READ INTERVIEW WITH WRITER-DIRECTOR RALPH ZIMAN

Synopsis:
All LUCKY KUNENE ever wanted was a BMW seven series and a house with a sea view. But born into a poor family in Soweto in the dying years of Apartheid, the odds were stacked against him. However, working a menial, dead end job, was never an option for this ambitious, talented and impatient young man.
You see, to Lucky Kunene and many of his generation, battling the police is a badge of honour, and doing time in jail is an everyday reality.
It is not until he falls under the spell of NAZARETH MBOLELO, a Russian trained, ex ANC soldier, with a vendetta against the old regime, that Kunene and his best friend ZAKES, are plucked from the nursery slopes of crime, and roped into armed robbery.
Carjacking, or "affirmative repossession" as it is euphemistically called, gives him a glimpse at a brighter world. A Datsun pick up truck gets him a suit. A Toyota lands him a new fridge. A Mazda equals a new wardrobe. A Mercedes scores him a new hi-fi, a VCR and a new sofa. From there it's a roller coaster ride into cash-in-transit heists and bank robberies.
Then, after a daring heist goes wrong, Nazareth is arrested and most of his gang are shot dead by the police. Kunene and Zakes narrowly escape and decide to make a clean break of it. They leave Soweto for Hillbrow, inner city Johannesburg.
Five years later. all Kunene and Zakes have to show for their endeavours is a failing taxi business. What started out as an honest days' work has turned into a treacherous death trap involving shootouts with rival taxi gangs, and finally the carjacking of their own taxi.  So much for Egoli - the place of gold.
Kunene lives in a once grand, but run down tenement, strewn with prostitutes, junkies and illegal immigrants. The landlords collect rent, while working people live twenty to an apartment.  
Kunene has an idea. He sets up the Hillbrow People's Housing Trust, and promises the tenants a better deal in return for their rent. Once in possession of the money, Kunene ruthlessly negotiates with the landlords, and effectively takes the properties from right under their noses.  Then he expands his operation. Kunene has come of age - a gangster, a crime boss and the most daring entrepreneur in Johannesburg.
When all else fails, force is used to secure and hold his empire. But this does not escape the notice of DETECTIVE BLAKKIE SWART, a tough, streetwise cop.  Swart makes it a personal vendetta to bring Kunene down.  Having worked for the previous government, Swart has grown tired of the greed, corruption, and deception. He channels all his aggression into getting one man. Lucky Kunene, aka "The Hoodlum of Hillbrow".
But this is only half Kunene's problems. Enter Nigerian Drug Lord TONY NGU. A fierce figure who controls Hillbrow's lucrative crack and heroin trade. You see, in order to clean up his buildings, Kunene has stepped on too many toes.
With Nazareth out of jail and hooked on crack, Tony Ngu on the warpath, and Detective Swart a heartbeat behind him, Kunene will have to use all his skills, brains and street smarts, to survive this New Paradise. JERUSALEMA takes an unwavering and blisteringly stylized look into the crime, corruption, and transgressions of the new South Africa. This is what is happening on the streets today.
Welcome to the new Jerusalem. Enter with caution.

DIRECTOR'S NOTE
The first time I heard someone had tried to steal a high-rise building in central Johannesburg in broad daylight I was dumbstruck, "How do you steal a building?." And not just that, one smooth operator had stolen literally dozens of them. I suppose I shouldn't have been surprised. In the crime capital of the world, a city with record numbers of murders, muggings, rapes and car jackings, to name just a few of its' dubious honours, it was only a matter of time before someone figured out how to steal an entire building!
How had Johannesburg gone from so much hope and potential in 1994 to this abject horror a decade later?  Was the saying true?  'After every revolution comes a new order, but before that comes opportunity'?
I'd been looking to do a crime story based in the city of my birth for some time and now had my way in.
Researching the film took a year alone and help, amongst others, from the South African Police Services and co-operation of several (un-named) individuals involved in this incredible scam.
I wanted the film, JERUSALEMA, to take a harsh but realistic look at Johannesburg, the city, the people, the place but also to reflect the hopes and aspirations of its' citizens. In effect, Johannesburg was to become a character within the film itself.
JERUSALEMA explores the will of the entrepreneurial spirit to assert itself in the face of degradation and decay. It looks at how law and order are viewed in a country that's deeply suspicious of the police.  A legacy not easily shorn after so much pain. Chronicling the rise to power of a self made millionaire from the slums of Soweto, the film shows how crime has come to pay in the new South Africa. Freedom is slavery, change is opportunity and property is theft. Welcome to the Promised Land...

RALPH ZIMAN - FEBRUARY 2008

RALPH ZIMAN [WRITER/DIRECTOR/PRODUCER]
Ralph Ziman was born in Johannesburg, South Africa in 1963.
After completing school Ralph worked as a news and documentary cameraman for the South African Broadcasting Corporation. His work included television coverage of unfolding news events, shot on both film and video.
In the early 1980's Ralph moved to the United Kingdom, securing a job as a film editor. He was soon drawn into the exiting, innovative and burgeoning world of music video, rapidly establishing himself as a top director.
Ralph has directed over 400 videos for artists as diverse as Ozzy Osbourne, Elton John, Faith No More, Vanessa Williams, Toni Braxton, Rod Stewart, Michael Jackson, Shania Twain, Rick James, Iron Maiden, Maxi Priest, BAD, Fine Young Cannibals, Donna Summer, Living Color, The Commodores, Alice Cooper, Mango Groove and Chicago to name a few. He has won wide acclaim for his visual flair and originality of vision, including numerous MTV awards.
Ralph's first feature film is "Hearts and Minds." It is a critically acclaimed and award winning thriller dealing with the end of apartheid. Shot during South Africa's period of transition, it draws on the real events of that time.  It was called "Remarkable…" by Variety.  Ralph wrote, directed and produced the film. "Hearts and Minds" was the first independent South African feature film to be completed after the fall of apartheid and it was premiered at the Berlin and Montreal International Film Festivals.
Ralph's second film is "The Zookeeper". Set in contemporary Eastern Europe it tells the story of a lonely Zookeeper who stays behind to look after his animals, as his city descends into a brutal civil war and a cold winter draws in. Written and directed by Ralph Ziman the film stars Sam Neill (Jurassic Park, The Piano), Gina McKee (Wonderland, Croupier, Notting Hill), Om Puri (City Of Joy, My Son The Fanatic) and Ulrich Thomsen (Celebration). The film premiered at the Toronto International Film Festival. It won best film at Taos Talking Pictures Festival, best film and best actor at the Fort Lauderdale International Film festival and best picture at the Pensacola Bay International Film Festival.  The film was released theatrically in Europe, Australia, New Zealand, Russia and India. 
Ralph is currently working as a writer, both on his own projects and for hire. He lives in Los Angeles with his wife and three children.

TENDEKA MATATU [PRODUCER]
TENDEKA MATATU - started his film career as an assistant director, working on numerous feature films and TV series' in Zimbabwe and London. He then spent a number of years production managing commercials and music videos for Tony Kaye's London company, K Films. In his spare time he produced his first short film "That Sinking Feeling".
Since then Tendeka produced several feature films, in South Africa, including, the multi award winning "Max & Mona" by Teddy Mattera, the box office hit, "Straight Outta Benoni", "Footskating 101" and most recently the gangster epic "Jerusalema", directed by Ralph Ziman, which premiered at the 2008 Berlin Film Festival. Tendeka was also involved in Richard E Grant's directorial debut "Wah Wah"
Tendeka now lives between Edinburgh and Johannesburg, he is currently developing several feature films, through his company Ten10 Films, including ONE LAST LOOK with Philip Roberts, an adaptation of Lewis Nkosi's THE MATING BIRDS and BLACK SOUTH EASTER with Carey McKenzi.

The New Paradise?
By Karen van Schalkwyk

Jerusalem is a new South African film currently in production in Hillbrow, one of SA most infamous and dangerous areas. Travelling through the slum, one is reminded of a place on the brink of an apocalypse. People refer to Hillbrow as little Lagos. Ironically, Jerusalem Entjha (the original title) in Sotho, means the new paradise. Producer Tendeka Matatu of Muti Films says many people from all over the continent travel to Hillbrow as they see the possibility of a better life: is it not strange that in such a world there can still be hope? But a feeling of deprivation invades the senses, as in this world the best that most people can hope for, is to make a quick buck selling crack, their bodies or cheap orange chips. They may also be intimidated by people like the protagonist of Jerusalem Entjha, Lucky Kunene, a self-made millionaire through the illicit world of crime. Whatever this place represents, it is a perfect dramatic backdrop for a contemporary SA feature film.

The script for Jerusalem was written by Ralph Ziman, a South African now living in Los Angeles. Ziman, whose credits as director/writer include Hearts and Minds and The Zookeeper, also directs Jerusalem Entjha, and explains how the story came about.
"I had been looking to do a contemporary SA film for a number of years. I heard a story about a guy who had arrived with his posse on a Friday afternoon in an abandoned building in Johannesburg/Hilbrow. Only the ground floor was occupied by shops - he basically held up the tenants and announced that he was now the new owner.
"He had literally hijacked the building and within a matter of hours 3 000 people moved in. It was reported that he continued his hijacking spree and was making up to R15-25m a month. It was this story that inspired me to tell the tale of my protagonist, Lucky Kunene, who becomes one of the most feared and prominent gangsters in Hillbrow. The film is an epic gangster action film."
Ziman adds that for him it was also important to do a crime action film, "that portrayed the distinctive nature of crime in SA, the level and the frequency of it."
To make this SA crime issue real and not just fiction, Matatu explains that since they began shooting the film, they have been held up, one crew member has been assaulted, "and the police refused to protect us during our night shoots. They are simply too afraid to come into this area after dark. We also have gangsters working on the film as they know the street laws."
Ziman says that while the film deals with current issues, "our aim is to create an entertaining story that does not simplify the issues but engages and reflects the complex nature of the characters. Lucky is a criminal but he is also charismatic. It tells the story of his aspirations, failures and desire for a better life, human nature really. My vision is to create a cinematic experience and to explore themes of humanity, morality, crime and possession."
As most directors maintain, the key to any film is authenticity, and Ziman is no exception. "To make a story believable you have to be authentic. One way we achieve this is not to change the locations too much. For instance, if we shoot in a brothel we actually use the beds and artefacts that are there. We also did not want to create sets that reflect Hillbrow. Our actors and crew are all South African and this is crucial to the overall feel and mood of the film."
Ziman explain that casting the right actors was extremely important. "The lead, Rapulana Sepheimo, was my natural choice as he has an innate charm that is also found in Lucky. He is a great actor, as are the others. I have been extremely blessed to have such a great cast and crew."
Matatu, whose credits include producer on Max and Mona and associate producer on Wah Wah, says that the budget for the film "is roughly US$2m. All the investors are offshore, with most of the finance coming from the US.
"I met Ralph in June last year. We discussed the film and by January 2006 it was green lit and we were ready to go. We will do our off-line post in SA but processing and telecine in Italy, which it is up to 70% cheaper than doing it here and we have exchanged our territory rights for services rendered. Megan Gill (Tsotsi) is our editor and we are extremely thrilled that she will be editing the film."
Matatu explains that they have another well-known South African working on the film. "Our composer is Alan Ari Lazar, who also lives in LA, and who is perfect for the job and will do brilliant work on the music which is a combination of Kwaito, Gospel and orchestra."                     
The philosophy behind the film, Matatu says, "is to spend everything on the screen. We are aiming for exceptional production value and believe that we have achieved this so far. The film is shot on Super 16mm and Super 35mm."
Ziman adds that because the film production value is so high, "we often shoot with up to seven cameras on the action sequences. The action is crucial to the film and we have had helicopter shots, falls out of building, car chases, you name it. For me it was also crucial to get as much coverage as possible and therefore the use of seven cameras capturing different angles."
Cinematographer, Nicolas Hofmeyer adds: "We decided to shoot Super 16mm and Super 35mm because for the wide shots we could get more detail if we shot in 35mm and for the dialogue shots on 16mm. The camera work and lighting is mainly dictated to by the location and setting. We wanted to retain the realness of the location and therefore use lots of natural light and mainly top lighting The reduction of complicated set-ups also adds to the pace and energy of the film.
"We were also inspired by the photographs of Guy Tillum, who spent months photographing people in Hillbrow."
Hofmeyer elaborates further: "We also often shoot with two cameras on the same axis on different lenses, this also gives us options in the edit. We are shooting on three Aatons, two 16mm cameras and one 35mm camera. The film is visceral and comes from the gut."
Ziman adds that because Hofmeyer comes from a documentary background, "this adds a documentary sensibility to the film. Nick was my first choice as DOP and I have to say he has done a fantastic job."
Ziman says that he believes the film will do well with local and international audiences. "It is a great story with explosive action told in an entertaining way. Without wanting to sound arrogant, but I would pay money to see this film. After all, if you don't believe in your own product, there is no point." 
Matatu concludes: "This is Muti Films' first film production and it has been a wonderful experience. All people involved have been 100% committed to making this a great film and we believe it will achieve what we set out to do, namely to make a great film that audiences want to see."   
Copyright © 2008 Karen van Schalkwyk  Used with permission of the author


PROUDLY SOUTH AFRICAN FILMMAKING

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