HIV in 2006, and according to a popular Schizophrenia website - schizphrenia.com - schizophrenia is twice as prevalent as Alzheimers, five times more prevalent than multiple sclerosis, and 60 times more prevalent than muscular dystrophy - all disorders that have greater awareness than Schizophrenia itself!
Oil on Water is an emotionally and visually evocative film about a young creative couple, Max and Anna, whose idyllic lives spent doing what they love, following their purpose and being with the person they love, begin to spiral out of control when Max starts experiencing strange symptoms that he cannot share with Anna. Bound to Max by love and art, Anna is at first confused, and then becomes increasingly desperate as she has to confront her fears of loss and abandonment, the result of her childhood experiences and actual happenings in her relationship with Max. When these 'symptoms' - the origins of which could be paranormal, psychological, or possibly even Anna's fictional writing - begin to manifest in Max's art, Anna moves to utter hopelessness in the face of incomprehensible change. The alteration in Max is mirrored in Anna through her writing, which is narrated by her, and which evolves over the five-month period in which this transformation of both of them takes place. The film is an insightful portrayal into what it is like to live with an undiagnosed psychological disorder - both for Max, who experiences it, and for Anna, whose life is changed by it forever.
Written by Elle Matthews, Oil on Water is a rich film-making tapestry, complexly layered and textured with exquisite cinematography, strong emotional performances and psychological drama. It depicts the raw humanity of two people trying to hold on to a life that is falling apart, and digs into the complex issues of life and love, art and reality, at the same time as it explores the subtle balance that exists in every human being between light and dark, and between love and the unknown.
A young dynamic cast, featuring Bianca Lishansky (who starred in Spring Break) and St.John Alexander (who featured in Zoop) bring realism, empathy and poignancy to the roles of Anna and Max, the young couple around which the film is centred. The raw, epic beauty of some of the most stunning locations in KwaZulu Natal, South Africa, both complement and enhance the visual artistry of the film, creating art out of nature and an artwork out of every scene.
Oil on Water is directed by South African acclaimed Director, Peter Matthews, who is preparing to direct another South African film, Place of Purgatory, which will go into production in 2008.
WRITER & PRODUCER ELLE MATTHEWS
Elle Matthews was born in South Africa and grew up in Pretoria. She has a background in Psychology, Drama, Journalism and Advertising. Elle has written two novels, a series of children's books, a number of short stories and screenplays for cinema. She also owns Thyme Publishing, a publishing company.
When Elle started Tidal Wave Productions in 1999, it was with the intention of developing the film industry in KwaZulu Natal to become a sustainable sector of the economy in this province. She has grown the company to become the biggest producer of commercials in 2005 in KwaZulu Natal. Elle has been the Executive Producer on a number of Vuka commercials, including the Vuka award winning Alzheimer's commercial, Don't Forget, which was a Cannes Finalist in 2004, and the 2005 commercial aimed regulating children's exposure to computer game violence
When deciding to write Oil on Water, Elle wanted to make a film that mattered to the world in some way. "If I can change one person's life through my writing, or a film that I produce, then it will have been worth it," she says. She began writing a story that would showcase both the directing and artistic talents of Peter Matthews, "Pete is renowned for making beautiful pictures, and the script for our first feature film needed to tap into that. Nearly every frame in the film is an artwork."
According to Elle, the story of Oil on Water is a story of loss and discovery. "It's about life, where in losing something - in changing - you gain something else. More awareness," Elle says. "It was challenging to script it in such a way that you get this balance between these two co-existing forces that exist in everything - the oil and the water."
Her background in psychology helps in defining her characters, and in developing their 'back stories." It also helped her in understanding the symptoms of schizophrenia that the lead male character 'Max' suffers from. "Schizophrenia is totally misunderstood," Elle explains. "People often confuse it with multiple personality disorder. But with schizophrenia you hear voices, you suffer from incredible paranoia, you stop eating and sleeping, you cannot show affection. Basically, you lose your life because of it. And it doesn't only affect the person suffering with it, but everyone around them." Elle added, "The sad thing is, schizophrenia is treatable and yet we see people in the street all the time talking to their 'voices' and looking in dustbins for something to eat. They cannot hold down a job, and their families cannot cope with them, so they are abandoned. It's tragic and it needs to change."
In terms of what's on the cards for the future, Elle is currently producing an international television series and is in the development stages of another feature film, Place of Purgatory.
DIRECTOR PETER MATTHEWS
Oil on Water marks Peter Matthews' feature film directorial debut, after nearly eight years as an award-winning commercials director. Over the past few years, Peter has developed a reputation as a talented South African director and artist. At the age of 14, Peter believed that his only real talent was art and that he had to use it in his life. He went into commercial art, studying Graphic Design at the Durban Technikon in South Africa, and then worked as a Graphic Designer in advertising agencies, eventually becoming Creative Director in his own advertising agency, Matthews & Charter, Ogilvy & Mather. At that time, Mathews and Charter O&M emerged as the biggest advertising agency in KZN and was also hailed by the Financial Mail as being one of the top three most creative agencies in whole of South Africa. After spending 25 years in advertising, Peter sold his shares to Ogilvy to embark and focus more on his art and directing. He also produced a series of artworks for his first art exhibition in Durban. In 2000 Peter became a successful commercials director, creating art through the moving image. He was both a Vuka Award winner and Cannes finalist for his commercials directing.
In both film and art, Peter creates original and compelling works and is inspired by the beauty of the human form, human emotion and the human spirit. He is equally intrigued by the polar opposite - the distortion of the human body, and the absence of human emotion and spirit. In 2005 he was commissioned to produce the illustrations for a South African Children's Book series, entitled Animal Adventures in Africa, which will be converted into an animated television series.
In 2006 he undertook to direct Oil on Water, his first feature film, which he describes as "emotional and even tragic, but with arresting beauty in its sadness." When commenting on the script, Peter said, "When emotion is real it's beautiful, whether it's laughter or grief. Apart from the magnificent locations, the fact that Max is an artist and Anna a writer - each of which has it's own beauty - Oil on Water is a beautiful film."
To Peter, directing this film was soul rewarding and something meaningful to humanity. "Oil on Water is a serious film about a serious subject. And, while I realise that people watch movies essentially for entertainment, Oil on Water is an intriguing psychological drama, with suspense, deep emotion and some great special effects - but it's also meaningful," Peter said. "The subject matter is universal and the cinematography is outstanding. Oil on Water will stay with you long after you have seen it".
In addition to directing the film, Peter did all the paintings in Oil on Water. According to him, the hard part was that he couldn't start painting 'Anna' until the lead actress had been cast, and that process took five months. So there was a great deal of pressure to have the paintings done before the shoot. Added to this was the preparation he had to do as the director, leading to the last few weeks before filming commenced.
While some of his work in the film involves the creation of special effects and Computer Graphics, Peter is adamant that these should always be relevant and enhance the message, and never become a substitute for a weak concept in a film.
According to Peter, "We want to make movies that matter. I love pure entertainment, but life is short and I would like to make some contribution to the world with my talent." He added, "We want people to watch the films we make and be moved, to see their world differently and without judgment."
Peter is currently working on Place of Purgatory.
Eran Tahor - DIRECTOR OF PHOTOGRAPHY
Eran graduated in Philosophy and Film studies at the University of the Witwatersrand, shortly after he worked through the ranks of 2nd and 1st AC and began shooting music videos and short films. In 2001 he won best cinematography for the short film Holy Water - at M-Net new directions.
In the following years Eran filmed numerous documentaries and short films in South Africa and abroad. Most notable are A Walk Down Independence Road (Namibia 90min) for Dirtector Kelly Kowalsky (U.S.), Don't Fuck With Me, I Have 52 Brothers and Sisters (SA 90min) for director Dumisani Pakhati (S.A.), White Lies (short film) for director Benedicte Roumega. Eran also worked with Philip Noyce, Tim Robbins, Derreck Luke and Bonnie Henna on the political thriller Catch a Fire.
The Israeli born Cinematographer collaborated in 2005-2006 with some of the most prominent South African directors, filming SMS Sugarman (feature) with director Aryan Kaganof entirely on a cellphone (produced by DV8) and The Ruin (feature) - with director Darryl Roodt.
Eran also filmed A Place Called Home, a 13 part television series produced by T.O.M Pictures and a 90-minute docu-drama entitled Bhambatha (commemorating the centenary year of the Bhambatha rebellion), with director Rehad Desai and Uhuru Productions.
Eran, who grew up in Johannesburg has done many musical videos for artists including the late Afro Pop queen, Brenda 'Mabrrr' Fassie and Kwaito group Trompies.
As a cinematographer, he is comfortable doing documentaries, films, commercials and music videos. "My strengths are insight, sensitivity, being intuitive and extremely creative. I also see dead people," he says.
Eran is a guest lecturer on cinematography at Monash University South Africa and was invited by Film Factory to lead a master class in digital cinematography at the 2007 Rotterdam Film Festival.
He believes Oil on Water is unique and outstanding because of stunning cinematography, a good story, and great direction. "It looks great, incredibly attractive and it was meticulously executed," Eran says. He claims that despite the limited budget and time, in terms of the production quality, the crew achieved what they wanted to and highlights the lighting as one of the special qualities that make Oil on Water a beautiful film.
Eran strongly believes in teamwork and says that a good product is a result of a good script and a combination of many elements. He lives in Melville, Johannesburg and surfs in Big Bay.
A QUESTION & ANSWER SESSION WITH THE PRODUCERS
How would you summarise what Oil on Water is about?
Oil on Water is a deeply affecting, beautiful film about loss and personal change. It traces five months in the life of an artist, Max and his girlfriend, Anna as he begins experiencing strange symptoms and how the idyllic life that they have led up to that point begins to disintegrate, tearing them apart. Through Anna's writing, and through Max's artwork, Oil on Water captures the psychological and emotional 'coming apart' of Max as a person, and as an artist, as he begins to experience these torturous symptoms without any understanding of what they are or what they mean. It is an extraordinary story of personal transformation, a journey into an artist's mind and into the heart of the woman who loves him. The film examines issues of life and art, love and loss, human frailty and spirituality, and depicts the light and darkness that is inherent in us all. It shows what it means to really see another person for who they are - up to its final climactic moments.
How would you define the target audience?
The film has a universal appeal, because of the diversity of themes that it addresses.
Why the name Oil on Water?
The name refers to two substances that don't mix - and the film is about the dichotomy of light and shadow inherent in human beings. But it also has reference to the art medium of oil paint, which is significant, and to the depths that lie beneath the surface of water, which is also relevant to the film, which digs deep into complex issues.
Is Oil on Water aimed at the local or international market?
The film is aimed at both a local and international market distribution - schizophrenia is global. It has no country or boundary. Also, the visual aspects and final production are of such a high standard that they enable the film to compete on a worldwide level. The response we have had from a number of significant local and international industry players has set the film on a par with notable, internationally produced films, which is exactly what we set out to achieve - to produce a quality film with appeal to a global market.
What has been the response to Oil on Water internationally?
The film hasn't been released internationally yet, but just as a few examples of some feedback from industry players: Travis Stevens of Imagination Worldwide, USA commented that he "was quite taken by what a profoundly evocative sense of beauty and sadness the film has," and that "Oil on Water certainly looks quite remarkable." Stacy Parks, an agent and distributor in the USA said, "It's absolutely beautifully shot and a high quality piece of work."
Why have you chosen to highlight schizophrenia as opposed to another disorder?
Schizophrenia is one of the world's most alarming secrets. Over 51 million people in the world suffer from the disorder - that's 10 million more than the 41 million people who are infected with HIV/Aids. Over half those who suffer from schizophrenia will attempt suicide at least once. Between 10 and 13 percent will succeed. These statistics definitely require greater awareness of this disorder.
How does Oil on Water address this?
One focus of Oil on Water is on the emotional and psychological "coming apart" of a person who suffers from schizophrenia, as well as the suffering of the people who live with - and love - him. About one in five people suffer from a diagnosable mental disorder during any given year, which means few families are untouched by a mental disorder. The success of films such as Shine and A Beautiful Mind indicates the need for more awareness of this type of illness. Oil on Water intends to fulfill this need.
What is the background of Tidal Wave Productions, the production company on this film?
Tidal Wave Productions was established a production company in 1999 and has been involved in the production of numerous award winning commercials, documentaries and music videos in South Africa, for the past eight years. Previous clients include Barclays Bank, Unilever, Yamaha and Belgotex Carpets. Oil on Water is their first feature film. Tidal Wave is currently involved in the production of an upcoming television series, as well as another feature film entitled Place of Purgatory.
The key people involved with the production of Oil on Water included Peter Matthews (director), Elle Matthews (producer and writer) and Eran Tahor (director of photography).
How long did the production take, from beginning to end?
From script to finish, Oil on Water has taken two years to complete.
Do you see the growth potential of the film industry in South Africa?
The success of the film Tsotsi has created the awareness of the potential of the local talent and the opportunity that exists for South African filmmakers. Since 1986 the film industry in South Africa has produced 78 feature films, including Tsotsi, Drum, Hotel Rwanda, Red Dust and Yesterday. In 2005/6 the South African industry produced 17 feature films with a combined cinema box office earnings of around R50 million from South Africa alone.
Not only does South Africa itself present some sought after locations, but local artists and directors have found themselves quite capable of competing at an international level. More and more, South African filmmakers are now looking at breaking into this huge international market, but do not always have the resources to complete productions by themselves. Local funding is needed and is not always available, and opportunities are being lost.
Where can we get more information on the film?
Visit www.oilonwater-movie.com
PROUDLY SOUTH AFRICAN FILMMAKING
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