Abbas Kiarostami’s “ABC Africa” will be screened in the Africa, Beauty and Pain Section of the Cinéma Vérité Festival, which is being held in Tehran from October 15 to 19.
Kiarostami and his assistant, Seifollah Samadian, travel to Kampala, Uganda. For ten days, their camera captures and caresses the faces of a thousand children -- all orphans -- whose parents have died of AIDS.
Olivier Malvoisin’s “Congo Moms”, Khalo Matabane’s “Story of a Beautiful Country”, Michael Skolnik’s “Without the King”, and Bernard Bellefroid’s “Rwanda, the Hills Speak” will also be screened in the Africa Section of the gala.
The members of the jury for the International Section are Iranian veteran director Rakhshan Bani-Etemad and the programming directors of several international festivals, Sean Farnel (Canada’s Hot Docs international documentary festival), Rada Sesic (Sarajevo Film Festival), and Kees Brienen (International Film Festival Rotterdam).
The films will be screened at the Felestin and Qiam cinemas. Focusing on international documentary films, the Cinéma Vérité Festival will also feature Rumi, Eastern Identity, and Special Screening sections
Monday, October 8, 2007
Oil on Water wins best best Feature Film at Everglades International Film Festival
South African feature film, Oil on Water, was awarded Best Feature Film at the Everglades International Film Festival on Saturday, 29th September 2007.
Oil on Water was the only South African feature film nominated in this category and took gold ahead of five other international films from the UK, Canada and Ireland, including award winning director Ivan Kavanagh's Tin Can Man which recently won two International Awards at this year’s Sydney Underground Film Festival.
A new feature film Oil on Water, produced exclusively out of KwaZulu Natal, South Africa and due for release in cinemas in October 2007, won Best Feature Film at the Everglades International Film Festival on Saturday, 29th September 2007. The Festival showcased the talent of films from the likes of four-time Emmy Award winner, Mike Reiss, award-winning filmmaker, Gary Null, and multi-award winning Director and Cannes winner, Michael Attardi. Oil on Water is directed by South African acclaimed Director, Peter Matthews, who accepted the award for the film.
Hailed by filmgoers as one of the best films to come out of this country in recent years, Oil on Water was the only South African film nominated and it took the Gold Award from the United Kingdom, Canadian and Irish films nominated in the Best Feature Film category, including award winning director Ivan Kavanagh's new feature Tin Can Man which recently won two International Awards at this year’s Sydney Underground Film Festival.
The film is an insightful portrayal into what it is like to live with an undiagnosed psychological disorder and touches on emotional, psychological and spiritual issues that affect every human being at some time in their lives. Oil on Water has been described as a filmmaking tapestry, layered and textured with exquisite cinematography and psychological drama. The film depicts some of the most stunning locations in KwaZulu Natal. Because of the universality of the issues it addresses and the quality of the production, it has also been praised by international industry players, ahead of its distribution overseas.
Everglades International Film Festival is the sister festival to the Swansea Bay Film Festival and both festivals honor the individual voice. Oil on Water aims 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. According to writer and producer Elle Matthews, “Over 51 million people in the world suffer from the disorder, which is ten million more than the estimated 41 million people who are infected with HIV/Aids. Schizophrenia does not differentiate between race, culture and social class. It affects one in 100 people worldwide and is the leading cause of suicide in the world. Those statistics demand greater awareness for this mental disorder, and Oil on Water gives an honest voice to this silent killer.”
Oil on Water was the only South African feature film nominated in this category and took gold ahead of five other international films from the UK, Canada and Ireland, including award winning director Ivan Kavanagh's Tin Can Man which recently won two International Awards at this year’s Sydney Underground Film Festival.
A new feature film Oil on Water, produced exclusively out of KwaZulu Natal, South Africa and due for release in cinemas in October 2007, won Best Feature Film at the Everglades International Film Festival on Saturday, 29th September 2007. The Festival showcased the talent of films from the likes of four-time Emmy Award winner, Mike Reiss, award-winning filmmaker, Gary Null, and multi-award winning Director and Cannes winner, Michael Attardi. Oil on Water is directed by South African acclaimed Director, Peter Matthews, who accepted the award for the film.
Hailed by filmgoers as one of the best films to come out of this country in recent years, Oil on Water was the only South African film nominated and it took the Gold Award from the United Kingdom, Canadian and Irish films nominated in the Best Feature Film category, including award winning director Ivan Kavanagh's new feature Tin Can Man which recently won two International Awards at this year’s Sydney Underground Film Festival.
The film is an insightful portrayal into what it is like to live with an undiagnosed psychological disorder and touches on emotional, psychological and spiritual issues that affect every human being at some time in their lives. Oil on Water has been described as a filmmaking tapestry, layered and textured with exquisite cinematography and psychological drama. The film depicts some of the most stunning locations in KwaZulu Natal. Because of the universality of the issues it addresses and the quality of the production, it has also been praised by international industry players, ahead of its distribution overseas.
Everglades International Film Festival is the sister festival to the Swansea Bay Film Festival and both festivals honor the individual voice. Oil on Water aims 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. According to writer and producer Elle Matthews, “Over 51 million people in the world suffer from the disorder, which is ten million more than the estimated 41 million people who are infected with HIV/Aids. Schizophrenia does not differentiate between race, culture and social class. It affects one in 100 people worldwide and is the leading cause of suicide in the world. Those statistics demand greater awareness for this mental disorder, and Oil on Water gives an honest voice to this silent killer.”
Monday, August 27, 2007
Blu-Ray comes to South Africa
Proving once again to be the frontrunners in digital encoding, VLab have pulled off yet another first: encoding for the new Blu-Ray technology. Hailed as the next generation optical media format, Blu-Ray delivers five times more recording capacity than conventional DVD, allowing for incredible detailed image reproduction and uncompressed crystal clear surround sound capabilities.
Blu-Ray is set to storm the market, making DVD capability archaic in comparison. Approached by agency Visual Volcano, VLab were tasked with being the first facility in South Africa to deliver a Blu-Ray encoding. VLab had engineers Chris Goulden and John Brink (Head of CAR) testing for days and then working through the night to ensure that the encoding was faultless for the outh African launch of Blu- Ray, using this new Sony technology.
To display the pristine picture quality capabilities of Blu-Ray, Vlab called on Bite Animation’s Edward Van Blerk, who combined the presentation, live action and graphic elements together into one seamless production, displaying the technology at its absolute best.
As for the crisp sound clarity, Sound Engineer Peter Cornell jumped at the opportunity to offer the best audio experience possible from a staging platform and generated a 5.1 Dolby mix, tocompliment the visual experience. All the juggling, schedule planning and project management was handled by VLab producer, Jeanette Van Acker.
Terri-Leigh Blomeyer of Volcano Advertising, was thrilled at the final outcome, “I am very pleased to say that the presentation was a huge success and was very well received by all who attended”.
Blu-Ray is set to storm the market, making DVD capability archaic in comparison. Approached by agency Visual Volcano, VLab were tasked with being the first facility in South Africa to deliver a Blu-Ray encoding. VLab had engineers Chris Goulden and John Brink (Head of CAR) testing for days and then working through the night to ensure that the encoding was faultless for the outh African launch of Blu- Ray, using this new Sony technology.
To display the pristine picture quality capabilities of Blu-Ray, Vlab called on Bite Animation’s Edward Van Blerk, who combined the presentation, live action and graphic elements together into one seamless production, displaying the technology at its absolute best.
As for the crisp sound clarity, Sound Engineer Peter Cornell jumped at the opportunity to offer the best audio experience possible from a staging platform and generated a 5.1 Dolby mix, tocompliment the visual experience. All the juggling, schedule planning and project management was handled by VLab producer, Jeanette Van Acker.
Terri-Leigh Blomeyer of Volcano Advertising, was thrilled at the final outcome, “I am very pleased to say that the presentation was a huge success and was very well received by all who attended”.
Monday, August 20, 2007
What causes movies to be super hits or miserable failures?
Just what makes movie a hit? A psychology professor dida statistical study of thousands of films to determine what makes them failures or box-office hits.
Films that earn awards and praise from reviewers tend to be R-rated and based on a true story or a prize-winning play or novel, says psychology professor Dean Simonton at the University of California, Davis. The original author or the director usually writes the screenplay.
Big-budget blockbusters - whether they are comedies, musical, sequels or remakes - do not ordinarily draw acclaim, Simonton found. Neither do summer releases, PG-13 movies, movies that open on thousands of screens or ones that have enormous box office numbers in their first weekend.
"I had this hope that there was a difference between blockbusters and really great art films - films that can be considered great cinematic creations," said Simonton, who presented his findings on Friday at the annual meeting of the American Psychological Association in San Francisco.
"It was gratifying to find out they're very, very different and you can find out what's different about them."
Simonton says he is not a movie buff - "I'm a consumer like everyone else" - but in his long-time studies of genius, creativity and leadership, he started compiling data about the collaborative process of filmmaking in 1999.
Rules and Exceptions
Brokeback Mountain is a prime example of what Simonton discovered. It was rated R, had an 87% approval rating on the Metacritic.com website and it came out at the height of prestige-picture time in December 2005.
It featured a top-notch creative team, including director Ang Lee and screenwriters Larry McMurtry and Diana Ossana, working from a short story by Pulitzer Prize winner Annie Proulx. The film cost $14m to make and grossed nearly $175m worldwide. It was nominated for eight Oscars and won three.
But then there are exceptions, like this summer's Knocked Up. It is also very much an R-rated movie, but it is a comedy that's gotten 85% positive reviews on Metacritic and was released in Jne this year.
Judd Apatow, who has long enjoyed a cult following, wrote and directed it. The film cost an estimated $33m to make and so far has grossed $164m worldwide. At this stage one can't tell if it will win any Oscars.
"All these things are just statistical relationships - there are always exceptions to every finding you have," Simonton said. "You'll have a film that really shouldn't have success but they have something quirky going for them... My Big Fat Greek Wedding, it's just a quirky thing.
"As a consequence," he added, "Hollywood falls back on sequels and remakes. Even though you've seen them before, you know they've succeeded in earlier versions."
Films that earn awards and praise from reviewers tend to be R-rated and based on a true story or a prize-winning play or novel, says psychology professor Dean Simonton at the University of California, Davis. The original author or the director usually writes the screenplay.
Big-budget blockbusters - whether they are comedies, musical, sequels or remakes - do not ordinarily draw acclaim, Simonton found. Neither do summer releases, PG-13 movies, movies that open on thousands of screens or ones that have enormous box office numbers in their first weekend.
"I had this hope that there was a difference between blockbusters and really great art films - films that can be considered great cinematic creations," said Simonton, who presented his findings on Friday at the annual meeting of the American Psychological Association in San Francisco.
"It was gratifying to find out they're very, very different and you can find out what's different about them."
Simonton says he is not a movie buff - "I'm a consumer like everyone else" - but in his long-time studies of genius, creativity and leadership, he started compiling data about the collaborative process of filmmaking in 1999.
Rules and Exceptions
Brokeback Mountain is a prime example of what Simonton discovered. It was rated R, had an 87% approval rating on the Metacritic.com website and it came out at the height of prestige-picture time in December 2005.
It featured a top-notch creative team, including director Ang Lee and screenwriters Larry McMurtry and Diana Ossana, working from a short story by Pulitzer Prize winner Annie Proulx. The film cost $14m to make and grossed nearly $175m worldwide. It was nominated for eight Oscars and won three.
But then there are exceptions, like this summer's Knocked Up. It is also very much an R-rated movie, but it is a comedy that's gotten 85% positive reviews on Metacritic and was released in Jne this year.
Judd Apatow, who has long enjoyed a cult following, wrote and directed it. The film cost an estimated $33m to make and so far has grossed $164m worldwide. At this stage one can't tell if it will win any Oscars.
"All these things are just statistical relationships - there are always exceptions to every finding you have," Simonton said. "You'll have a film that really shouldn't have success but they have something quirky going for them... My Big Fat Greek Wedding, it's just a quirky thing.
"As a consequence," he added, "Hollywood falls back on sequels and remakes. Even though you've seen them before, you know they've succeeded in earlier versions."
Monday, August 13, 2007
Namibian Union Demands Film Investigation
Namibia's only registered artists union has demanded an investigation by the Ministry of Information and Broadcasting into the worsening state of affairs in the local film industry.
by Frederick Philander
The Oruuano Artists Union, self-proclaimed protector of the Namibian film industry in direct opposition to the government-recognized Filmmakers Association of Namibia, claims in the petition that Namibians are getting a raw deal with regard to employment opportunities.
"We are perturbed and disturbed by the present state of affairs of the Namibian film industry, especially on how local artists are employed and treated by foreign film companies producing films in the country," said the president of Oruuano Artists Union, Banana Shekupe, in the written petition.
In his view, imported foreign artists benefit much more than Namibians employed in the industry.
"Considering the many existing job opportunities, people are supposed to benefit in terms of employment-creation and alleviation of poverty, but it seems foreign artists are unfairly benefiting much more due to the many loopholes existing in the industry," Shekupe said.
He cited a case of an injustice perpetrated against Namibians who worked on the international Iraq war-film, 'Generation Kill'.
"Namibians employed on the film were taken to South Africa to continue with the shooting of this film, but they were instantly deported back to Namibia due to flimsy contracts and the fact that the ANC Youth League apparently charged that Namibians were taking away job opportunities from South Africans," the union boss said.
The union further demands an investigation into the whole structure of the local film industry.
"There had definitely been exploitation of Namibians on 'Generation Kill' that was shot on location in our country, though certain people denied this. This happened because there are no clear-cut regulations regarding work permits for foreigners. Apparently, there exists no guidelines governing foreign companies shooting in Namibia either, creating the impression that such companies do not pay taxes to our government," Shekupe said.
According to him, discriminatory practices against Namibians are rife among foreign companies operating in the country.
"I know of instances of racial abuse against black Namibian film practitioners and cases of racial ill-treatment of Namibians based on skin colour. Only if and when our union is permitted to serve on the board of the Namibia Film Commission will we be able to do away with these unacceptable practices," he concluded.
by Frederick Philander
The Oruuano Artists Union, self-proclaimed protector of the Namibian film industry in direct opposition to the government-recognized Filmmakers Association of Namibia, claims in the petition that Namibians are getting a raw deal with regard to employment opportunities.
"We are perturbed and disturbed by the present state of affairs of the Namibian film industry, especially on how local artists are employed and treated by foreign film companies producing films in the country," said the president of Oruuano Artists Union, Banana Shekupe, in the written petition.
In his view, imported foreign artists benefit much more than Namibians employed in the industry.
"Considering the many existing job opportunities, people are supposed to benefit in terms of employment-creation and alleviation of poverty, but it seems foreign artists are unfairly benefiting much more due to the many loopholes existing in the industry," Shekupe said.
He cited a case of an injustice perpetrated against Namibians who worked on the international Iraq war-film, 'Generation Kill'.
"Namibians employed on the film were taken to South Africa to continue with the shooting of this film, but they were instantly deported back to Namibia due to flimsy contracts and the fact that the ANC Youth League apparently charged that Namibians were taking away job opportunities from South Africans," the union boss said.
The union further demands an investigation into the whole structure of the local film industry.
"There had definitely been exploitation of Namibians on 'Generation Kill' that was shot on location in our country, though certain people denied this. This happened because there are no clear-cut regulations regarding work permits for foreigners. Apparently, there exists no guidelines governing foreign companies shooting in Namibia either, creating the impression that such companies do not pay taxes to our government," Shekupe said.
According to him, discriminatory practices against Namibians are rife among foreign companies operating in the country.
"I know of instances of racial abuse against black Namibian film practitioners and cases of racial ill-treatment of Namibians based on skin colour. Only if and when our union is permitted to serve on the board of the Namibia Film Commission will we be able to do away with these unacceptable practices," he concluded.
Botswana: Movie Shooting, a Memorable Experience
The crew members have set up their areas of shooting, the most prominent probably being the small village/semi town built just as you enter Kgale View. The buildings simulate the African Mall in the olden days.To someone who does not know, the buildings look like they have been standing for a long time yet they were built only recently.
Only Mma Ramotswe's office has some fresh paint.Seeing scenes being shot is quite an exciting experience. In a nutshell, the cast and crew are always as busy as a bee, as theirs is a race against time.
Movement of visitors during the time of shooting is restricted to avoid disturbances.The preparation for the shooting is intense, and has to be done only by professionals. While actors prepare themselves, getting into the right costumes and make-up, the production crew are arranging their equipment to make sure everything is in order before the actual shooting begins.
The current location is dusty and with a lot of movement, the dust can be choking but that does not deter the committed crew. The lead actress, Jill Scott, has people they call stand-ins, who include local musician/rapper Desma Basson, musically known as Ice Queen. Her role is to test microphones, camera lighting, for the star (Jill Scott). The role of stand-in ends there - and she does not appear anywhere in the movie.
As we watched the shooting, publicist Joey Sapieka explained that a stand-in in movies should not be confused with theatrical understudies as they cannot sit in for the actor in case the actor is not feeling well or should anything happen to the actor or actress.
As everything has to be perfect, the stand-in is dressed in exactly the same attire as the actress. Basson sits or stands exactly where Jill Scott is supposed to be standing with the production crew on cue, to check the necessary details before calling in Scott to do the shooting.
After the production crew is satisfied that everything is in place, Scott then assumes position for the film to start rolling."You have to make sure your cellular phones are off, as a phone ringing can cost millions in waste," the film publicist explains.
While the camera is rolling everyone is silent, movement in the direction of the camera is restricted, the only people speaking are the ones in action. During the filming of this particular scene, on Arts and Culture - we managed to see Mma-Ramotswe sitting at a friend's cake stall, selling cakes. Apparently one of the clues to the crimes Mma Ramotswe is attempting to solve is contained in one of the cakes.
Scott sits in a chair, with a number of cakes that will make any passer-by salivate.
The owner of the shop's little girl, Lily, is seated next to Mma Ramotswe as handsome but bad boy Charlie Kgotso (played by renowned British actor Idris Elba) shows up and plants himself in a chair on the other side of the table where the little girl had been sitting.
The man briefly chats with Mma Ramotswe while rudely chasing away customers enquiring about the prices of the cakes. The little girl is sent to the store, and sent back again to buy ice-cream as the good looking Charlie Kgotso talks to Mma-Ramotswe.
Mma Ramotswe dressed in something many Batswana call their traditional attire, leteisi, chats with the young man calmly before he chooses a cake, which costs P500. With Mma Ramotswe nodding "Excellent choice", he slams the money on the table and leaves. Prior to his departure, Mma Ramotswe's secretary, played by another American actress, Anika Noni Rose, who features in Dreamgirls, approaches the table and nicely asks the gentlemen if he can take a picture, and he rudely declines, only to come back later with the little girl enjoying her ice-cream telling Mma Ramotswe she did a good thing with her camera and managed to take a good shot.
Filming however can be a tiring process for one who is watching, the scene is repeated again and again, shot from different angles, so that the editing crew have a wider choice when making the final cut for the movie.
The movie, however, does not end with those playing bigger roles; there are those who play minor roles called extras. The extras are shown what to do; some of them just walk past, pretending to be involved in conversations.
This particular scene - on Arts and Culture - is a pure joy to watch. It has two lady extras, in the beginning, who walk as they chat. Then there are two security guards who present moneyboxes and walk away, and a gentleman who walks to another extra, a phone-shop operator, and makes a call.
Arts and Culture officials sat there for several hours watching the same scene being shot over and over again.The crew is expected to wrap up the Kgale View shooting in about a week's time and move to other locations, including Mma Ramotswe's house in Zebra Drive near the Gaborone Sun.
Only Mma Ramotswe's office has some fresh paint.Seeing scenes being shot is quite an exciting experience. In a nutshell, the cast and crew are always as busy as a bee, as theirs is a race against time.
Movement of visitors during the time of shooting is restricted to avoid disturbances.The preparation for the shooting is intense, and has to be done only by professionals. While actors prepare themselves, getting into the right costumes and make-up, the production crew are arranging their equipment to make sure everything is in order before the actual shooting begins.
The current location is dusty and with a lot of movement, the dust can be choking but that does not deter the committed crew. The lead actress, Jill Scott, has people they call stand-ins, who include local musician/rapper Desma Basson, musically known as Ice Queen. Her role is to test microphones, camera lighting, for the star (Jill Scott). The role of stand-in ends there - and she does not appear anywhere in the movie.
As we watched the shooting, publicist Joey Sapieka explained that a stand-in in movies should not be confused with theatrical understudies as they cannot sit in for the actor in case the actor is not feeling well or should anything happen to the actor or actress.
As everything has to be perfect, the stand-in is dressed in exactly the same attire as the actress. Basson sits or stands exactly where Jill Scott is supposed to be standing with the production crew on cue, to check the necessary details before calling in Scott to do the shooting.
After the production crew is satisfied that everything is in place, Scott then assumes position for the film to start rolling."You have to make sure your cellular phones are off, as a phone ringing can cost millions in waste," the film publicist explains.
While the camera is rolling everyone is silent, movement in the direction of the camera is restricted, the only people speaking are the ones in action. During the filming of this particular scene, on Arts and Culture - we managed to see Mma-Ramotswe sitting at a friend's cake stall, selling cakes. Apparently one of the clues to the crimes Mma Ramotswe is attempting to solve is contained in one of the cakes.
Scott sits in a chair, with a number of cakes that will make any passer-by salivate.
The owner of the shop's little girl, Lily, is seated next to Mma Ramotswe as handsome but bad boy Charlie Kgotso (played by renowned British actor Idris Elba) shows up and plants himself in a chair on the other side of the table where the little girl had been sitting.
The man briefly chats with Mma Ramotswe while rudely chasing away customers enquiring about the prices of the cakes. The little girl is sent to the store, and sent back again to buy ice-cream as the good looking Charlie Kgotso talks to Mma-Ramotswe.
Mma Ramotswe dressed in something many Batswana call their traditional attire, leteisi, chats with the young man calmly before he chooses a cake, which costs P500. With Mma Ramotswe nodding "Excellent choice", he slams the money on the table and leaves. Prior to his departure, Mma Ramotswe's secretary, played by another American actress, Anika Noni Rose, who features in Dreamgirls, approaches the table and nicely asks the gentlemen if he can take a picture, and he rudely declines, only to come back later with the little girl enjoying her ice-cream telling Mma Ramotswe she did a good thing with her camera and managed to take a good shot.
Filming however can be a tiring process for one who is watching, the scene is repeated again and again, shot from different angles, so that the editing crew have a wider choice when making the final cut for the movie.
The movie, however, does not end with those playing bigger roles; there are those who play minor roles called extras. The extras are shown what to do; some of them just walk past, pretending to be involved in conversations.
This particular scene - on Arts and Culture - is a pure joy to watch. It has two lady extras, in the beginning, who walk as they chat. Then there are two security guards who present moneyboxes and walk away, and a gentleman who walks to another extra, a phone-shop operator, and makes a call.
Arts and Culture officials sat there for several hours watching the same scene being shot over and over again.The crew is expected to wrap up the Kgale View shooting in about a week's time and move to other locations, including Mma Ramotswe's house in Zebra Drive near the Gaborone Sun.
BBC World broadcast documentary about Central Kimberley Diamonds
The junior diamond exploration company Central Kimberley Diamonds Ltd, is pleased to announce, that a production film of the company and its exploration operations is to be broadcast on BBC World (Europe).
The documentary, which will last about six minutes, will centre on the Central Kimberley Diamonds exploration projects in Kimberley South Africa, capture footage of the company's exploration and mining operations, and will include interviews with the Central Kimberley Diamonds Board of Management.
The film production is set to take place in September 2007 and will be produced by BNT (Business News Television), a production company working closely with BBC World. The exact date of the documentary's broadcast will be published as soon as more details are released.
The advertising and promotion for Central Kimberley Diamonds to be generated from this documentary is expected to be highly beneficial for the company. BBC World has been the fastest growing news channel for the last 10 years worldwide and with over 52 million global viewers per week and accessible in over 200 countries around the world, the documentary offers Central Kimberley Diamonds viewing time for around 75 million homes across the globe.
James Lehman, CEO of Central Kimberley Diamonds, offered encouraging words on this latest development, 'We are very pleased to be a part of this media production project, BBC World produces award winning programs and is well known for its first-class journalism', said Lehman. 'The opportunity to work with a media correspondent with such extensive audience catchments will certainly provide Central Kimberley Diamonds with an excellent chance to show the life, working practices and projects we are undertaking at Central Kimberley Diamonds', Lehman concluded.
The documentary, which will last about six minutes, will centre on the Central Kimberley Diamonds exploration projects in Kimberley South Africa, capture footage of the company's exploration and mining operations, and will include interviews with the Central Kimberley Diamonds Board of Management.
The film production is set to take place in September 2007 and will be produced by BNT (Business News Television), a production company working closely with BBC World. The exact date of the documentary's broadcast will be published as soon as more details are released.
The advertising and promotion for Central Kimberley Diamonds to be generated from this documentary is expected to be highly beneficial for the company. BBC World has been the fastest growing news channel for the last 10 years worldwide and with over 52 million global viewers per week and accessible in over 200 countries around the world, the documentary offers Central Kimberley Diamonds viewing time for around 75 million homes across the globe.
James Lehman, CEO of Central Kimberley Diamonds, offered encouraging words on this latest development, 'We are very pleased to be a part of this media production project, BBC World produces award winning programs and is well known for its first-class journalism', said Lehman. 'The opportunity to work with a media correspondent with such extensive audience catchments will certainly provide Central Kimberley Diamonds with an excellent chance to show the life, working practices and projects we are undertaking at Central Kimberley Diamonds', Lehman concluded.
Subscribe to:
Posts (Atom)
