Daniel Dercksen shares a few thoughts with screenwriter and filmmaker Gustav Kuhn.

How did you come on board as the scriptwriter of Hanna?
At first I only came onboard as the producer. It was only during our  3rd meeting that I presented them with a budget estimation in regard to each book as well as my thoughts on the most marketable considerations to each - that we all knew that "Hanna" definitely stood out by far as the most promising as well as realistic choice to go with. Now I was pressured to come up with a far more indebt outlay to the exact budged requirements, which of course I told them was only able once I could dissect the script in every detail. The long and short… They smiled at each other before giving me a serious look accompanied by a even more serious question: "would I write the script to Hanna Hoekom"? My heart missed a beat or to after which I can only remember answering YES, and THANK YOU! - They gave me 6 weeks

What excited you about the story?
A couple of things.  There was the obvious - being given the chance to work with material written by such a well-known Afrikaans author was a real privilege but in juxtaposition this mere fact also brought a certain air off pressure to what was expected from the script.  Personally I thrive and love any narrative that requires one to set out and find the specifics were in the story is told.  This I absolutely live by! As a firm believer that you don't compromise the foundation of any story, I knew we would have to go to / and build / and live to were this story is set - the location. Budget, practicality, viability, and sanity always take a back seat when it comes to be the story is set and ultimately told. Coming from a film educational background - I will always do my best to serve what the narrative requires and finding ways of making it happen before giving in to things such as budged restraints etc.  I learnt the value of this during the production of "Ouma" and am glad to say that sticking to this route - although much riskier and ultimately much harder work all-round - it always comes up as the best way of having gone about telling a visually authentic story that certainly in my book makes the difference when it comes down to the production quality in itself.  This modern family truly grasps what is happening in a universal society - but especially the fact that these people are part of a modern day Afrikaans culture.

After watching the film, how do you feel about how your words were turned into action?
It always amazes me to sit there and watch the characters deliver their lines - while remembering what I was thinking at the time writing them. What really intrigues me is that when I write I certainly do so from a directorial extend, the craft itself being close to hart. I have no doubt that being able to draw from on my directing experience and how I would in vision a seen in this regard - helps tremendously in when I am actually writing that scene and seeing it in my head as it plays out. With this project it was even more exciting to see the end result - and being able to enjoy and share how Regardt incorporated the text and how his and my collaboration and vision transpired to screen.

Regardt van den Bergh mentioned that your script inspired him. Your views on this?
Coming from him - humbling. Not only was the opportunity to work with him a privilege - but even more so that we exchanged thoughts on a professional level. I would imagine that Regardt refers to the way that, even though the script does coincide with the book - it still ended up having a style and identity off its own - we both felt this way and ultimately I can only be grateful the he shared and believed in the way I adapted the book into a screenplay.

There seems to be a rebirth of Afrikaans films in South Africa. With films like Ouma Se Slim Kind (which you wrote and directed) and now Hanna, Afrikaans cinema seems healthy. You must feel good about this?
I most certainly do in every sense of the word.  "Ouma" was and will always be very dear to me for obvious reasons.  5 Years ago she was the first Afrikaans film to hit cinema in over ten years! - And there is a lot to say about that, as well as how this impacted on the movie as a hole. In hindsight I can honestly say that I am contempt in every regard as to how Ouma turned out cinematically and that there is nothing that I now would have done differently as far as the production is concerned - personally I know that being able to say this got me trough some very tough times indeed - it being my first movie as well as relatively young. Now if you had to ask me about Ouma say in twenty years time from now - I will without a doubt still feel exactly the same - there in to me lies the core just why I will always be proud in what was accomplished as well as extremely humble and forever grateful. I will say this though - Today I wish Ouma could have stood against more Afrikaans movies at the time off release, giving the audience choice - more importantly, this would have made it possible for the audience to compare the film to others - nothing would have made me happier! It is certainly debatable whether Ouma contributed or had anything to do in however 'minuscule' way - in what is currently happening in the Afrikaans industry. I for one would like to think that if anything Ouma at least created a new awareness or maybe even had some hand in setting the wheels in motion which resulted in this flourishing era we are currently experiencing…  I lay awake at night with the promises and new developments we are currently seeing in Afrikaans film - and were all this might lead to, is it possible that ultimately we might be on the verge off finding ourselves amid a industry and audience that resembles those golden years of Afrikaans Film - during which incredible stories was told with unprecedented passion for the craft resulting in international acclaimed movies but even more important - giving a voice and identity to the filmmakers of the day that was responsible for the industry to be taken seriously - and the quality of the scripts and the actors' performances revered on a international level by our counterparts.  It's great to be in however big or small way a part of what's happening now. The Afrikaans music industry really took off in a big way a couple of years ago after the relative dry span since the voël vry revolution that introduced the alternative Afrikaans music and artist's who played a key role in the "Koos Kombius'e en Johannes Kerkorrel's"  - paving the way for F* poliesiekar and most recent artists like Jack Parrow etc. I for one am positive, and even in an industry where it is as important to dream as to be realistic - I guess what I am trying to say is that it looks like the (Afrikaans) film industry   have caught up to its musical counterpart and have no doubt that we are witnessing the start of the flood gates being opened of what's to come.

Teamwork has always been important to you as a filmmaker/writer. With Hanna is clearly shows how the art of collaboration contributes to the art of South African filmmaking. Your views on this?
If you are not a team player you might as well leave it altogether, the same goes for those suffering from a bloated ego. It takes hard work and every little help on offer. This is not Hollywood and I can write a book on certain peoples misconception especially referring to what it takes in succeeding to execute the filming of a full feature on set with 50-60 odd people living and working together 6 days a week, and seeing these people growing into a family and lifetime friendships - that is vital to any healthy and fulfilling shoot. I can only salute these people and their ability to keep things professional during the hardest off times - they are truly remarkable specie. I try to get as much involved as possible on a personal level with each crew member and his or hers needs - as to just taking care of the crew and cast's needs as a group. It is a day to day job to insure there well-being and general upkeep of the production moral - neglecting the people who makes the movie is like neglecting the movie itself - you're heading for trouble.

What makes Hanna uniquely different from your other projects?
Each one has its unique challenges and eventually takes on its own life. That's what's so great about film making - the rules and requirements are usually the same in most regards, but never ever will you be so lucky as to use or implement them in the same manner as on a previous project. In saying "lucky" I really mean "dull" in knowing the ropes is just a small part - navigating your way through them each time really keeps you on your toes as well as excited.

A major theme that reflects in Hanna is redemption. Hanna is the story of the rebirth of a family who have to redeem their flaws and insecurities. Your views?
Spot on. Not only does she find her place in all of it but just as important is that in doing so she realises just exactly how and where everybody else fits in and the role they play in each others life and how a family is put together. In this case it gets better, she learns that the true meaning of family has ultimately nothing to do whether a person is blood related or not.

It is also interesting how the family is stripped from technology and have use their humanity to reconcile differences?
It's exactly the removal and displacement that allows these people into situations and spaces that forces them to deal with their differences. It really comes down to them not having the utilities of modern day living that normally allows them their escapism - from the each other and the world.  Now they are "forced" upon each other, which in turn exploits what exactly irritates one another. Knowing this they each in turn can deal with whatever issues these people have with one another - which without no one would ever end up knowing what really was the underlying problems. Realizing what's broken could then be dealt with - mended and fixed. (Hope it makes sense?)

Hanna is a film about people, about a South African family who rediscover who they essentially are. It is great to not have to witness the usual political agenda in a South African film. Your views.
That it is. On a whole I for one have become mildly congested with above-mentioned themes.  This family, their situation and the themes are simply put: current and relevant.  So far - I think the people who have seen the film would agree that one is left with a "refreshing" experience. Let's hope the film urges more scriptwriters to move towards a similar direction in telling their stories maybe with a more current approach…

What astounds you about this great film (the end result)?
How the process unfolded in an organic entity. As writer I drew the outline to the picture - similar to that of a children's coloring book, after which everybody in his or hers respective discipline was handed a paintbrush and was assigned to color in a designated piece. Watching the film as a completed piece of entertainment from your little spot in a cinema up against a 6/9 canvas gives me goose bumps. To take it in as "one film" says that it works, in realising how each person left their own unique footprint within it - blows my mind! That truly is where the magic happens, movie magic.

Do you think you will ever be able to live without film, or not utilise the opportunity to realise your talent as a filmmaker by making/ writing films?
As Director/Writer I knew that the best chance of working is creating it yourself - as opposed to a DOP or Editor that can literally move from one gig to a next…given that of course you are good at what you do. I honestly don't know what else I would be doing with my life. Film can be very selfish in nature and you have to be willing to be totally consumed by a project - at least in my view, if this doesn't happen to me I instantly know that I am holding back.  It's a incredibly intense relationship but even more incredibly rewarding. Being given the opportunity on Hanna to Produce and write was a great chance to learn new skills as well as polishing off those I picked up on previous.

It must be great living your dream and seeing how your passion ignites a passion in audiences that find inspiration in your films?
It's humbling and even a little intimidating. The greatest reward is probably in sharing my work with my 7 and 3-year-old daughters and seeing/sharing their reaction. I regard the fact that making films have the potential to speak and touch a variety and number of people extremely special and sometimes terrifying, but without a doubt when all is said and done - a privilege.

What makes you tick as a filmmaker/ writer? What motivates you?
I really am not too much bothered in conveying some weird convictions or political views. Generally I don't take the business at hand or myself so series it becomes unhealthy. People who know me - knows that I enjoy laughing, so I will always find a way to make sure that whatever I am doing remain enjoyable and fun to do. I usually draw my inspiration from laughing at the way I see myself as well as how other people see me. Living in Israel for two years after school, swell as dealing with quite a serious motorcycle accident that cost me my right  arm I suppose also comes in handy from time to time and all the weird situations I had found myself in as result, ever since I  treasure the lessons they have learned me - both good and bad.

Any advice for screenwriters who would like to break into the industry?
When starting out a new idea - write it as big and extravagant as your passion and vision allows you to believe, life will cut it to size - if you do there will be nothing left. Secondly, do show and share your work with other people (who actually knows something) - don't fall in love with it, chances are its not that great and you will benefit from sharing as good ideas become great when you do.

What do you do when you are not making films?
I try gardening with little successes. The girls take up most of my off time, weather I am so tired that I only sit back and watch them play or be played with. I also enjoy writing children's poetry, mainly for the simple amusement it brings me and the girls.

Who is the real Gustav, the man behind the filmmaker?
Ummmmmm, best you ask the wife. 

Your future plans and projects?
I am currently writing and producing a 13 part documentary stiles series for Kyknet. It basically deals with were famous people are buried, an idea I came up with just over a year ago. We leave on the first of September for the 3 month marathon shoot during which our small team will be covering over 7thousand kilo's crisscrossing the country. I especially am looking forward to visit some of the most remote locations I have ever been to in my life and probably never even knew about, not to mention the characters along the way. I am sure this journey will leave me with a goldmine of ideas, characters, locations, and a story or two worth sharing.

Any comments you would like to share?
I think the DTI is doing great work for local productions, however there are many role playing initiatives out there that by nature rather it seems are more interested in what's to gain from foreign expenditure by international productions - as the local industry are subdue to comply with the same rates quoted - ie - location fees, equipment rentals and post rates that was set for the overseas market. It is outrageous in bullying the local productions in asking the same rates - it even becomes outright ridicules. Its hard enough making movies, with some form of predetermined subsidized, or reduced fee for local productions could result in paying the talent and crew more, and also see our country in all its beauty featuring not only in foreign material, but where it belongs - local stories.

Copyright © 2010 Daniel Dercksen  All Rights Reserved

READ MORE ABOUT DIE ONGELOOFLIKE AVONTURE VAN HANNA HOEKOM

GUSTAV KUHN TALKS ABOUT OUMA SE SLIM KIND

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