Production Notes
ZenHQ Films
[email protected]
www.zen-hq.com
082 855 2529
DW Website
www.diewindpompfilm.co.za
DW Facebook
www.facebook/diewindpompfilm.com
Production Notes
CONTENTS
INFO IN AFRIKAANS
Voor Krediete Pagina 2
Opsomming (kort, medium, lank) Pagina 5 - 6
Oor die Produksie – Die Begin
Pagina 6 - 9
Karakters
Pagina 9 - 10
Wat Hulle Daaroor Se
Pagina 10 - 26
Rolverdeling Biografie
Pagina 26 - 28
Filmspan Biografie
Pagina 28 - 29
Eind Krediete Pagina 54 - 61
Skrywer en Regisseur ETIENNE FOURIE
Vervaardiger CHRIS ROLAND
LEE-ANN COTTON
Uitvoerende vervaardiger ANNA-LYNNE E. MARAIS
Mede-vervaardiger WAYNE KRIEL
Fotografie-regisseur JOHAN PRINSLOO
Produksie-ontwerper ANDREW MACARTHY
Redigering MARIO KOWARZ
Kostuumontwerper AZEL BARTIZEL
Oorspronklike Musiek JOHNNY DERIDDER
Rolverdeling BONNIE BOUMAN
FILMMAKERS
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Production Notes
CAST
Hendri ARMAND GREYLING
Margot LEANDIE DU RANDT
Tannie Marietjie MARGA VAN ROOY
Dr. Rossouw IAN ROBERTS
Miggie GRETHE FOX
Pieter SEAN-MARCO VORSTER
CONTENTS
INFO IN ENGLISH
Front End Credits
Synopsis (short, medium, long)
Page 4
Page 30 - 31
About the Production
The Beginning
Page 31 - 34
Characters
Page 35
What They Have to Say
Page 35 - 50
Cast Biographies
Page 50 - 52
Crew Biographies
Page 52 - 53
End Credits Page 53 - 61
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Production Notes
FILMMAKERS
Written and Directed by ETIENNE FOURIE
Produced by CHRIS ROLAND
LEE-ANN COTTON
Executive Producers ANNA-LYNNE E. MARAIS
Associate Producer WAYNE KRIEL
Director of Photography JOHAN PRINSLOO
Production Designer ANDREW MACARTHY
Film Editor MARIO KOWARZ
Costum Designer AZEL BARTIZEL
Original Music JOHNNY DERIDDER
Casting BONNIE BOUMAN
Hendri ARMAND GREYLING
Margot LEANDIE DU RANDT
Tannie Marietjie MARGA VAN ROOY
Dr. Rossouw IAN ROBERTS
Miggie GRETHE FOX
Pieter SEAN-MARCO VORSTER
CAST
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Production Notes
DIE STORIE
OPSOMMING
Kort opsomming
Die Windpomp is 'n kleurvolle, humoristiese en
"quirky" liefdesverhaal.
Tydens ‘n somer vakansie met hul grootouers,
ontmoet Hendri en Margot mekaar en raak
verlief. Maar hul liefde word getoets op meer
maniere as wat hulle hul ooit kon voorstel.
Medium opsomming
Die Windpomp is 'n kleurvolle, humoristiese en "quirky" liefdesverhaal van 20-jarige Hendri wat op die
voorstoep van sy seniele, teruggetrokke oupa in 'n aftree-oord beland. Hendri word onder die vlerk
geneem van ‘n gawe buurvrou, Tannie Marietjie, wie hom forseer om gereeld by haar huisie te kom
bad.
Een aand sien Hendri vier donker figure wat geheimsinnig deur die aftree-oord se tuine nael. Hy
agtervolg hulle tot in ‘n woud aan die buite randte van die klein dorpie, waar ‘n dam helder in die
maanlig skitter. 'n Beeldskone meisie verskyn vanuit die donker woud en stel haarself voor – Hendri
kan sy oë nie van Margo afhou nie en is onmiddelik smoorverlief. Margot is ook beindruk deur Hendri.
Soos Hendri en Margot se somer romanse bloei, so word dit duidelik dat alles is nie wat dit blyk in
hierdie ongewone dorpie nie.
Langer versie
Daar's iets in die water...
Die Windpomp is 'n kleurvolle, humoristiese en "quirky" liefdesverhaal van 20-jarige Hendri wat op die
voorstoep van sy seniele, teruggetrokke oupa in 'n aftree-oord beland. Sy wêreld bestaan binnekort
uit tuinornamente, Bingo-aande en vreemde, bejaarde gedrag. Hendri word onder die vlerk geneem
van ‘n gawe buurvrou, Tannie Marietjie, wie hom forseer om gereeld by haar huisie te kom bad ná 'n
effense tragedie met Oupa se pype.
Tydens ‘n stoute laat-aand sigaret sien Hendri vier donker figure wat geheimsinnig deur die aftreeoord se tuine nael. Hy besluit meteens om hulle agterna te sit en volg hulle tot in ‘n woud
aan die buite randte van die klein dorpie, waar ‘n dam helder in die maanlig skitter. ‘n
Masiewe windpomp reis vanuit die middel van die dam, waarin die figure oomblikke later
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Production Notes
plons. 'n Beeldskone meisie verskyn vanuit die donker woud en stel haarself voor as Margot, Tannie
Marietjie se kleindogter. Hendri kan sy oë nie van Margo afhou nie en is onmiddelik smoorverlief.
Margot is ook beindruk deur Hendri.
Soos Hendri en Margot se somer romanse begin te bloei, so begin dit spanning skep in die klein
dorpie, soveel so, dat Tannie Marietjie gedwing is om Margot weg te stuur, sonder enige
geloofwaardige rede.
Maar as Margot onverwags in die dorpie opdaag, is Hendri tot in sy siel geskok deur wat hy ontdek:
in sy nuwe wêreld versteek baie meer geheime as wat hy ooit kon raai. Geheime wat die wêreld
waarin Hendri glo, vir ewig gaan verander en alles waarvoor hy omgee op die spel gaan sit.
OOR DIE PRODUKSIE DIE BEGIN
’n Reuse stap vorentoe in die Afrikaanse filmbedryf, verteenwoordig Die Windpomp ’n doel wat deur
Amerikaanse vervaardiger, Chris Roland (Stander, Hotel Rwanda) gestel was. Vanaf die begin het
Roland, wat nie ’n woord Afrikaans praat nie (behalwe "’n boer maak ’n plan") beoog om ’n
Afrikaans film te maak wat hoogs vermaaklik is maar tog die Afrikaanse gemeenskap respekteer.
"Die Afrikaanse gemeenskap is groot bioskoopgangers, en ek self eet, speel, droom films. Na
navorsing en onderhoude en baie praatjies om kampvure, het ek geleer dat die gemeenskap smag
na goeie “Hollywood” kwaliteit filme in die Afrikaanse taal, met dit bedoel ek, films met ’n goeie storie,
nie te heftig nie, nie “slapstick” nie en met hoe produksiewaardes. So het ons aan die projek begin,
met die idee dat dit ’n film sal wees waarop mense trots kan wees, en vermaak word daardeur. Ons
het aan die slag gegaan met die doel om die beste Afrikaanse film te maak wat al ooit gemaak is.”
Maar Roland het lank gesoek na die regte storie, totdat…hy Die Windpomp se skrywer/regisseur
Etienne Fourie ontmoet het, tydens sy gas-dosent sessies by AFDA filmskool. Fourie was in sy vierde
en finale jaar en was besig met die kortfilm versie van Die Windpomp, sy eindeksamen film.
Later daardie jaar was Roland teruggenooi om die studente se films te beoordeel, vertoon by een van
die groot bioskoopteaters in die Kaap. “Ek het iets soos 20 kortfilme oor daardie naweek gekyk,
sommige ’n paar minute en sommige 48 minute lank. Ek het teen die einde van die tweede dag
dwars gekyk. En toe raak die kamer donker en nog ’n film begin…Binne minute, in ’n propvol teater,
met sowat 300 mense, kon jy ’n naald hoor val.Dit was die eerste keer wat ek die storie van Die
Windpomp sien uitspeel het. Aan die einde van die fliek, net daar en dan vra ek toe vir ADFA
eienaar Garth Holmes, dat ek die storie wou opsie en dit in ’n speelfilm wil omskep."
’n Paar weke later het Fourie weer met Roland en Lee-Ann Cotton, wat mede-eienaar
van ZenHQ Films in Kaapstad is, ontmoet. Dit was ooreengekom om die korter versie
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Production Notes
uit te brei deur byna ’n uur van nuwe materiaal te skiet en dit daarby te voeg. Na heelwat draaiboek
versies en ’n paar bizarre storielyne van oumense wat babas kry en priesters wat van windpompe
hang, het Roland en Cotton besluit hulle moet die kortfilm skraap en ’n hele nuwe film van vooraf
skiet.Fourie het begin aan ’n nuwe draaiboek met dieselfde storielyn en baie van dieselfde tonele uit
die kortfilm.
Tenspyte van die feit dat daar geen finale draaiboek was nie, het Roland Nu Metro oortuig dat Die
Windpomp ’n treffer gaan wees.”Dit was of goeie verkoopstrategie, of Debbie McCrum wou my net
stilhe, want na ’n heftige “pitch” gebasseer op ’n halfgebakte storie, het Nu Metro ingestem om die
film te versprei en deel daarvan te finanseer. Die een ding van Die Windpomp waaroor ek altyd
passievol was en is, is die storie. Ek weet Etienne sou die draaiboek regkry en ek het geweet ons sou
uiteindelik ’n innemende, humoristiese en intieme film maak. Ek het nooit daaraan getwyfel nie. Ek
het hom telkens gevra om terug te gaan na sy oorpsronkilke kortverhaal en dit eenvoudig te hou, nie
dinge te kompliseer nie. Hy het bly skryf en ons het bly werk aan die ontwikkeling."
Soos die speelfilm deur sy ontwikkelinsgfase gegaan het, was die kortfilm besig om meer roem
te werf, wat insluit Siud-Afrika se eerste offisiele inskrywing vir die Studente Oscars. En toe val die speelfilm inmekaar, nie ongewoon vir onafhanklike films nie. Een van die beleggers
moes finansies skuif van die huidige jaar tot die volgende.
Die vervaardigers moes haastig nuwe finansering vind, maar dit was die hoogtepunt van die
wereldwye ekonomiese krises in 2011 en geld was maar skaars.” Dis ’n aaklige gevoel as ’n projek
momentum begin kry, nadat jy bloed en sweet en trane daarin bele het, en skielik word dit pikswart
aan die einde van die tonnel.”se Roland. “Om almal te vertel daar is ’n vertraging is ongeveer
soveel pret soos ’n vuurwarm dolk in jou oog steek. Ons het ’n belofte gemaak om plaaslike films te
ontwikkel en vervaardig, en dit het begin moeilik word."
En toe verskyn ’n engel...
“Selfs in die lig van enorme struikelblokke, het hy nie opgegee nie” se Cotton oor haar vennoot se
belofte. “Hy het geglo in die verhaal en in Etienne, selfs toe ander twyfel.” Dit is een van Chris se
goeie punte, sy vermoe om dinge waarin hy glo te laat gebeur.” Ek bel toe ’n baie goeie vriendin met
wie ek saam gestudeer het in Amsterdam, ek het geweet sy was opsoek na ’n uitdaging. Ek het die
storie “gepitch” en gevra of sy sou aanboord kom as uitvoerende vervaardiger en die res van
die finansering wou gaan soek. So het Anna-Lynne Marais by die span aangesluit.
Marais was saam met Cotton op filmskool in Amsterdam, maar het ’n kunsrigting
ingegaan, nie speelfilme nie. Alhoewel sy beperkte ervaring gehad het met speelfilm
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Production Notes
vervaardiging kon sy ’n goeie storie herken as sy dit raaksien. Soos ’n generaal in die weermag het
sy almal gebel wat sy ken en baie wat sy nie ken nie en binne ’n kort tydperk was Die Windpomp
gefinanseer. “Anna-Lynne en Lee-Ann beide het my verstom, hulle is die rede dat hierdie film totstand
gekom het. Ek is stilletjies nederig beindruk met wat hulle bereik het.” Met die geld wat Marais gestig
het, het die film ook finansiele ondersteuning gekry van die DTI (Department of Trade and Industry).
Sonder die DTI korting, wat 35% van die Suid-Afrikaanse uitgawes is, sou hierdie film nooit moontlik
gewees het nie.
Nou kon die vervaardigers begin met die rolverdeling, veral Margot, die hoofrol, wat hulle geweet het
moes deur iemand baie spesiaal gespeel word. Margot moes ’n aansteeklike lewenslus uitstraal. Sy
moes ook goed inpas met Armand Greyling, wat oorspronklik Hendri in die ADFA film gespeel het, en
ook sou speel in die langer versie, Daar moes “chemistry" wees. Liewer om die traditionele rolverdelings route te loop, het die produksie ’n venootskap geform met
Jacaranda FM en ‘n landwye soektog begin om ons hoofrolspeller te vind. Honderde meisies het
soos ’n “Idols” oudisie bygewoon in Kaapstad en Johannesburg. Na moeilike besluite oor ’n paar
dae, was die keuse afgewater tot drie moontlike kandidate. Die keuse vir Margot was aktueel
aangekondig op Jacaranda FM, en Leandie Du Randt het die rol gekry.
Met Margot in die hoofrol, het Fourie en die vervaardigers na die oorblywende hoofrolle gegaan.Beide
Sean-Marco Vorster en Marga van Rooy was teruggenooi om die rol van Pieter en Tannie Marietjie, te
vertolk, wat hulle in die kortfilm gespeel het. Op Roland en Fourie se wenslys was dat Ian Roberts Dr.
Rossouw speel en Grethe Fox, Miggie. Tot hul verbasing het beide akteurs vinnig toegestem tot die
rolle. “Vir my was nogaltyd die gehalte van die draaiboek belangrik” se Ian Roberts. “Ek het ja gese vir
die rol omdat die draaiboek en storie besonders was. So iets kry mens nie aldag nie.” “Marga, Grethe en Ian is legendes, van die beste in Suid-Afrika. Ek was in ekstase en selfs ’n bietjie
geintimideer om hierdie gesoute akteurs in die film te he.” se Fourie. “ Hulle was almal fantasies
om mee te werk en het die rolle vertolk ver bo my verwagtinge.” Die besluit was gemaak om sommige van die hoof tegniese span wat aan die kortfilm gewerk
het saam met ervare tegniese spanne te laat werk. Dit was ’n uitdaging, omdat daar sekere
verwagtinge was van die ervare span, wat die nuwe span, pas uit filmskool, nog nie geleer het nie.
Van die wat dit van die kortfilm na die speelflm gemaak het, was onder andere Johan Prinsloo,
Kinematograaf, redigeerder Mario Kowarz en kostuumontwerper Azel Bartizal.
As Prinsloo senuweeagtig was oor sy hoogservare kameraspan, het hy die daaglikse
werk aangepak en niks laat blyk nie. “ Etienne en ek het saamgestem dat ons elke beeld
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Production Notes
sou behandel asof dit ’n skildery was” se Prinsloo. “Met die kort draaiperiode wat ons gehad het,
was dit moontlik om die verfilming te voltooi in die tyd wat ons gehad het, met so ’n ervare span”. Die film se hooflokasies het sommige ingesluit wat in die kortfillm gebruik was, soos Silvermine
aftreeoord in Noordhoek vir Winterbessie, en die Lourensford Wynplaas in Stellenbos, wie se woud
en dam ons gebruik het vir die gedeelte rondom die fiktiewe dorpie naby die aftree-oord. Die
omgewing van die windpomp moes magies wees, meer as enigiets wat ons ooit sou kry. Daar was
besluit vroeg in die proses om gebruik te maak van visuele effekte en “computer generated images cgi” Die uitslag is ’n besondere, magiese plek. Roland het geweet dat hy al die post -produksie en visuele effekte by die Refinery in Johannesburg
wou doen, selfs al was dit logisties gesien nie die maklikste keuse nie, ZenHQ Films is gebasseer in
die Kaap en Etienne ook. “Refinery was die enigste plek waar ek my kon voorstel, ons die regte
kwaliteit visuele effekte sou kry. Ons kon die geld en tyd gespaar het en op minder "gesettle" het
erens anders, maar ek het geweet ons kykers verwag en verdien meer."
Op die laaste dag van post-produksie, twee jaar nadat ons hierdie projek begin was, het Roland,
Fourie en Cotton op die laaste dag in die klein donker kamertjie van die Refinery angstig na mekaar
gekyk, die film was klaar, reg vir mense om te sien. Om seker te maak dat dit perfek was het ons
toets gehore na die film laat kyk, in Kaapstad en Pretoria. Terugvoer van die toetsgehoor was
geanaliseer en daarvan gebruik in die finale weergawe van die film. Die resultant was ‘n deernisvolle,
soms humouristiese, fantasie-liefdesverhaal, met onverwagte kinkels, hooggeprys by die wat dit
gesien het as die beste Afrikaanse film wat hul al ooit gesien het. KARAKTERS
HENDRI, gespeel deur Armand Greyling:
Hendri is een verveelde tiener. Nadat hy forseer is om by sy
oupa in ‘n aftree-oord te gaan woon, word Hendri
gekonfronteer met die eksentrieke en kleurvolle leefstyl van
sy nuwe bejaarde bure. Toegerus met ‘n tas vol droë humor,
‘n verkyker en ‘n toenemende vermoede dat hy meer van ‘n
uitheemse vreemdheid hier is as wat hy ooit sou kon
voorspel, gaan Hendri op ‘n avontuur van self-ontdekking,
liefde en die onbloting van sy nuwe wêreld se geheime.
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Production Notes
TANNIE MARIETJIE, gespeel deur Marga van Rooy:
Gawe pensioenaris en buurvrou, Tannie Marietjie, neem ‘n
effense huiwerige Hendri onder haar vlerk. Behalwe vir
seker maak dat Hendri gevoed bly, nooi (forseer) Marietjie
vir Hendri om gereeld by haar huis te kom bad ná ‘n
effense misverstand met Oupa se pype. Tannie Marietjie,
die moeder-figuur vir die groepie vriende, stel Hendri voor
aan die wonders van lewe in ‘n aftree-oord en selfs meer
as dit, aan ‘n vriendskap wat nie een van hulle hulle-self
sou kon verbeel nie.
MARGOT, gespeel deur Leandie Du Randt:
Margot, sarkasties maar tog sjarmant, gee ballet klasse vir
kleuters tydens die skoolvakansies. Met die aftree-ooriid
as haar speelgrond, sleep Margot dikwels vir Hendri saam
op haar onbeplande avonture, gewoonlik met verrassende
resultate. Alhoewel, die grootste avontuur van alles,
romanse, is die een waarvoor sy deeglik voorbereid is.
DR. ROSSOUW, gespeel deur Ian Roberts:
Die dokter vir die inwoners van Winterbessie Dagbreek,
word sy padjie van geregtigheid en verantwoordelikheid
skielik gekompliseerd en onseker. As die ongesproke leier
van die groep vriende, geheimsinning bekend as die
“Geheimhouders”, is Rossouw in ‘n innerlike stryd gewissel
tussen die beskerming van die mense vir wie hy lief is, om
sy plig te doen en om die geheim te beskerm wat dit alles in
gedrang stel.
WAT HULLE DAAROOR SE
Etienne Fourie - Regisseur /Skrywer
Ouderdom: Ek is 25 jaar oud.
Gunsteling rolprente:
Ek moet erken dat ek nogsteeds die The Lord of the Rings plakkate in my woonstel op
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Production Notes
het. Ek is ‘n enorme Tolkien-aanhanger en ek dink Peter Jackson is ‘n held vir wat hy met die stories
gedoen het. The Fellowship of the Ring is my gunsteling fliek. (Ek is ook ‘n totale Harry Potter nerd.)
My ander gunsteling flieks (daar is vele) sluit Juno, Edward Scissorhands, Where the Wild Things Are,
Into The Wild en The Jacket in.
Gunsteling akteur/aktrise:
Dis moeilik, maar as ek iemand moet kies dan sal dit seker Steve Carell wees – ek is absoluut
verslaaf aan The Office (beide oorspronklike en Amerikaanse weergawes) en ek is nogsteeds verstom
oor wat hy met die karakter gedoen het. My gunsteling aktrise is seker Allison Janney (Juno, The Way
Way Back, The Help, American Beauty ens.). Sy is fantasties (en dikwels sarkasties) en sy het die
beste lag. Sy het hierdie unieke gawe om drama en komedie in een oomblik te gelyk te speel en
sodoende ‘n uniekheid aan elke een van haar karakters te bied. Ek is ook ‘n groot aanhanger van
Ellen Page en ook Elijah Wood.
Gunsteling akteur/aktrise in SA:
Marga van Rooy is miskien die grootste highlight van my televisie-kyk ervaringe as kind. Sy het my
(en my familie) laat lag en laat huil en ons na ons oumas laat verlang. Behalwe vir haar wonderlike
talent, is sy ‘n warm, liefdevolle mens en ek voel geëerd om haar as ‘n vriendin te hê. Anna-Mart van
der Merwe is ook nog altyd een van my gunsteling aktrises, vandat ek kan onthou. Daar is iets
onsettend besonders aan haar, iets wat moeilik is om te beskryf. Ek voel ook soortgelyke aangename
gevoelens teenoor Leandie du Randt. Sy is soos ‘n klassieke “movie star”, iemand met soveel
presence A‘n glimlag op jou gesig. Dit was wonderlik om saam met haar te werk en ek moet bieg, al
is sy nog nie hiervan bewus nie, is Leandie ‘n tipe muse vir my. Ek kan net hoop dat sy my sal onthou
wanneer sy grappies by die Oscars maak met Meryl een van die dae.
Saam met watter plaaslike en internasionale sterre sou jy graag wou werk?
Anna-Mart van der Merwe is iemand waarmee ek nog altyd wou werk, asook Marius Weyers. Hierdie
mense is so talentvol dat dit my effens verbouereerd maak en ek kan net hoop dat ek bevoorreg
genoeg is om eendag saam met hulle te werk. Ek is ook ‘n absolute enorme aanhanger van Nataniël
en, al is hy nie spesifiek ‘n akteur nie, sal ek net graag aan ‘n verskoning wil dink om saam met hom
te werk. Hy verteenwoordig soveel van die wonderlike dinge wat ek van Afrikaans hou. Internasionale
akteurs saam met wie ek sal wil werk is Allison Janney, Ellen Page en Adrian Brody. En almal van The
Office.
Hoe het dit gevoel toe jy die eerste dag op stel staan?
My eerste dag op stel was beslis ‘n angsbevange situasie. Opad stel toe het ek en
Johan Prinsloo, die regisseur van fotografie, ‘n reeks trokke in die verte gewaar en
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Production Notes
vaagweg gewonder wat daar aan die gang is. Dit is toe egter met ‘n skok dat ons oomblike later
besef dat die trokke almal vir ons daar staan en wag. Ons het ‘n benoude kyk gedeel en maar
stilweg die dag aangedurf. Iets wat ek veral ervare regisseurs dikwels hoor sê, is dat jy nooit regtig
voorbereid kan voel wanneer jy begin skiet nie. Ek dink dit is belangrik om te voel dat jy jouself moet
bewys. Ek het, terloops, steeds nagmerries oor daardie dag, maar dit is alles die moeite werd
wanneer jy die eindproduk voor jou het.
Wat was die snaakste ding wat op stel gebeur het?
Die snaakste oomblike op stel was gewoonlik te danke aan Leandie du Randt en/of Roscoe
Kleinloog, die AD. Roscoe se bydrae was gewoonlik in die vorm van vernedering. Hy was geneig om
die tegniese span man-alleen aan te vat (gewoonlik oor rugby) en lelik tweede te kom – maar altyd
met ‘n enorme glimlag op sy gesig. My heel gunsteling oomblik was egter beslis toe Leandie – vir ‘n
reeks tegniese redes – die karakter van Tannie Marietjie (gespeel deur Marga van Rooy) se rok en
pruik moes aantrek en toe deur die bos hardloop daarmee. “Lyk ek mooi?” vra Leandie met smeek in
haar oë. “Nee.” antwoord Roscoe vinnig met twee hele sjokolade koekies in sy mond. Ek en Leandie
het ‘n kyk voor die skoot gedeel waarin ons altwee probeer het om professionalisme uit te straal,
maar het gelyktydig misluk – ons het vir dae lank daaroor bly lag. Sy het gelyk soos E.T. toe die
kinders hom aantrek vir Halloween. Ek het fotos van haar in die pruik en rok wat my nogsteeds
opkikker wanneer ek ‘n af dag het.
Wat was 'n hoogtepunt tydens die verfilming?
Ons laaste aand van verfilming was op Lourensford wynplass in Somerset Wes. Ons het die laaste
tonele by die dam geskiet. Daar was applous en ‘n kiekie of twee toe ons uiteindelik klaar is en toe,
soos dit maar gaan, het almal onmiddelik begin oppak. Die vervaardiger is heel eerste daar weg en
toe ek en Johan (die regisseur van fotografie) weer kyk, is ons byna die laaste mense in die bos oor –
hulle het ons daar vergeet. Lang storie kort, ek en Johan vang toe ‘n lift agterop ‘n plaasbakkie terug
na ons motors ‘n paar kilometer daarvandaan. Ons het agterop die bakkie gery, ysig koud, en ons
het in stilte gekyk hoe die dam en die bos in stofwolke vir oulaas agter ons wegraak. Ons het maar
weer ‘n wetende kyk gedeel – soos op ons eerste dag – en albei besef dat ons heel moontlik sopas
iets voltooi het wat wonderlik kan wees. Dit was een van die gelukigste en terselfde tyd vreemdste
tonele van my lewe. Dit was fantasties. So, ja, dit was die hoogtepunt vir my. Moeg en vuil agterop ‘n
bakkie in die koue bos met ‘n vriend. Ek en Johan het dit alles saam begin en dit was poëties om dit
saam af te handel ook.
Hoe was dit om saam met Armand Greyling, Leandie DuRandt, Marga van Rooy, Ian Roberts en
Grethe Fox te werk?
Armand – Ek en Armand kom al van die kortfilm saam en ek het net liefde en respek vir
die ou. Daar was nooit ‘n twyfel oor wie die rol in die vollengte-weergawe moet vertolk
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Production Notes
nie. Armand het hierdie ongelooflike gawe as ‘n akteur om ‘n kwesbaarheid vir die karakter te gee.
Die karakter van Hendri kan so maklik as onaangenaam ervaar word, omdat hy maar effens menssku en ongemaklik is, en dit was noodsaaklik dat die akteur hom, deur die proses van die film, al hoe
meer loveable maak. Armand en sy karakter verskil egter op vele maniere. Armand is ‘n warm,
energieke mens wat aanhoudend lag en sing. Ek moet erken, die Frank Sinatra het na ‘n ruk op stel
in jou gedagtes begin vasbrand, maar niemand kan dit doen soos Armand nie. Ek kan nie wag totdat
ons weer saam kan werk nie.
Leandie – Leandie is my muse. Daar is eintlik nie veel meer as dit wat ek kan sê oor hierdie frats van
‘n mens nie – ‘n frats want niemand is veronderstel om soveel goeie eienskappe op een slag te besit
nie. Sy is altyd gereed om haar beste te gee, om nuwe dinge te probeer en om dit alles met ‘n
glimlag te doen. Leandie het my, as regisseur, laat harder probeer. Sy het die lang dae en soms se
angs en spanning die moeite werd gemaak. Sy het my ook “Boss” genoem, wat wonders gedoen
het vir my ego.
Marga – Ek is verlief op tannie
Marga al van die kortfilm af. Sy
het ‘n gawe om dialoog – enige
dialoog – op só ‘n manier te sê
dat dit vele vlakke van nuwe
betekenis aanneem. Sy
bevraagteken elke aspek van
haar karakter en moet heeltemal
verstaan wie die persoon is in
wie se vel sy klim. Die aspek van
ons verhouding as akteur en
regisseur wat ek die meeste
waardeer, is haar manier om
persoonlike aspekte van
haarself in die karakter te prop.
Dit het die gevolg dat dit nooit
voel asof jy met ‘n totale vreemdeling op stel te doen het nie, maar eerder ‘n ware, egte deel van
hierdie talentvolle aktrise self. En dit is meer as waarvoor enige regisseur kan vra.
Ian – Voordat ek vir Ian ontmoet het, moet ek erken, was ek effens senuweeagtig. Ian is ‘n movie star.
Niks tussen-in nie. Wat kon ek hom moontlik vertel van die karakter of die draaiboek of watookal wat
hy nie reeds weet nie? Ek was verras en verlig om uiteindelik uit te vind dat Ian meer as net ‘n legend
is – hy is, in ‘n woord, cool. Hy het elke aspek van wie hy speel verstaan en het onsettend baie
moeite gedoen om die klein details van sy karakter op skerm te kry. (Hy was veral opgewonde oor
die pyp wat sy karakter, Dr. Rossouw, moes rook.) Ian se trailer was ook die plek waar gedigte
gelees, biltong geëet en stories vertel is – dit is natuurlik waar ek gereeld draaie moes
maak. Hy het ook, terloops, my sterretekens uitgewerk en, volgens Ian, kan ek gerus
13
Production Notes
uitsien na die toekoms. Dankie Ian.
Grethe – Ek weet regisseurs en die akteurs ens. vertel altyd net hoe wonderlik die ander een is nadat
die fliek voltooi is, maar met Grethe is dit oorweldigend die waarheid. Sy is dikwels in ongemaklike
posisies geplaas vir haar karakter as “Miggie”, en Grethe het nie vir ‘n oomblik teruggehou nie. Sy
gee ‘n sagtheid en absolute loveable-kwaliteit aan ‘n karakter wat maklik as hard of vreemd kan
voorkom. Grethe is baie tegnies-bewus – sy wil altyd weet waar die lig is, hoe die kamera beweeg,
hoe lank haar bewegings moet duur ens. wat dit ‘n absolute droom maak vir enige reggiseur en veral
regisseur van fotografie om saam met haar te werk. Die jare van ervaring wat sy na die projek bring is
niks teen die warm en liefdevolle atmosfeer wat sy van nature om haarself skep nie.
Hoe het dit gevoel om met sulke ervare akteurs te werk?
Daar was nie juis baie tyd vir my om té senuweeagtig te raak oor die akteurs nie. Ek het hulle almal ‘n
paar dae voor die tyd vir die eerste keer saam gehad en ons het mekaar vinnig leer ken. Ek is seker
hy sal nie omgee as ek hierdie storie vertel nie, maar toe ek vir Ian Roberts ontmoet, het hy slegs ‘n
onderbroek as uitrusting aangehad – hy was by die kostuum department, besig om sy klere aan te
pas. Die AD het my inderhaas gevat om hom te gaan sien, sonder om te dink oor wat moontlik
tussen die hangers vir ons kan wag. Hy het my hand geskud en ‘n kommentaar gelewer oor die
weer asof alles heeltemal normaal is. Ian is regtig ‘n ongelooflike cool ou. Dit was eintlik fantasties,
want na die onderbroek-episode was dit amper onmoontlik om geïntimideerd te voel. My ervaring
met al die akteurs – die nuwelinge en die legends – was regtig net ‘n plesier. Elke een het sy of haar
eie manier om die ding aan te pak en met elkeen was daar ‘n unieke ervaring. Ek is regtig ‘n fan van
elkeen van hulle. (Veral Tannie Marga, want sy is die coolste en sy weet dit.)
Vertel van die soektog vir die rolverdeling van Margot.
Die soektog vir ons “Margot” was, in een woord, epies. Om ‘n jong, gretige aktrise vir ‘n rol in ‘n fliek
op te spoor kan miskien na ‘n maklike taak klink, maar om die regte een te kry is moeiliker as wat
mens sal dink. Ons het honderde meisies gesien. Dit het ‘n beitjie gevoel soos Idols soms, wat
oorweldigend was, en heeltemal fantasties eintlik. Die meisies was regtig almal wonderlik – al 400 of
watookal van hulle. Hulle het toneel gespeel, gesing, gedans en meer as enigiets, geglimlag. Party
van hulle het letterlik honderde kilometers gereis om ons te kom sien. Dit was eintlik ongelooflik. Ek
kan wel nie genoeg beklemtoon hoe bevoorreg ons was om uiteindelik vir Leandie Du Randt aan
boord te kry nie. Ek kan haar eerste oudisie onthou – sy was senuweeagtig, maar deur die bewe en
senuwees, was daar ‘n persoonlikheid so onsettend sterk en mooi dat dit amper verblindend was.
Ons het die Lottery gewen met Leandie, regtig. Sy was super professioneel en net ‘n plesier om op
stel te hê. Sy was en is die Margot wat ek myself van die begin-af verbeel het – net soveel beter.
Hoe het jy op die idee vir Die Windpomp gekom? Die Windpomp is eintlik gebore uit ‘n reeks idees wat ek oor ‘n Desember vakansie by
14
Production Notes
my ouers op Jeffreysbaai bymekaar geskraap het, asook dele van ‘n roman wat ek ‘n jaar voor dit
geskryf het (steeds in my laai). So, ja, ‘n tipe Frankenstein skepsel. Die “fountain of youth” aspek van
dit was alles eintlik ‘n bysaak, maar ongetwyfeld gebore van my oorweldigende vrees om oud te
word. Aan die begin van my vierde jaar by filmskool (2011), is ons gevra om ‘n storie klas-toe te
bring, met die idee dat ons ‘n draaiboek op die storie moet basseer. Ek kon die idee van om iemand
anders se storie te moet aanneem en groot te maak nie aanvaar nie. Ek het toe een aand gehad om
‘n kortverhaal te skryf en die volgende oggend in te handig, waarvan Die Windpomp die resultaat
was. Die storie se struktuur, asook die meerderheid van die dialoog, selfs in die vollengte film, het
feitlik onveranderd gebly van daardie oorspronklike kortverhaal af.
Waarmee is jy tans besig?
Ek werk tans aan ‘n paar verskillende stories, meestal draaiboeke. Ek skryf en mede-skryf gereeld vir
ander regisseurs en ‘n paar van daardie projekte sal binnekort, maar stelselmatig, daglig begin sien.
Die volgende film waarvoor ek self die regisseur-werk gaan doen kan een van ‘n paar moontlike
stories wees en ons behoort seker vroeg 2014 finaal op een te besluit. Vir my is die belangrikste ding
nie om soveel stories moontlik te vertel nie, maar eerder om die regte een te vertel. Dit verg soveel tyd
en moeite om ‘n fliek te maak en ek dink net, as mens só ‘n taak aanpak, moet die storie absoluut
die moeite werd wees. Ek stel nie daarin belang om flieks oor boude of borste of mense wat probeer
sing te maak nie, wat ‘n paar deure vir jou as skrywer op die oomblik toemaak. My hoop en doel is
om stories te vertel wat moontlik mense se persepsies van Afrikaanse films kan verander. Dit sal ‘n
goeie dag wees wanneer ons nie meer na ‘n film verwys as “Goed – vir ‘n Afrikaanse fliek” nie, maar
eerder net as “Goed”, of watookal, tenspyte van die taal waarin dit vertel word.
Vertel van die Studente film se sukses.
Die studente film was en sal altyd een van my gunsteling herinneringe wees. Dit was onsettende
harde werk. Ons het alles self gedoen. Dit was niks minder nie as die toewyding en passie van ‘n
handjie vol studente wat daardie projek moontlik gemaak het. Dit was vir ons spesiaal en daaroor het
ons nooit getwyfel nie, maar dit was steeds ‘n totale verrassing om die terugvoering te kry toe ons
uiteindelik die fliek vir ‘n gehoor wys. Ons het nie verwag dat die reaksie so oorweldigend positief sal
wees nie. Die kortfilm is gekies is as die offisiële Suid-Afrikaanse submissive vir die beste "Student
Film Oscar" en in 2013 het dit die SAFTA toekenning vir die Beste Studente Film gewen het. Dit was
‘n warboel van aandag daarna – iets waraan nie een van ons gewoond was nie. Dit was eintlik
fantasties. Ons het so baie geleer uit daardie ervaring uit. Die kortfilm en die proses om dit te maak
sal altyd vir die mense wat dit gedoen het spesiaal wees. Die Windpomp sal altyd aan hulle behoort.
Dit was wonderlik om van hulle op die vollengte film ook te hê.
Hoe is hierdie film anders as die studente film?
Die proses om die vollengte film te voltooi was heelwat anders as die kortfilm. Om mee
15
Production Notes
te begin, het ons nou dubbel die hoeveelheid footage gehad om te skiet, en slegs ‘n dag meer
gehad om dit te doen as op die kortfilm. So natuurlik was dinge ‘n bietjie rowwer die tweede keer. In
terme van storie is die twee baie eenders. Die tempo laat vir meer uiteensetting en karakterontwikkeling toe, wat lekker was om te verken. Die visuele styl van die fliek het feitlik onveranderd
gebly en selfs die ontwerp van die stelle is op dié van die kortfilm gebasseer. Een van die lekkerste
aspekte van die vollengte film was beslis om die oorspronklike musiek daarvoor te ontwikkel . Johnny
de Ridder (Fokofpolisiekar) het aanboord gekom hiervoor en ek kan ook nie genoeg beklemtoon hoe
gelukkig ek hieroor is nie. Johnny is ‘n absolute perfeksionis en – ek weet hy sal dit haat om te hoor –
‘n genius. Die musiek is geskryf spesifiek vir elke toneel, met temas vir verskillende karakters,
storielyne ens. Ek kan nie wag vir mense om dit te hoor nie. Ons het ook ‘n paar liedjies van Die
Heuwelsfantasties in die film, wat ‘n baie groot rol in die kortfilm gespeel het – dit sou weird wees
sonder hulle daar.
Vertel oor die skryfproses, om a kortfilm te omskep in ‘n langer, vollengte weergawe. Wat was die
uitdagings?
Die proses om die kortfilm in ‘n vollengte film-in te transformeer was maar ‘n lang en dikwels pynvolle
proses. Onder gewone omstandighede sou dit ‘n heel straight forward proses wees, maar
omstandighede was selde gewoon. Die oorspronklike plan van die vervaardigers was om die footage
van die kortfilm (54 minute lank) te behou en bloot addisionele teks om dit te konstrueer. Die storielyn
van Die Windpomp is egter redelik dig en presies, met die gevolg dat enige bykomende informasie óf
onnodig was, óf die vorm van ‘n totale nuwe storielyn moes aanneem. Ek kan nou maar eerlik sê dat
ek nooit opgewonde was hieroor nie. Ek het maande spandeer om dit reg te kry, maar toe, skielik en
kort voor ons met verfilming begin, besluit die vervaardigers om dit alles van voor af te skiet. Ek het
toe slegs ‘n paar weke (‘n proses wat oor die algemeen sowat drie of meer maande duur) gehad om
die draaiboek heeltemal, van voor af, oor te skryf. Dit was egter moelik, ná al die maande van skryf
aan die vorige weergawe, om nie meer op daardie manier oor die storie te dink nie. Dit was ‘n skok
op die sisteem en ek is nogsteeds nie seker hoe dit alles in plek geval het nie, maar dit het. Ek het die
draaiboek tydens pre-produksie voltooi.
Hoe was dit om met jou Amerikaanse vervaardiger Chris Roland te werk wat nie Afrikaans verstaan
nie?
Die proses was dikwels frustrerend, om eerlik te wees. Afrikaans is so ‘n unieke taal. Daar is dinge
wat ‘n mens maar net nie behoorlik kan vertaal nie, veral nie ons kleurvolle gesegdes en maniertjies
nie. Dit is ook moeilik om te veg daarvoor as jy self nie altyd seker is waar dit vandaan kom of
hoekom dit gebruik word nie. Dit was eintlik, op ‘n sekere vlak, bitter interessant om dit alles so te
moet bevraagteken. Maar vir my, meer as enigiets, was dit belangrik om Die Windpomp, soos met
die kortfilm, eg-Afrikaans te hou.
Moes jy baie verduidelik oor die kultuur?
16
Production Notes
Soos die taal, is Afrikaanse kultuur ook ongelooflik uniek. Dit kos maar heelwat verduideliking om
iemand wat dit nie verstaan nie te oortuig dat dit “normaal” of selfs vermaaklik is. ‘n Pannekoek by ‘n
kerk bazaar is ‘n goeie voorbeeld hiervan. Jy kan vir iemand verduidelik wat ‘n pannekoek is en
hoekom die kerk partytjies hou, maar vir ‘n Afrikaanse person beteken dit net soveel meer. Dit beskryf
alles vir jou – jy weet watse mense daar gaan wees (tannies met plat skoene, ‘n paar kinders hoog
op suiker, die dominee in gemaklike klere vir ‘n verandering, mense wat goeters brei soos ‘n rokkie vir
jou toiletborsel ens.), jy weet dat daar pannekoek gaan oorbly want die hele oue tehuis bak al vir
weke daaraan en jy weet instinktief dat jy kêrrie-en-rys moet take-away vir aandete. In elk geval, om
‘n hele wêreld – fiktief of nie – só te moet verduidelik vir iemand wat vir die eerste keer daaraan
blootgestel word, is ‘n werk op sy eie. Dit is veral die geval met ‘n storie soos Die Windpomp, waar ‘n
klein segment van tradisionele Afrikaanse kultuur op ‘n meer kleurvolle en dikwels oordrewe manier
uitgebeeld word. Dit is een van die (lekker) verantwoordelikhede van die filmmaker – om ‘n
persoonlike stempel op die bekende te kan sit. En Die Windpomp, meer as enigiets, is vir my
persoonlik. Elke aspek daarvan. En ek sou dit nie enige ander manier wou hê nie.
Leandie du Randt - Margot
Ouderdom: 25
Gunsteling akteur/Aktriese:
Daar is so baie om van te kies en in elke fase van ‘n mens se lewe inspireer of tref ‘n ander movie of
ander akteur jou, maar ek gaan probeer uitkies...
Meryl Streep, Kate Hudson, Lena Dunham, Charlize Theron en Rooney Mara, Anthony Hopkins,
Matthew Mcconaughey, Ryan Gosling en Hugh Jackman.
Gunsteling flieks:
Lincoln Lawyer, How to lose a guy in ten days, The Best Exotic Marigold Hotel, Life of Pi, The girl with
the dragon tattoo en ja, Despicable Me (eks a sucker vir animatons)
Gunsteling akteur/aktrise in Suid-Afrika:
Rolanda Marais, Chris van Niekerk en Ian Roberts
Saam met watter plaaslike en internasionale sterre sou jy graag wou werk?
Plaaslik, Anna – Mart van der Merwe, Albert de Wet en Annie Malan. Internasionaal, sjoe daar is so
baie, al my gunstelinge wat ek genoem het, en veral Charlize Theron!
17
Production Notes
Hoe het jy by Die Windpomp betrokke geraak?
Ek het gehoor van die oudisies oor Jakaranda FM en toe ingeskryf, eerste rondte gemaak, en so het
die oudisie proses begin.
Vertel ons oor die soektog na Margot
Die soektog na Margot was een wat baie geduld en deursettingsvermoë geverg het. My senuwees
was klaar. Ek wou die rol met my hele hart gehad het oor die storie na aan my hart lê en ek regtig kan
relate daarmee en oor ek gevoel het daar is meer aan Margot as net jou normale ‘bubblegum’
karakter en ek was honger vir ‘n uitdaging – sal altyd wees. By die eerste rondte oudisies moes ons
sommer voor mekaar oudisie, wat nogal nerve wrecking is as jy weet jou kompetisie sit en kyk vir jou,
saam met al die producers en regisseur. Na die eerste oudisies, waar daar soos 500 meisies
opgedaag het, was ons uitgedun tot 10 meisies. Daarna moes ons weer gaan oudisie, die keer
alleen saam ‘n casting director darem, en daaruit het hulle ‘n top 3 gekies. Die top 3 was oor die
radio aangekondig en daaruit was die wenner ‘n week later ook oor die radio (jakaranda)
aangekondig.
Hoe het jy gevoel toe jy die rol gekry het?
Wow my hart het so vinnig geklop en my hele lyf was nat gesweet terwyl ek oor die foon gewag het
dat hul nou sê wie die wenner is. Dit was ‘n amazing oomblik in my lewe toe hulle sê ek is die nuwe
Margot, ek was so so so bly en uit my vel uit!
Wat het jy die meeste van jou karakter geniet?
Margot is fun loving, gedetermineerd en weet wat sy wil hê in die lewe. Sy vat die lewe nie te ernstig
op nie en leef elke dag tot sy volle potensiaal oor sy weet hoe skaars tyd is. Haar journey in die lewe
is baie spesiaal en uniek en jul sal sien wat ek bedoel as jul die fliek kyk. Ek mag nie veel meer sê nie
dit sal dit definitief bederf.
Hoe was dit om aan Die Windpomp te werk?
Dit was ‘’n ondervinding wat ek vir niks sal verruil nie. Dit was ‘’n emosionele een ook oor die storie
so pragtig, delikaat en na aan my hart lê. Die hele span en crew was so goed en op hulle pos en
professioneel en dit was net ‘’n lekker produksie om van deel te wees.
Watter uitdagings was daar?
Die grootste uitdaging was die feit dat iemand anders al Margot gespeel het. Dis soos
om Charlize Theron in Monster te moet gaan speel. Mens voel onseker en jy voel jy weet
18
Production Notes
nie of die mense heeltyd gaan dink aan die vorige Margot nie en ek wou dit glad nie hê nie. Dit is
hoekom ek gekies het om nie die kort film te kyk nie sodat ek geen reference van Margot by iemand
anders kry as vanaf myself, die teks en die skrywer en director Etienne nie.
Al wat ek nou al kan se is dat Margot nie ‘’n alledaagse meisie is nie, sy is baie tough en
gedetermineerd, tog so sag en broos terselfdertyd en om dit uit te beeld is nie altyd maklik nie (kom
ons hoop ma dit wys hahaha). Ek het ook deur my eie emosionele journey gegaan tydens verfilming
wat ek moes op sy skuif en op die fliek fokus. Tog weet ek alle uitdagings is blessings in disguise.
Hoe was dit om saam met Etienne Fourie, Armand Greyling, te werk?
Awêtienne, soos ek en Armand hom noem, oor hy heeltyd Awê se..is van sy kop af, mal en geniaal!
Hy het so baie passie, kreatiwiteit, visie, idees en sprankel in sy manier van skryf en direct dat hy ‘’n
mens net aansteek. JY wil net heeltyd meer hoor oor wat in sy kop aangaan, wat hy sien en hoe hy
dink. Ek dink hy is vreeslik talentvol en gaan dit nog vêr maak in die bedryf. Hy kyk verby die normale
manier van skryf en dinge uitbeeld. Hy het so mooi manier om ‘’n storie te vertel. Hy is iets wat SA
nog nooit gehad het nie, amper iets soos ‘’n film maestro!
Armands! Hy is ‘n sweetie pie! What a talented actor. Ek dink Armand is iets wat uit die 50tigs
ontsnap het. HY het ‘’n classic style aan hom wat tydloos is. Ek het dit baie geniet om saam met
hom te speel en hy het my so gemaklik laat voel, veral as iemand wat nuut ingestap het by ‘’n
filmspan en produksie wat al saam geskiet het. Hy het my laat voel soos SY Margot en dit was so
spesiaal. Al het hy al ‘’n Margot van te vore gehad. Ek dink ons het so lekker vriendskap opgebou
gedurende die tyd van verfilming ’n ek hoop dit wys op die skerm. Ons het mekaar ook heeltyd raad
gevra en gegee en geondersteun as ons onseker was oor onsself of ons craft. Ek waardeer hom
baie en hy sal vir altyd my Hendri wees.
Daar is ‘n paar intieme oomblikke met Armand, hoe het dit gevoel om voor a hele span te soen? Die feit dat ek en Armand dadelik gekclick het en instant friends geword het, het baie met die
oomblikke gehelp. Ons het ‘’n goeie verstandhouding gehad en geweet ons doen dit vir Margot en
Hendri. Dit was asof ons regtig daai karakters was vir die maand wat ons geskiet het. Ons het af van
stel af gesorg dat ons baie saam gaan eet of roomys kry en mekaar net leer ken as pelle. Dit is tog
wat groot lovers moet wees , dik pelle. Dit is wat ons wou create.
En ja ’n nogal my eerste dag op stel – en wat kry ek – die grootste love scène van die movie
hahahah, dit was nogal erg. Ek was baie nervous, veral oor ek toe nig nie rêrig die crew geken het nie
so mens is ma nervous ja en glo my; skaam! Maar ek het in Armand se oë gekyk, op hom en Hendri
en ek en Margot gefokus en dit net gedoen. Die crew was darem baie nice daaroor en
het ons baie gemaklik laat voel.
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Production Notes
Hoe was dit om saam met sulke ervare aktuers as Marga van Rooy en Ian Roberts te werk?
Ian Roberts is my gunsteling SA akteur al vandat ek klein is. Om in sy presence te wees is al klaar so
inspiring – deur net na sy stories te luister! Ek is altyd baie teleurgesteld as ek akteurs so verhef en
dan ontmoet ek hul en dan stel hulle my heeltemal teleur. Met Ian was dit die teenoorgestelde. Wat
‘’n lieflike mens, goeie sin van humor en briljante akteur. Ek sal die scène wat ek saam hom in die
bakkie het nooit vergeet nie en ewig dankbaar daarvoor wees. Hy was so sensitief teenoor hoe ek wil
speel en wat ek wil bereik uit die toneel dat hy my heeltyd gevra het hoe hy my as mede akteur kan
help. Ek was soos; wat? Ian Roberts jou legend! Daar leer hy my true humility en karakter waarvaan
legends gemaak is. Plat op die aarde jonk van gees like you can’t believe. What a man.
Marga van Rooy is alles behalwe Worsie se ouma in Vetkoekpaleis soos ek haar leer ken het. Sy het
deernis, ‘’n kalmte wat mens se verstand verbygaan en sy het so baie raad en wysheid as jy net die
tyd in beslag neem om te luister. Marga het my baie geleer, deur haar net dop te hou. Haar kalmte op
stel en in haar karakter is inspiring. Sy is altyd so goed voorbereid en is nie te goed vir enige iemand
nie. Ek het baie waardering vir haar dat sy nog so baie tyd vir ons jong onervare akteurs het, ons is so
dankbaar om by haar te kon leer. Sy is ‘’n baie dankbare mens en dankbaarheid lê my na aan die
hart.
Wat was die hoogtepunt op stel?
Dit is so unfair question. Elke oomblik is vir my magical in sy eie reg. As ek moet uitsonder sal ek sê
die laaste aand van skiet toe ons in die koue in die dam moes swem en daarna gewrap het en saam
almal tears of joy geshare het.
Wat was van die snaakste oomblikke op stel?
Ek kan nie dit sê nie, maar Dit sal embarrassing wees vir iemand anders. ; )
Wat was die hoogtepunt vir jou?
Die hele fliek was ‘’n hoogtepunt. My karakter het so baie layers en verskillende tipe scenes gehad
dat ek hulle nie met mekaar kan vergelyk nie. Elke dag op stel was fun en laughter. Om te doen
waarvoor ek lief is en gechallenge te word daarin, dit is vir my ‘’n hoogtepunt, en dit is vir my ‘Die
Windpomp’.
Hoe was dit om met die span van ZenHQ te werk?
Absoluut puik en professioneel. Altyd op tyd. Sorg so mooi vir ons akteurs. ZenHQ dink
aan dinge wat mens nie geweet het jy gaan nodig hê nie, tot jy dit nodig het, dan is hulle
soos; got it! Baie dankie!
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Production Notes
Hoekom moet jy Die Windpomp gaan kyk?
Dit sal jou lewe verander.
Dit sal jou opinie oor die liefde en sy ‘beperkinge’ verander.
Dit sal jou belangstelling vir Suid-Afrikaanse produksies hernu.
Waarmee is jy tans besig? Ek is tans besig met die Afrikaanse reeks ‘Vlug na Egipte’ deur Paul C Venter. Daarna het ek ‘’n
ander reeks in die pyplyn vir 2014, Kloofstraat, sowel as ‘’n paar ander films. Ek mag nog nie detail
noem nie, maar watch this space.
Ek is ook nou besig met die finale editing proses van my eerste boek wat in Mei 2014 deur Random
House Struik uitgegee word. Die boek is in Engels en Afrikaans en is vir tienermeisies. Dit handel oor
hoe om gemaklik te wees in jou eie vel.
Armand Greyling - Hendri
Ouderdom: 22
Gunsteling flieks:
Fight Club, The Dark Knight Trilogy, Moulin Rouge, Independence Day, Captain America, Inception
Gunsteling akteur/aktrise:
Will Smith, Brad Pitt, Ashton Kucher, Charlize Theron, Angelina Jolie, Emily Blunt
Gunsteling akteur/aktrise in Suid-Afrika:
Ian Roberts, Tobie Cronje, Marga van Rooy
Saam met watter plaaslike en internasionale sterre sou jy graag wou werk?
Plaaslik dink ek, ek was bevoorreg om saam met akteurs te speel saam met wie ek nog altyd wou.
Sal defnitief saam met Tobie Cronje aan n produksie werk. Internationaal sal ek graag saam met Ryan
Gosling iets wil doen, hy het die acting industrie nogals verander. Ek sal ook altyd saam
met Steve Carell werk, daai bra is funny.
21
Production Notes
Hoe het jy by Die Windpomp betrokke geraak?
Dit is nogals n snaakse storie, in my 2de jaar by AFDA was al die 2de jaars gevra om uit te help op n
4de jaar film stel. Ek was die assistent oorspronklik vir die produksie ontwerper. Omdat ek ook n
akteur was het ek vir Etienne aangebied om uit te help met die castings. Een oggend bel hy my en
vra of ek later die dag kan inkom, ek het aangeneem dit is om uit te help. Toe ek daar aankom se
Etienne vir my ek kom nou audiesie… Ek het nie die woorde geken nie maar ek het dit baie vinnig
geleer. Hy praat toe met my oor die karakter en toe spring ek kop eerste in die audiesie in. Na die tyd
stres ek en loop hom buite raak, sy woorde aan my was “dude jy het my mind geblow”. Later daai
selfde dag kry ek n oproep van n baie opgewonde Etienne, toe se hy vir my ek het die hoofrol en toe
vat ons dit van daar af.
Hoe was die studente film anders as die langer versie?
Die kort verhaal het baie minder geld gehad en almal moes maar help waar hulle kon, ons het n
fantastiese span gehaad wat dit ook moontlik gemaak het dat alles volgens plan verloop, maar soos
enige student film het alles nie volgens plan verloop nie, dit is nou maar hoe studente films is. Van my
kant af het ek ook minder ervaring gehad as toe ons die lang verhaal geskiet het. Ek kan nie regtig die
twee van die films met mekaar vergelyk nie maar wat ek kan se is dat altwee tot dusver twee hoogte
punte is in my lewe. Die langer verhaal was baie meer profesioneel en dit was lekker om te sien sodat
ek weet dit is hoe die industrie gaan wees vir my van hier af voorentoe. Lekkerste tye van altwee was
om nonsense te praat met die span op en van stel af.
Het jy enigiets in gemeen met jou karakter Hendri?
Ja, ek was soos Hendri op n stadium in my lewe. Dit het my net so 10 jaar terug gevat waar mens
nog skaam is om met meisies te praat en sal belaglike dinge doen om hulle te beindruk. Hy is maar
baie onseker van homself en speel eerder klavier as wat hy iets sosiaals doen. Liefde vir musiek is die
grootste ding wat ek en Hendri in gemeen het en ek dink dis hoekom ek hom so geniet het. Baie
mense het al gese ek is soos Hendri wat my laat dink, is ek regtig so awkward…
Wat het jy die meeste van jou karakter geniet?
Ek het dit geniet dat hy bietjie pateties was maar in sy eie kop het alles sin gemaak en was hy nogals
cool vir homself. En dan om verlief te raak, ek is maar ‘n “hopeless Romantic” en ek dink Hendri ook.
Hoe was dit om aan Die Windpomp speelfilm te werk?
Dit was wragtig waar een van die lekkerste goed wat ek al gedoen het in my lewe. Dit
het my baie geleer en vir my gewys wat ek wil doen vir die res van my lewe. Hierdie was
22
Production Notes
my “lucky break”. Al die mense op stel was briljant, die akteurs saam met wie ek gewerk het was
pretty damn sweet. Ons het gelag, ek, Leandie en Tannie Marga het gehuil maar uit en uit was dit als
‘n Goeie tyd.
Watter uitdagings was daar?
Grootste uitdaging was vir ‘n tweede keer vir my om met klere en ‘n graaf te swem, mens dink dit sal
maklik wees maar toe nou nie, in die kort verhaal kon ek dit maklik doen want ek het minder klere
aan gehad, in die lang verhaal het ek amper verdrink. Dit was snaaks vir ander mense, nie my beste
tyd nie. Die huil scene was snaaks genoeg nie so veel van n uitdaging nie, veral nie as jy teenoor
Leandie of tannie Marga werk nie, die mense op stel het sommer saam met ons begin huil…
Hoe was dit om saam met Etienne Fourie, Leandie Durandt te werk?
Om saam met Etienne te werk was van die begin tot die einde ‘n voorreg. Ons het ‘n
gemeenskaplike verstandhouding gehad en ek het vir hom geluister. Hy het altyd net gese “vertrou
my, vergeet van die ander mense” en dit is wat ek gedoen het. Hy het uit sy pad uit gegaan om seker
te maak sy storie word vertolk die manier wat hy moet. Van stel af en op stel het daai dude se brein
“non stop” gewerk. Nog nooit iemand so hard werkend en gefokus ontmoet nie.
Om saam met Leandie te werk was AMAZING. Vandat ek haar ontmoet het, het ons baie goed oor
die weg begin kom. Sy is n briljante aktriese en ‘n stunning mens. Ons kon ook so lekker van mekaar
af speel. Selfs na die film het ons mekaar n paar keer gesien en het goeie vriende geword. Die
energie wat sy elke dag op stel gebring het en haar profesionaliteit was iets van n ander kaliber.
Regtig ‘n great mens.
Daar is ‘n paar intieme oomblikke met Leandie, hoe het dit gevoel om voor ‘n hele span te soen? Dit was gemaklik gewees, ek het bietjie gevoel soos ‘n dier in die dieretuin maar dit is nie hoe mense
dink dit is nie. Dit is lekker om te se ek word betaal om met mooi meisies te vry maar dit is maar my
werk… Ek klink soos ‘n Chip ‘n Dale.
Hoe was dit om saam met sulke ervare aktuers as Marga van Rooy en Ian Roberts te werk?
Om saam met Marga van Rooy te werk was iets wat ek nie gedink het met my sal gebeur nie. Ek was
nog op laerskool toe ek haar elke aand op Vetkoek paleis gekyk het. Ek het baie tyd saam met haar
spandeer en sy herhinner my aan my ouma so dit het vir my soos familie gevoel. Briljante aktriese.
Beter Vrou.
Om saam met Ian Roberts in dieselfde film te speel is n droom wat in Suid Afrika vir my waar geword
het. As hy n storie begin vertel kan mens nie help om te stop, om te draai en te luister
nie. Hy het so baie al gedoen en ek het soveel respek vir hom as ‘n akteur en mens.
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Production Notes
Wat was die hoogtepunt op stel?
Ek dink vir my was een van die hoogtepunte toe ek kon speel saam met n klomp akteurs wat my so
baie leer. Daar was een toneel waar ek van stel af gestap het en ek kon trane in mense se oe sien. Dit
het legit gevoel, of hulle het gehuil om dat dit sleg was weet ek nie, maar ek gaan maar ‘n optimis
wees daaroor.
Wat was van die snaakste oomblikke op stel?
Die snaakste oomblik vir my was toe ek en Leandie vir die prop meisie begin staar het en Leandie se
vir my “Jig C het ‘n mooi lyf” en ek stem toe saam en se “ja sy het nogals ‘n sexy body” Etienne
staan toe op en skree “Julle microfone is aan en almal kan hoor wat julle se!”. Nodeloos om te se het
ons nie gou weer op iemand saam geperv nie.
Wat was die hoogtepunt vir jou?
Toe ek die windpomp moes opklim, ek was vier verdieppings hoog, nogals waaghalsig gewees.
Hoe was dit om met die span van ZenHQ te werk?
Om saam met ZenHQ te werk was maar net n voorreg, hulle het so mooi na my gekyk. Nie gedink op
die ouderdom sal ek al my eie trailer he nie. Elke dag was hulle vriendelik en geduldig met my want ek
kan soms hande uit ruk. Dit het vir my soos n klein familie begin voel. Chris was die pa en Lee-Ann die
ma, en natuurlik was Tannie Marga die ouma. Ek sal defnitief weer saam met hulle werk. Dankie vir die
geleentheid.
Hoekom moet mense Die Windpomp gaan kyk?
Die Windpomp is in die Afrikaanse industrie ‘n nuwe begin vir film. Dit het nie nonsens in wat ons jaar
na jaar kyk nie. Dit is ‘n briljante storie lyn, ‘n briljante cast en goeie taal gebruik. Dit is die eerste van
sy soort in Suid Afrika. Of selfs dalk die wereld.
Waarmee is jy tans besig? Ek het tyd aan my musiek begin afstaan, dit is my ander droom om my eie CD uit te bring en elke
aand op te tree. Ek werk by ‘n restaurant Star Dust waar ek amper elke aand optree. Gaan vir
castings in die dag en sing in die nag. Ek het in retail vir ‘n ruk gewerk maar dit was tyd mors.
Wat is die plane vir die toekoms?
Om aan te hou toneel speel en te sing maar nie net in Suid Afrika nie, ek weet dit is
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Production Notes
cliché maar ek is gemaak om reg oor die wereld op te tree. My ligaam is gebou soos n masjien vir die
werk, en ek sal my droom volg.
Grethe Fox - Tannie Miggie
Ouderdom, ag nee, ek bespreek nooit ouderdom in ‘n onderhoud nie. Ek weier om gekategoriseer te
word, in ‘n boks geplaas te word, in hierdie land.
Wat is jou gunsteling film/s?
Te veel om te noem, maar my gunsteling
films is gewoonlik Europees, veral
Skandinawiese films en sommige
Oosterse films, nou en dan ‘n
onafhanklike Amerikaanse film. Ook die
werke van verskeie Suid-Amerikaanse
regisseurs.
Wie is jou gunsteling akteur/aktriese,
internasionaal en plaaslik?
Ek hou van baie akteurs, maar my
gunsteling op die oomblik is Marion Cotillard en Javier Bardem.
Dit sal nie diplomaties wees van my nie, om sekere Suid Afrikaanse akteurs uit te sonder nie.
Met watter internasionale akteurs sou jy graag wou werk?
Natuurlik sal ek graag wil werk met enige uitsonderlike akteurs, veral Europees en Brits.
Hoekom het jy ingestem tot die rol van Miggie?
Natuurlik wou ek Miggie speel want die draaiboek en rol is briljant.
Kan jy in enige aspek identifiseer met die rol van Miggie?
Ek identifiseer nie eintlik met enige aspek van Tannie Miggie nie maar ek het die humour en
“quirkiness” van die karakter geniet. Ek self is baie meer teruggetrokke.
Hoe was dit om met nuweling Etienne Fourie as regisseur te werk?
25
Production Notes
Ek het dit regtig geniet om met Etienne en sy span te werk. Etienne het ‘n fyn sin vir detail en estetika
wat ek besonders waardeer. Die skoonheid van die beeld is alteveel vergete in Suid-Afrikaanse films
en ek dink Etienne bring ‘n vars oog na die plaaslike film arena, ‘n briesie varse lug. Die sorgsaamheid
in die kuns -en kostuumontwerp was buitengewoon.
Wat was die uitdagings?
Die uitdaging is altyd om iets van kwalitiet te vervaardig in ‘n beperkte tydsbestek. Tyd is ‘n luukse
wat ontbreek in ons industrie want ons moet wonderwerke skep met baie lae begrotinge.
Jy het al met Ian Roberts gewerk, hoe was dit hierdie keer om saam te werk?
Dis ‘n plesier om te werk met ervare akteurs soos Ian Roberts en Margaret van Rooy met wie ek al
vantevore gewerk het, in besondere Ian. Ons het al baie vantevore saamgewerk en om dit weer te
doen was ‘n voorreg.
Hoe was dit om met nuwelinge Leandie en Armand te werk?
Om met nuwe talent te werk, Armand en Leandie was groot pret en verfrissend.
Wat was van die snaakse oomblikke op stel?
Die snaakste oomblikke op stel was die middernag swemsessies in die dam op Lourensford wat ons
in die vroeg-oggende geskiet het. Ons het skreeusnaaks gelyk in ons velkleurige duikpakke onder ons
klere, om ons warm te hou.
Hoekom moet mense Die Windpomp gaan kyk?
Ek dink mense moet Die Windpomp gaan kyk want dis ‘n debuutwerk deur ‘n jong regisseur met ‘n
groot toekoms en dis die eerste van sy soort in die Suid-Afrikaanse rolprent wereld. Die storie en plot
is indrukwekkend en baie uniek.
ROLVERDELING BIOGRAFIE
Leandie Du Randt
Leandie du Randt is ‘n energieke, passievolle en vasbeslote individu met 'n eindlose waardering vir
die lewe en maak tans haar merk in die wêreld van toneelspel. Leandie het haar
Honeurs in Bedryfsielkunde aan die Universiteit van Johannesburg voltooi, maar werk
tans as ‘n aktrise, model, seremoniemeester en roepstem kunstenaar oor haar
26
Production Notes
voorliefde om mense te vermaak.
Leandie se werk sluit in 4 seisoene van die gewilde Kyknet reeks ‘Getroud Met Rugby’ waar sy die rol
van Mieke vertolk het. Sy het ook in ‘n string rolprente verskyn, naamlik ‘Egoli-The Movie’, ‘Susanna
van Biljon’, ‘Semi-Soet’en ‘Klein Karoo’. Haar mees onlangste werk sluit in 'n nuwe Afrikaanse reeks
‘Vlug na Egipte’, asook ‘Moeggeploeg’ wat in 2013 vir die eerste keer verskyn het. Leandie glo vas
dat n mens altyd jouself moet wees, maar die beste jouself wat jy kan wees. Kyk uit vir Leandie, sy
gaan nog groot hoogtes bereik!
Ian Roberts
Ian Roberts is 'n akteur, dramaturg, sanger en 'n uiteenlopende goeie mens. Kykers sal hom herken
vir sy rolle in dramareekse soos Arende en 'Snitch', asook vir sy karakter Boet in die reeks gewilde
Castrol Motorolie advertensies. Hy het in talle reekse en rolprente verskyn soos 'Number 10', 'Tsotsi',
'Red Dust', 'King Solomon's Mine' en MNET se gewilde reeks 'The Wild' waar hy die rol van Karl van
Reenen vertolk het van 2011-2013.
Ian Roberts was gebore in Fort Beaufort in die Oos-Kaap waar hy op ‘n sitrus plaas groot geword
het. Hy het skool bygewoon by St. Andrew's Preparatory School en St. Andrew's College in
Grahamstown. Nadat Ian 'n verskeidenheid van werke gehad het en 'n kurus in fotografie aan die
Port Elizabeth Technical College voltooi het, het hy in 1976 by Rhodes University ingeskryf waar hy sy
BA in Spraak, Drama en Sosiale Mensekunde ontvang het.
Marga Van Rooy
Marga van Rooy is een van Suid-Afrika se mees geliefde aktrises. Haar mees geliefde rol is dalk vir
die vertolking van Ouma Ellie in Mollie en Wors op Kyknet. Marga het grootgeword op ‘n plaas in
Burgersdorp, Noordoostlike-Kaap, en is vandag die trotse ma van vyf kinders en ouma van vier
kleinkinders.
Marga het twee BA grade tot haar naam, asook ‘n Honeurs in Drama vanaf die Universiteit van
Pretoria. Sy het haar loopbaan as ‘n aktise begin in 1960 by PACT en was al genomineer vir verskeie
toekennings as aktrise en dramaturg, insluitend die FNB Vita Toekenning. Vanaf 1996-2000 het sy
die rol van Ella vertolk op die gewilde televisie reeks ‘Vetkoekpaleis’. Van daar af het sy die land
getoer en die publiek oorwin met verskeie solo optredes, insluitend Wat is 'n Huis sonder Worsie se
Moeder. Sy was onlangs te sien in Mollie en Wors - Die Rolprent, asook ‘Fanie Fourie se Lobola’ wat
internasionale toekennings ontvang het.
Grethe Fox
Grethe Fox is mees bekend vir haar rol in SABC1 se Soul City as Karen van Niekerk
vanaf 1999-2003. Grethe is 'n aktrise met ‘n energieke passie vir die kuns wat beide op
verhoog en televisie verskyn. Sy is opgerig deur die UCT drama afdeling en het verdere
27
Production Notes
opleiding ontvang in die kuns van mimiek en teater by die Jacques Lecoq School of Mime and
Theater in Parys, Frankryk. Grethe het 11 toekenning nominasies vir haar werk in teater en ‘n verdere
6 toekennings onvang vir beste aktrise in film en televisie. Grethe was een van agt bekendes wat op
Strictly Come Dancing se tweede seisoen verskein het. Al het sy nie gewen nie, het sy baie pret
gehad. Sy het in verskeie roplrente en reekse verskein soos ‘Jail Caeser,’ ‘Nothing But The Truth’,
‘Big Fellas’ en die bekroonde drama ‘The World Unseen’.
Armand Greyling
Armand Greyling is dalk ‘n vars gesig in die wêreld van toneelspel, maar moet glad nie onderskat
word nie. Armand het in Pretoria grootgeword, maar na Kaapstad verhuis waar hy ‘n BA Honeurs
met onderskeiding voltooi het aan die Universiteit van Stellenbos. In 2008 het Armand ‘n klein rol
geland in die bekende tiener-komedie Bakgat en vandaaraf geweet dat hy ‘n akteur wil wees.
Behalwe dat Armand ‘n talentvolle akteur is, is hy gebore om te vermaak en bewys sy talente oor en
oor as seremoniemeester, musikant en sanger. Die Windpomp is Armand se debuut tot die
silwerskerm.
FILMSPAN BIOGRAFIE
Etienne Fourie – Regisseur /Skrywer
Etienne het sy honeursgraad in Rolprent Medium van ADFA Filmskool in Kaapstad en al verskeie
kortfilms musiekvideos geregisseer, onder andere:
Wrestlerish en Zondernaam, wenner van die 2010 MK Rockspaaider kompetisie.
Etienne se advertensies sluit in “Sleeping Children Around the World”(genomineer vir ‘n Loerie
toekenning 2011) en “Wishing Well” vir Ster-Kinekor se ‘Vision Mission’ (wenner van Loerie
toekenning 2012). Etienne het beide die Beste Regisseur en Beste Draaiboek toekenning gekry by
die 2011 AFDA graduerings seremonie vir sy kortfilm Die Windpomp, en ook die SAFTA toekenning
vir die kortfilm in 2013. Die Windpomp was vertoon by die 2012 Durban Internasional Film fees sowel
die 2012 Grahamstad Nasionale Kunstefees.
Etienne het twee speelfilm lengte draaiboeke geskryf vir regisseur Regardt van den Bergh, namelik Die
Bakker en Klein Karoo, laasgenoemde is ook die eerste Afrikaans film wat internasionaal in teaters
wys (Australie, New Seeland). Etienne het ook die speelfim Strikdas mede geskryf en was draaiboekdokter op vele ander projekte.
In 2013 het Etienne die vollengte speelfilm Die Windpomp geskryf en regiseer. Hy is tans besig met
verskeie projekte in ontwikkeling, insluitend ‘n paar speelfilme, asook ‘n roman.
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Production Notes
Chris Roland – Vervaardiger
Chris Roland, eienaar van ZenHQ Films, was betrokke by uiteenlopende films en televisie-reekse wat
toekennings ontvang het as die beste in verskeie kategorieë op filmfeeste en/of genomineer was vir
‘n Oscar, Golden Globe, BAFTA of SAFTA, waaronder Hotel Rwanda (Don Cheadle; Sophie
Okonedo), Charlie Jade (waarvan hy die skepper was), Stander (Thomas Jane, Deborah Kara-Unger)
Three Needles (Lucy Liu, Olympia Dukakis) en Man to Man (Kirsten Scott-Thomas, Joseph Fiennes)
val. Bordering on Bad Behavior (Tom Sizemore) word in Julie 2014 in die VSA and SA vrygestel.
Roland se mees onlangse film, geoormerk vir vrystelling in 2014, is The Forgotten Kingdom; ( Zenzo
Nqobo), het alreeds 6 internasionale toekennings gewen. Roland is ook die eienaar van My Movies,
‘n televisie verkoops en distribusie maatskappy. ZenHQ Films het ook verteenwoordiging in Los
Angeles in die VSA.
Lee-Ann Cotton – Vervaardiger
Lee-Ann Cotton is ‘n gegradueerde dokumentere film maker, afgstudeer by die Nederlandse film en
televisie akademie in Amsterdam in 1998. Haar dokumentere film Saturdays Are For The Dead het
die beste documenter film toekenning gewen by die Afrika en Latins Amerikaans film festival in Milan
in 2007.
Lee-Ann het in die televisie wereld gewerk as vervaardiger en skrywer sedert 1998 in die nuuskamer,
current affairs vir Etv, sy het ook vryskut werk gedoen vir Endemol en Top Billing as inset vervaardiger
en het ook die 13 deel realiteit serie Our House wat ‘n SAFTA gewen het, mede-vervaardig met Chris
Roland vir ZenHQ Films. Sy het die speelfilm-arena binne-gestap met Tunnel Rats en Darfur (Billy
Zane, Kristana Loken) en huidiglik Die Windpomp (Marga van Rooy, Ian Roberts), haar grootste
projek tot dusver.
Johan Prinsloo - Sinematograaf
Johan het sy BA honeurs graad in Rolprentmedium by AFDA Kaapstad in 2011, met as hoofvak
Kinematografie. Johan het verskeie films en musiek videos verfilm vir musiekgroepe, wat insluit die
Wrestlerish, The Great Apes, The Plastics, en die 2010 MK Rockspaaider wenners Zondernaam.
Advertensies wat hy geskiet het, sluit in Sleeping Children Around The World (genomineer vir ‘n 2011
Loerie toekenning) en Wishing Well vir Ster-Kinekor se Vision Mission (wenner van ‘n silver Loerie
toekenning in 2012).
By die 2011 AFDA toekennings het Johan die beste Kinematografie toekenning gekry vir Die
Windpomp, wat in 2012 genomineer was vir ‘n studente Oscar en het die SAFTA gewen het vir die
beste studente kortfilm in 2012. Die film het ook vertoon by die Durban International Film Festival en
die 2012 Graham's Town National Arts Festival. Johan het ook as kameraman gewerk aan die
televisie series op die The Ultimate Braaimaster and Charly’s Cake Angels. In 2013 het
Johan met Etienne Fourie hul eie maatskappy gestig Figure One Films, en is tans besig
is om aan ‘n nuwe speelfilm te werk.
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Production Notes
ENGLISH
SYNOPSIS
Short synopsis
The Windmill is a quirky and
endearing love story. While
spending their summer holiday in a
retirement village with their
grandparents, Hendri and Margot
meet and fall in love. But their love
is tested in more ways than either
could have ever imagined.
Medium Synopsis
The Windmill is a quirky and
endearing love story about 20 year
old Hendri, who arrives on the
doorstep of a retirement village to live with his grandfather. Shortly after arriving, Hendri is taken under
the wing of an elderly neighbour who forces him to take regular baths at her house.
One night, Hendri follows three figures into the forest and finds a peculiar sight – elderly folks diving
into a dam, a windmill rising from its moonlit centre. A beautiful young girl appears from amongst the
trees in the darkness and introduces herself as Margot. Hendri is immediately smitten with this
mysterious girl, and Margot is equally taken with Hendri.
As Hendri’s and Margot’s summer romance blossoms, it soon becomes clear that all is not what it
seems in this unusual village.
Longer version
There's Something in the Water…
The Windmill is a quirky, endearing and often humorous fantasy love story that revolves around 20
year Hendri who arrives on the doorstep of his grandfather’s retirement village. Hendri's world is soon
infested by garden ornaments, bingo nights and the weird and wonderful behaviour of the
inhabitants. Hendri is taken under the wing of a kind, elderly neighbour, Tannie Marietjie,
who forces him to take regular baths at her house after a mild catastrophe concerning
30
Production Notes
their plumbing.
During a sneaky late night cigarette, Hendri spots and follows three silhouetted figures into a forest
and finds more than he expected – elderly folks diving into a vast expanse of water, a windmill rising
from its moonlit centre. A beautiful young girl appears from amongst the darkness and introduces
herself as Margot, Tannie Marietjies’s granddaughter. Hendri is immediately smitten by his mysterious
new friend, and Margot is equally taken by Hendri.
As Hendri and Margot’s summer romance begins to blossom, their relationship becomes a source of
tension between others in the village, so much so that Tannie Marietjie is forced to send Margot away
without any plausible reason. But when Margot unexpectedly returns to the village, Hendri is shocked
by what he discovers. In this retirement village, nothing is as it seems, and Hendri must come to
terms with an impossible relationship and his own growing concerns for Margot’s well being.
ABOUT THE PRODUCTION
BEGINNINGS
A giant leap forward in Afrikaans filmmaking, Die Windpomp represents a goal set by its American
producer Chris Roland (Stander, Hotel Rwanda). From the beginning, even though he didn’t speak a
word of Afrikaans, with the exception of “a boer mak a plan”, Roland wanted to make an Afrikaans
film that was highly entertaining and also respected the Afrikaans community.
“The Afrikaans people are huge movie fans, and I eat, breath and sleep films. After some research
and interviews, we learned that the Afrikaans community wanted movies that were “Hollywood”
quality but in Afrikaans, meaning a film with a good story, not too heavy, not too slapstick, and with
high production values. So we set out to make a movie they would embrace and be entertained by,
and set a goal to make the best Afrikaans film they had ever seen.” But Roland was finding it difficult
to find the right story, until…
Roland met Die Windpomp’s writer/director Etienne Fourie while guest lecturing at AFDA film school.
Fourie was in his fourth and final year and was developing the short version of Die Windpomp as his
graduate film, a kind of thesis for filmmakers.
Later that year, Roland was invited back to judge the student films screening at a local cinema. “I
watched something like 20 short films over the weekend, some a few minutes, others
48 minutes. I was blurry eyed by the end of the second day. And then the lights dimmed
and another film began. Within minutes, in a theatre filled to capacity with an audience of
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300, you could hear a pin drop. This was the first time I saw the story for Die Windpomp unfold. At
the end of it, there and then I told AFDA’s owner Garth Holmes that I wanted to option the story and
develop it into a feature length film.”
A few weeks later Fourie met again with Roland and Lee-Ann Cotton, who co-own ZenHQ Films in
Cape Town. It was decided to expand the existing short film by shooting almost an hour of new
material and cut it together. After several draft scripts, including some bizaare storylines involving
preachers hanging from windmills and pregnant senior citizens, which Roland and Cotton now look
back on affectionately, the team realized they needed to scrap the short film and shoot a whole new
film from scratch. Fourie set about writing a new script incorporating the same story and many of the
same scenes from the short.
In spite of not having a final script, Roland convinced Nu Metro that Die Windpomp would be a major
hit. “It was either good salesmanship, or Nu Metro’s Debbie McCrum just wanted to shut me up,
because after some fairly heavy pitching based on a half finished script Nu Metro agreed to distribute
and finance part of the film. The one thing about Die Windpomp I have always expressed
passionately is the story. I knew Etienne would get the script right and we would eventually make an
endearing, humorous and moving film. I never doubted it. I asked him to go back to his original short
story and keep it simple, not to complicate it. He kept writing and we kept up the development.”
As the feature film was going through development, the short film was gaining some notoriety,
including becoming South Africa’s official entry into the Student Oscars. And then the feature film fell
apart, not uncommon for independent films, as one of the financiers needed to shift funding for the
current year to the next year.
The producer’s scambled to find new financing, but this was right at the height of the worldwide
economic crisis in 2011 and money was scarce. “It is the worst feeling when a project gains
momentum, when you invest blood, sweat and tears and suddenly the light at the end of the tunnel
goes pitch black.” Laments Roland. “Having to tell everyone there is a delay is about as fun as
sticking hot needles in your eyes. We had made a commitment to develop and produce local films,
and it was proving to be a challenge.”
And then an angel arrived…
“Even in the face of overwhelming odds, he didn’t give up.” Says Cotton discussing her
partners unflinching commitment to all things positive. “He believed in the story, and he
believed in Etienne, even though others were having doubts. That’s Chris’ real strength,
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his ability to will something into happening. I made a call to a close friend who I knew was looking for
a challenge. I pitched her the story, and asked if she would like come on board as an Executive
Producer and raise the balance of the financing.” Then Roland got on the phone, and Anna-Lynne
Marais joined the team.
Marais attended film school in Amsterdam with Cotton, but ultimately didn’t persue a filmmaking
career. While she had little experience making movies, she knew a good story when she heard one.
With the zeal of a military commander, she called everyone she knew and many she didn’t, and
within a short peiod of time, Die Windpomp was financed. “Anna-Lynne and Lee-Ann both amazed
me. They are the reason this film was able to be made. I am often, secretly, humbled by what they
pulled off.” Says Roland. In addition to the financing rasied by Marais, the film received funding from
the Deparetment of Trade and Industry production incentive. Without the DTI rebate, which equaled
35% of the South African spend, The Windmill would not have been possible.
Now the producers could start casting, including their female lead Margot who they knew had to be
someone very special. Margot had to have a spark, be at a place in life where her energy is infectious
and rubs off on everyone else. She also had to be a good fit for Armand Greyling, the actor who
originated Hendri in the AFDA short film who was invited back for the feature film.
Rather than the traditional casting director route, the production teamed up with Jacaranda FM and
announced a nationwide talent search for Margot. Hundreds of hopefuls attended “Idols-like”
auditions in both Cape Town and Johannesburg. After some tough deliberations over several days,
the choice was narrowed down to three potential Margots. The choice for Margot was made live on
Jacaranda FM, and Leandie Du Randt landed the role.
With Margot cast, Fourie and the producers went after the remaining lead roles. Both Sean-Marco
Vorster and Marga van Rooy were invited back to recreate the roles of Peter and Tannie Marietjie,
which they played in the short film. To round out the cast, Roland and Fourie wanted Ian Roberts to
play Dr. Rossouw and Grethe Fox to play Miggie. To their surprise, both Roberts and Fox quickly
accepted the roles. “For me it’s always about the quality of the script” says Ian Roberts. “I said yes to
the role because the script and story were exceptional. That doesn’t come around too often.”
“Marga, Grethe and Ian are legends, among the best actors in South Africa. I was overwhelmed, and
even slightly intimidated to have this cast on the film.” says Fourie. “They were all great to work with
and turned in performances beyond my expectations.”
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The decision was made to bring back some of the key crew that worked on the short, and put them
together with experienced crew. This was a challenge, pairing up experienced crew with less
experienced film school graduates as there are certain expectations during the production process,
which the newer crew had not yet had time to learn. The crew from the short film returning for the
feature film includes the film’s cinematographer Johan Prinsloo, editor Mario Kowarz and wardrobe
designer Azell Bartizal.
Even though Prinsloo felt a bit nervous by his very experienced camera, grips and lighting team, he
approached the daily work as if he had several films under his belt. “Etienne and I agreed that we
would approach each shot as if it were a work of art on its own.” Says Prinsloo. “With the short
shooting period, having such an experienced team to work with made this possible.”
The film’s main locations included some that were used for the short film, i.e. Silvermine Retirement
Village in Noordhoek for Winterbessie, and the Lourensford Winery in Stellenbosch, which forest and
damn doubled for the area surrounding the ficticious town near the village. The location of the
windpomp had to be magical, beyond anything we would have found. It was decided early on to
create much of it employing visual effects and compositing live action elements. The result is a very
magical place.
Roland knew he wanted to do all the post-production and visual effects in Johannesburg at Refinery,
even though it made it more logistically challenging since ZenHQ Films and Fourie are based in Cape
Town. “Refinery was the only place I could imagine getting the quality we wanted. We could have
saved time and money settling for less by going elsewhere, but I knew from our research that our
audience was expecting more.”
On the final day of post-production over two years after starting the project, Roland, Fourie and
Cotton looked at each other. It was done, the film was ready for an audience. To make sure it was
perfect, test screenings were held in Cape Town and Johannesburg. Information gleaned from exit
polls was analysed and used to effect changes for the final cut of the film. The result is an endearing
and often humorous fantasy love story with unexpected twists, praised by the test audiences as the
best Afrikaans film they had ever seen.
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CHARACTERS
HENDRI, played by Armand Greyling:
Hendri is one bored teenager. After being forced to move in with his grandfather, Hendri is confronted
by the eccentric and colourful lifestyles of his new elderly neighbours in a retirement village. Armed
with a dry wit, a pair of binoculars and the growing suspicion that he is more alien to this world than
he could have ever predicted, Hendri sets out on a journey of self-discovery, romance and unearthing
the mysteries of his new surroundings.
TANNIE MARIETJIE, played by Marga van Rooy:
Kind and elderly neighbour, Tannie Marietjie, takes a reluctant Hendri under her wing. More than
keeping him fed, Marietjie invites (forces) Hendri to come and take regular baths at her house after a
mild catastrophe regarding the plumbing at Grandpa's house. Tannie Marietjie, the mother figure to
the group of friends, introduces Hendri to the wonders of life in a retirement village and even more, to
a friendship beyond either of their imaginings.
MARGOT, played by Leandie Du Randt:
Margot, sarcastic yet charming, gives ballet lessons to toddlers during the holidays. With the
retirement village as her playground, Margot often drags a reluctant Hendri along on her impromptu
adventures, often with unintended consequences. However the biggest adventure of all, romance, is
one that she is fully prepared for.
DR. ROSSOUW, played by Ian Roberts:
The doctor to the good folks of Winterbessie Dagbreek, Rossouw's path of responsibility becomes
twisted and uncertain. As the unspoken leader of the group of friends, furtively known as the "Secret
Keepers", Rossouw is torn between doing his duty, protecting the ones he loves and guarding the
secret that threatens to destroy it all.
WHAT THEY HAVE TO SAY
Etienne Fourie - Writer/Director
Age: 25
Favourite Films:
I have to admit I still have the Lord of the Rings posters in my flat. I’m a huge Tolkien fan
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and I think Peter Jackson is a hero for what he did with the story interpretation. The Fellowship of the
Ring is my favourite movie. (I’m also a complete Harry Potter nerd.) My other favourites and there are
many, include Juno, Edward Scissorhands, Where the Wild Things Are, Into The Wild and The Jacket.
Favourite actress /actor:
This is difficult, but if I have to choose, then its probably Steve Carell, I’m absolutely addicted to The
Office (the original and American versions) and I’m still amazed at what he did with the character.
My favourite actress is probably Allison Janney (Juno, The Way Back, The Help, American Beauty )
She’s great (often sarcastic) and she has the best laugh. She has this unique gift to play drama and
comedy in one moment and by this she gives a uniqueness to each of her characters. I’m also a big
fan of Ellen Page and Elijah Wood.
Favourite South African actress/actor:
Marga van Rooy is probably the biggest highlight of my television viewing years as a child. She made
me (and my family) laugh and cry and miss our grandmothers. Besides her wonderful talent, she is an
unbelievably warm loving person and I am also honoured to have her as a friend.
Anna-Mart van der Merwe is another one of my favourite actresses, from as long as I can remember.
There’s something incredibly unique about her, difficult to describe. I feel that way about Leandie du
Randt as well. She’s like a classical moviestar, someone with so much presence that she doesn’t
need to ask you for attention – you lavish it on her with a smile. It was a pleasure working with her
and I have to confess, even she doesn’t know this, she is a kind of muse to me. I can only hope that
she’ll remember me when she’ s joking with Meryl at the Oscars one of these days.
Which local and international stars would you love to work with?
Anna-Mart van der Merwe is someone I have always wanted to work with and Marius Weyers. These
people are so talented that I’m dumbfounded and I can only hope that I’ll have the privilege of
working with them one day. I’m also a great fan of Nataniël, even thought he’s not specifically an
actor, I’d think of any excuse to work with him. He represents so many of the wonderful things I love
about being Afrikaans.
International actors I would love to work with is Allison Janney, Ellen Page and Adrian Brody. And just
everyone from The Office.
What did it feel like being on set for the first day of shoot?
My first day on set was definitely an anxiety ridden experience! Getting closer to the set,
Johan (Prinsloo , the DOP) and I saw these chain of white trucks parked in the distance
and vaguely wondered what was happening over there. Moments later to our greatest
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shock and horror, we realized they were there waiting for us. We shared a silently terrified look
between us and quietly tackled the day.
Something I hear very experienced directors often say, is that you can never really feel prepared when
you start shooting. I think it’s important to feel that you should prove yourself. I still have nightmares
about that day by the way, but it’s all worth it when you see the end result in front of you.
What was one of the funniest things that happened on set?
The funniest moments were usually due to Leandie du Randt and or Roscoe Kleinloog, the AD
(Assistant Director). Roscoe’s contribution was mostly due to humiliation, he had a tendency to tackle
the technical crewman alone (usually about topics of rugby), and usually landed last, but with a huge
smile on his face. My favourite moment was when Leandie – for a technical rehearsal- had to wear
Tannie Marietjie’s wig and dress, she was running through the forrest, asking; “Am I pretty?” and
Roscoe retorting immediately, with two whole cookies stuffed in his mouth; “No”. We tried to react
professionally, but both of us burst out laughing simultaneously – we laughed for days to come,
probably also to relieve the stress! She looked like ET when the kids dressed him, I have photos of
her in the wig and dress and I still laugh about it when I have a bad day.
What was a highlight during filming?
Our last night of shoot was at Lourensford winefarm in Somerset Wes. We shot the last scenes at the
dam. I called wrap, there was an applause and group photo, and then as it goes, everyone started
packing up. The producers left and people started leaving and when Johan I looked up again, we
were the last ones left in the forest, they forgot us! Long story short, we hitch hiked and got a lift on a
farm vehicle to the basecamp a few kilometers away. On the back of the bakkie, in the freezing cold,
in silence, we watched the dam disappear in a cloud of dust, all left behind us. We shared a look like
on the first day, and both realized that we just completed something magical. It was one of the
happiest and at the same time strangest moments of my life. It was great. So yes, that was my
highlight. Exhausted and filthy on the back of a bakkie, in the freezing forest, with my old friend. Johan
and I started this all together and it was poetic to end it together as well.
What was it like to work with Armand Greyling, Leandie DuRandt, Marga van Rooy, Ian Roberts and
Grethe Fox?
Armand – Armand and I have been walking a path together since the short film, I have a lot of love
and respect for him. There was never a doubt who would play the role of Hendri in the longer version.
Armand has this unbelievable talent as an actor to give a vulnerability to the character. Hendri could
so easily be seen as unpleasant, because he’s awkward and shy an uncomfortable with himself,
Armand made him lovable at the end. Hendri and Armand differ day and night, Armand
is a warm energetic fellow that laughs throughout and sings a lot. I have to admit, the
Frank Sinatra stuff every day on set got stuck in your head a bit, but no one does Sinatra
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like Armand! I cant wait for us to work together again.
Leandie – Leandie is my muse. Theres actually not much more to say about this freaky girl than this –
a freak because no one posses so many good qualities at one time. She’s always ready to give her
best, to try new things, and to do it all with a smile. Leandie made me, as a director, try harder. She
made the long days and all the anxiety and stress worth it. She also called me “Boss”, which did
wonders for my ego!
Marga – I’m in love with Tannie Marga, since the short film. She has this talent to deliver any piece of
dialogue in so many different ways and levels that it means something completely different every time.
She questions every aspect of her character and has to understand completely the person she’s
taking on, before she climbs into that character’s skin. What I appreciated most of all of our
relationship of actor and director, is her willingness to lend of her own personality to the character. It
created the feeling that you’re never dealing with a complete stranger, but rather a real, authentic part
of this great actress herself. And this is more than any director can ask for.
Ian – Before I met Ian, I have to admit, I was quite nervous, Ian is a movie star. Nothing in between.
What could I possibly tell him about the character or script that he didn’t know himself? I was
pleasantly surprised and relieved to see that Ian is more than just a legend, he’s…cool. He
understood every aspect of who he’s playing and went through great lengths to get the nuances on
screen. (He was especially excited about the pipe that his character Dr Roussouw had to smoke)
Ian’s trailer was also the spot where poems were read, biltong was eaten and stories were told – I of
course had to go by there frequently. He also worked out my horoscope and according to him, I can
look forward to the future. Thanks Ian.
Grethe – I know directors and actors always talk about how wonderful it was working with the other,
after the film has been shot, but with Grethe is undoubtedly the truth. She was often placed in
awkward situations for her character as Miggie, but she didn’t hold back for a second. She lent a
softness and a loveability to her character, who could come across as weird or hard. Grethe is very
technically aware, she always wants to know where is the light, how the camera will move, how long
her actions can take, that makes it a dream as a director and especially DOP to work with her. The
years of experience she brings to the set is nothing compared to the warm and loving atmosphere
she creates around her.
What did it feel like to work with such experienced actors?
There wasn’t really much time for me to be too nervous about the actors. I met them all a few days
before shooting and we all had to get to know each other very quickly. I’m sure he won’t mind me
telling this story, - when I met Ian Roberts for the first time, he was in his underpants – he was in
wardrobe busy trying on his clothes for Dr Roussouw. The AD took me hastily to meet him, without
thinking what could be awaiting us. Ian shook my hand and made a comment about the weather as
if this was completely normal. He’s really a cool guy. It was actually great because after
the underpants incident it was impossible to feel intimidated by him. My experience with
the newcomers and legends, was really just enjoyable. Everyone has their unique way of
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tackling their character and with each one it was a unique experience. I’m a big fan of each one of
them, especially Tannie Marga, (because she’s the coolest and she knows it!)
Tell us about your “search for the leading lady”?
The search for our “Margot” was, to put it mildly, epic! To find a young, eager actress for a role in a
movie may sound like a piece of cake, but to find the right one was far more difficult than one can
imagine. We saw hundreds of girls. At times it felt like Idols, which at times was overwhelming, but
actually fantastic. We had a radio campaign on Jacaranda FM, who loved the idea and immediately
came on board with weekly mentions and call outs for girls to audition, they were great, thanks
Frankie! So in Cape Town and Johannesburg we auditioned hundreds of girls who turned up all
convinced they’re the perfect Margot. They were all wonderful. We had a lot of fun, but also a hard
task ahead, at least a few girls stood out head above water. Amongst them was Leandie, I cannot
mention enough how privileged I felt to get her on board. I can remember her first audition very well,
she was nervous, we had Armand there as well to play his role, something magical happened, we
saw the chemistry, despite her shaking and nerves. There was a personality so powerful and beautiful
that it was almost blinding. We won the lottery with her, really. She was super professional and a
delight to have on set. She was the Margot I imaged when I wrote the story, just better and prettier.
How did you get the idea for Die Windpomp?
Die Windpomp was born from a series of ideas I scraped together one December in Jefferys Bay,
while visiting my parents. Parts of it is also fragments of a novel I wrote the year before (still lying in my
drawer), so a kind a of Frankenstein creation. The “fountain of youth” aspect of it was by the way,
undoubtedly born from my overwhelming fear of getting old.
At the start of my final year at filmschool (2011), we were asked to bring a story, with the idea that we
have to write a script from this story. I couldn’t accept the idea of developing and nurturing someone
else’s story, so I had one night to write a short story to hand in the next day. The result was Die
Windpomp. The story structure and the majority of the dialogue even in the full length film, remained
virtually the same to that original short story.
What are you working on now?
I’m working on a few different stories, mostly scripts. I write and co-write for other directors as well
and a few of those projects will gradually be actualized, soon. The next film I direct will be decided
early 2014. For me the most important thing is not to tell as many stories as possible, but to rather
tell the right one. It requires too much time and energy making a film, so if you take on this task, the
story has to be absolutely worthwhile.
I’m not interested in making movies about breasts or thighs, or people trying to sing,
which mind you, closes a few doors for you as a writer at the moment. My goal and
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dream is to tell stories that will perhaps change people’s perceptions about Afrikaans films. It will be a
great day when we can refer to films not as “good, for an Afrikaans film”, but rather just GOOD, or
whatever, whichever language its told in.
Tell us about the student film’s success?
The student film has been and always will be one of my favourite memories. It was incredibly hard
work. We did everything ourselves. It was nothing less than the passion and dedication of a handful of
students who made that film possible.
It was special for us, that we never doubted, but it was nonetheless a complete surprise to get that
kind of feedback when we showed the film to an audience for the first time. We didn’t expect the
reaction to be so overwhelmingly positive. The short film was nominated for a "Student Film Oscar"
and in 2013 it won the SAFTA for best student film. It created a flurry of attention, something none of
us were used to at all. It was actually great. We learnt so much from that experience.
The shortfilm and its journey will always be special to the people who worked on it. Die Windpomp will
always belong to them. It was great to have them on the full length film as well.
How does the full length film differ from the short film?
The process to complete the feature length was totally different than the short film. To start with, we
had double the amount of footage to shoot and just one day more for filming, than the short film. So
of course things were a little rougher the second time. In terms of story, the two are very similar. The
extra time made it possible to expand the characters more and deeper, which was great to explore.
The visual style of the film remained virtually unchanged and even the set design was based on that of
the short film.
One of the greatest aspects of the long version was to develop the music score. Johnny de Ridder
(Fokofpolisiekar) came on onboard for this and I cannot mention enough how happy I am about this.
Johnny is a perfectionist and – I know he’s going to hate me for saying this - an absolute genius. The
music is written specifically for each scene, and each character has their own “theme” and so does
each storyline, all with very distinct instrumentation to distinguish them. I can’t wait for people to hear
this! We also have a few tracks from Die Heuwelsfantasties in the film. They played a great role in the
short film, without them, it would have been weird.
Tell us about developing a short film into a longer version, what were the challenges?
The process to develop the short film into a theatre length version was a long and at times painful
process. Under normal circumstances it would have been a straightforward process, but
circumstances were seldom normal. The original idea of the producers was to keep the
footage of the short film ( 54 minutes) and to build additional scenes around it. However,
the storyline for the short version was precise and tight, so much so that any other
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additional information was either unnecessary or an entirely new storyline had to be created for it. I
can now say that I was never very excited by this idea. I spent months trying to perfect it, but
suddenly and short before we started filming, the producers decided to shoot everything from
scratch. I then only had a few weeks (a process that normally takes about 3 or 4 months) to rewrite
the entire script, from the beginning. It was very difficult after months of writing on the previous
versions, to think differently of the story. It was a shock to the system and I’m still not exactly sure
how it all fell into place, but it did. I completed the script during pre-production.
What was it like to work with your American producer Chris Roland, who did not speak Afrikaans?
It was frustrating at times, to be honest. Afrikaans is such a unique language. There’s things that you
just cannot translate properly, especially our colourful sayings and mannerisms. Its also hard to fight
for it and try to motivate it if you’re not always sure yourself where certain things come from yourself,
or how it has originated and why you need to use it. It was actually, on another level, hugely
interesting to analyze and question it all like that. For me, more than anything, it was important to
keep Die Windpomp, authentically Afrikaans.
Did you have to explain a lot about the culture?
Like the Afrikaans language, the culture is equally unique. It takes a bit of explaining to make
someone understand that some things are “normal” or even amusing. A pancake sale at a church
bazaar is a good example of this. You can explain to someone what a pancake is and why the
church has a party, but for the Afrikaans person that means so much more than just that. You get the
picture instantly – you know the kind of people that are going to be there, (the aunties with flat shoes,
the kids high on sugar, the pastor in comfortable clothes for a change, the people who knit dresses
for the doll who holds the toilet rolls and so on) you know there’s going to be tons of pancakes left
because the old age home have been baking pancakes for weeks, you know that you’ll have to buy
curry and rice takeaways for supper, etc. Anyhow, to explain a whole world, fiction or non-fiction to
someone new to it, is a job in itself. In the case of Die Windpomp, particularly so, where a small
segment of traditional Afrikaans culture is portrayed in a sometimes overly colourful and exaggerated
way. This is one of the perks of being a filmmaker, to put your own stamp on the familiar. Die
Windpomp, more than anything is personal to me. Every aspect of it.
Leandie Du Randt - Margot
Age: 25
Favourite actor/actress:
There are so many to choose from and in each phase of your life a different movie or
actor inspires you, but I’m going to try and choose…
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Meryl Streep, Kate Hudson, Lena Dunham, Charlize Theron and Rooney Mara, Anthony Hopkins,
Matthew Mcconaughey, Ryan Gosling and Hugh Jackman.
Favourite Movies:
Lincoln Lawyer, How to lose a guy in ten days, The Best Exotic Marigold Hotel, Life of Pi, The girl with
the dragon tattoo and yes, Despicable Me (I’m a asucker for animations)
Favourite South African actor/actress:
Rolanda Marais, Chris van Niekerk and Ian Roberts
With which local and international stars would you like to work with ?
Local: Anna – Mart van der Merwe, Albert de Wet and Annie Malan. International, phew, there are so
many to choose from, all my favourites that I mentioned and especially Charlize Theron!
How did you get involved with Die Windpomp?
I heard about the auditions on radio Jacaranda and then applied, I made the first round and so the
audition process began.
Tell us about the search for “Margot”
The search for Margot was one that required a lot of patience and determination. My nerves were
shot. I wanted the role with my whole heart because the story was close to me and I can really relate
to it and I felt there was more to Margot than the usual “bubblegum” character and I was ready for a
challenge – always will be.
At the first round of auditions a lot of girls had to audition infornt of eachother, we were taken in
groups, which was kind of nervewrecking knowing your competition is watching you, together with
the director and the producers.
After the first audition, where sonthing like 500 girls showed up, we were thinned out to about 10.
Then we had to audition again, this time with a casting director on a different day, then 3 girls were
chosen from that.
The top 3 were announced over the radio and a week later the winner was announced on radio
Jacaranda.
How did you feel when you got the role?
Wow, my heart was beating so fast and my body was covered in sweat, while I waited
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on the telephone for them to announce the winner. It was an amazing moment in my life when they
Announced that I was the new Margot, I was so happy and completely overwhelmed!
What did you enjoy most about your character?
Margot is funloving, determined and know whats she wants in life. She doesn’t take life too seriously
en live each day to its full potential because she knows how precious time is. Her journey is very
special and very unique and you’ll see when you watch the film. I can’t say more than that because
I’ll spoilt it for you!
What was it like working on Die Windpomp?
It was an experience that I won’t change for anything in the world. It was an emotional one because
the story was so beautiful, so delicate and so close to my heart. The whole crew and team were so
great and so professional and it was such a great production to be a part of.
What were the challenges?
The biggest challenge was the fact that someone else already played Margot. Its was like going to
play Charlize Theron in Monster! One feels insecure and and you feel like you don’t know if people
are going to judge you by the previous Margot and that I didn’t want. That’s why I chose not to watch
the short film so that I didn’t have a reference for Margot from anyone else than myself, the text, and
Etienne.
All I can say now is that margot is no ordinary girl, she’s very tough and determined, at the same time
soft and fragile and to portray all of this at the same itme was not always easy (lets hope it shows!)
I also went through my own emotional journey during the shoot, that I had to push aside and focus on
the film. I do know that all challenges are blessings in disguise.
What was it like to work with Etienne Fourie and Armand Greyling?
Etienne - Awêtienne, as Armand and I call him, because he says Awê the whole time, is crazy, mad
and a genius! He has so much passion, creativity, vision, ideas and spunk in his way of writing and in
person that he’s contagious. You just want to hear and know what goes on in his head, what he sees
and thinks.
He is incredibly talented and he’s going to make it very far in this industry. He looks beyond the
normal way of looking and thinking and portraying life. He has such a beautiful way of telling a story.
He’s something this country has never had before, somewhat like a film maestro!
Armand - Armands! He’s a sweetie pie! What a talented actor. I thInk armand is
something that escaped from the 50ties. He has a classic timeless style. I enjoyed
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Production Notes
working with him and he made me feel so comfortable, especially as somewho who stepped into this
film team that has shot together before. He made me feel like HIS Margot and it was so special, even
when he’s had a Margot before. I thInk we built up a nice friendship during filming and I hope it shows
on screen. We asked eachother for advice throughout and we supported eachother when we were
unsure of our craft or ourselves. I appreciate him and he will always be my Hendri.
There were a few intimate moments with Armand, how did it feel like to kiss in front of a whole team?
The fact that’s armand and I instantly clicked and became friends, helped with a lot of the moments.
We had a good agreement and knew were were doing it for Margot and Hendri. It was as if we really
were those characters for the month that we shot. We spent a lot of time together off set aas well
and went out to eat or just for an icecream and we got to know eachother just as palls. That’s what
great lovers have to be, palls, thick palls. That’s what we wanted to create.
And yes, my first day ons et, what do I get? The biggest love scene of the film, hahaha, it was sort of
hectic. I was very nervous, especially because I didn’t really know the crew then and so one is
nervous and believe me, shy! But I looked into Armands eyes and focused on Hendri and I focused
on Margot and I juts did it. The crew was very nice about it and made is feel comfortable.
What was it like to work with such expreinced actors like Marga van rooy and Ian Roberts?
Ian Roberts is my favourite actor since childhood. To be in his presence is already so inspiring, just by
listening to his stories. I’m always very disappointed when I put actors on a pedestal and then I meet
them on set and they disappoint me completely. With Iam it was the complete opposite. What a
lovely person, good sence of humour and brilliant actor. I’ll never forget the scene that I have with him
in the bakkie and will be forever grateful for that. He was so sensitive about how I wanted to play it
and what I wanted to achieve that he asked me the whole time how he as fellow actor can support
me. I was like, what? Ian Roberts the legend?! There he taught me true humility en chacarter, the stuff
lengends are made of. Feet firl on the ground, young in spirit like you can’t believe. What a man.
Marga van Rooy is everything but Wosie’s grandmother in Vetkoekpaleis like I got to know her.she
has a tenderness, a calm that is unimaginable and she has so much advice and wisdom if you just
took the time to listen. Marga taught me a lot, by just watching her. Her absolute calm on set and
and in her being, is so inspiring. She is alwys so well perpapred endoes not look down on anyone. I
have a lot of appreciation for her tat she still has so much time for us young inexperienced actors, we
are so grateful to have learned from her. She is filled with gratitude and hat is something that lies very
close to my heart.
What was the highlight on set?
That’s such an unfair question. Every moment for me is magical in its own right. If I had
to pick one, I’d say it was the last night of shooting when we had to swim in the icy dam
and then wrapped, everyone shed tears of joy. 44
Production Notes
What was some of the funiest moments on set?
I can’t tell because it would embarrass someone…:-)
What was for you the highlight?
The whole movie was a highlight. My charcters had so many layers and different types of scenes
that I can’t really compare them. Every day on set was fun and laughter. To do what I love and to be
challenged in it, is a highlight for me, and that represents Die Wndpomp for me.
What was it like to work with the ZenHQ team?
Absolutely perfect and professional. Always punctual, took care of us actors very well. They think
about things you never thought you’d need, until you need it, then they’re like: got it! Thank you guys!
Why do you have to go and watch Die Windpomp?
It will change your life.
It wil change your opinion about love and its “limitations”.
It will restore your faith in South African films.
What are you busy with currently?
I’m busy with an Afrikaans series Vlug na Egipte’ by Paul C Venter. After that I have another series in
the works for 2014, “Kloofstraat” as well as a few other films. I can’t mention details but watch this
space!
I’m also busy with the final edit on my first book to be published by Random House Struik in May
2014. The book is in English and Afrikaans and is for teenage girls. Its about being comfortable in your
own skin.
Armand Greyling - Hendri
Age: 22
Favorite films:
Fight Club, The Dark Knight Trilogy, Moulin Rouge, Independence Day, Captain America, Inception
Favourite actor/actress:
Will Smith, Brad Pitt, Ashton Kucher, Charlize Theron, Angelina Jolie, Emily Blunt
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Production Notes
Favourite South African actress/actors:
Ian Roberts, Tobie Cronje, Marga van Rooy
With which local and international actors would you love to work?
Local, I think I have been fortunate to work with actors that I’ve wanted to work with. I would
definitely still love to work with Tobie Cronje.
International, Ryan Gosling, he sort of changed the acting industry quite a bit. I would also love to
work with Steve Carell, that bloke is funny.
How did you get involved with die Windpomp?
It’s a funny story, in my second year at AFDA, all the second year students were asked to help out on
a 4th year film. I was the assistant to the production designer. Because I was also studying acting, I
offered to help out Etienne with the casting for his film. One morning he called me and asked me if I
could come in later that day, I thought it was to help out. When I got there Etienne told me I’m now
auditioning…I didn’t know the text but I learnt it very quickly. He talked to me about the character
Hendri, and there I dove in head first into the audition. Afterwards, stressing, I ran into him outside, his
words to me were ”dude you blew my mind”. Later that same day I got a call form a very excited
Etienne, he told me I got the role and then we took it from there.
How is the student film different to the longer version?
The shortfilm had far less money and everyone had to help out where they could, we had a great
team to make it possible that everything goes according to plan, but like any student film nothing
went according to plan, but that’s how student films are. From my side, I was also less experienced
than when we made the longer version. I cant really compare the two films with each other, all I can
say is that both films were the highlight of my life.
The longer version was more professional and it was great to see, it gave me a taste of the industry
form here onwards. Great times talking nonsense to guys on and off set.
Do you have anything in common with your character Hendri?
Yes, I was like Hendri at a certain stage of my life. It took me back about 10 years, when one is too
shy to talk to girls and do stupid things to impress them. Hendri is very insecure and he rather plays
piano than socialize. Love of music is the greatest things Hendri and I have in common and I think
that’s why I enjoed him so much.
Many people have told me I am like Hendri, which makes me think, am I relay so
awkward?
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Production Notes
What did you enjoy most about your character?
I liked that he appeard a little pathetic but in his head everything made sense and he thought he was
kinda cool.
And then, to fall inlove, I’m a hopeless romantic and I think Hendri as well.
What was it like to work on Die Windpomp, feature film?
It was without a doubt one of the greatest things I have done in my life. It taught me a lot especially
that this is what I want to do for the rest of my life. This was my “lucky break”. All the people on set
were brilliant, the actors with who I worked with were prett damn sweet. We laughed a lot, me,
Leandie and Tannie Marga cried, but all in all we had a good time.
What challenged were there?
The biggest challenge was to swim with a spade and all my clothes on, you’d think it was easy, but I
nearly drowned! It was funny for others and but not my best moment. The crying scene was
strangely enough not that big of a challenge, especially if you’re playing against Leandie and Tannie
Marga, people on set started crying with us…
What was it like to work with Etienne Fourie, Leandie DuRandt?
To work with Etienne was a huge priviledge, beginning to end. We had a common understanding
and I listened to him. He always just said” trust me, forget about the other people” and I did. He went
out of his way to make sre his story was told the wasy he wanted it to be told. On set and off set that
dude’s brain worked non-stop. I’ve never met someone so hardworking and so focused.
To work with Leandie was AMAZING. From the moment I met her, we got along like a house on fire.
She is a brilliant actress and a stunning person. We could play so nicely off eachother. Even after the
film finished we met up a few times and became good friends. The energy she brought onto set every
day and her professionalism was something of another caliber. Really a great person.
There’s a few intimate moments with Leandie, how did it feel to kiss infornt of a whole filmcrew?
Dit felt comfortable, I fet a little like animal in a cage at a zoo, but its not like one thinks it is. Its great to
say I get paid to make out with pretty girls, but its my job…I sound like a Chip ‘n Dale!
What was it like to work with such experienced actors like Marga van Rooy and Ian Roberts?
To work with Marga van Rooy was something I thought would never happen to me. I was still at
primary school when I watched her every night on Vetkoek paleis. I spent a lot of time
with her and she reminded me of my grandmother, or that’s what it felt like, like family.
Brilliant actress. Amazing woman.
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Production Notes
To work with Ian Roberts in the same movie is a dream that came true for me. Wheh he starts telling
a story one can’t help but stop what you’re doing and listen. He has done so much and I have so
much respect for him as actor and human being.
What was the highlight on set?
I think one of the highlights for me was performing with so many actors that taught me so much.
There was one scene, when I walked off set, I saw tears in the crew’s eyes. It felt real, whether they
cried because it was a bad performance, I don’t know, but I’m going to stay optimistic about that!
What was one of the funniest moments on set for you?
The funniest moment for me was when Leandie and I were staring at the prop girl and leandie turned
towards me and said: Jeez, C has a killer body” and I ageed and said yes “ she’s supersexy” Etienne
stood up and shouted, “your microphones are on and everyone can hear what you say!” needless to
say we didn’t perv on anyone again, a least not out loud.
What was the highlight for you?
When I had to climb up the windmill, I was four stories high, quite a stunt, risky.
What was it like to work with the team from ZenHQ Films?
It was a pure priviledge, they looked after me so well. I didn’t think I would have my own trailer at my
tender age. Every day they were friendly and patient with me because I can get out of hand
sometimes.
It started to feel like a little family to me, Chris was the dad and Lee-Ann was the mom and of course
Tannie Marga was grandma. I will definitely work with them again. Thank you for the opportunity.
Why doe people have to go and watch Die Windpomp?
Die Windpomp is a new beginning in the Afrikaans movie industry. Its none of that nonsense we
watch year after year. Its abrilliant storyline, brilliant cast and good use of the Afrikaans language. It’s
the first of its kind in South Africa, or maybe even the world.
What are you working on at the moment?
I started spending some time on my music career, its my dream to bring out my own cd en to
perform every night. I work at a restaurant called Star Dust where I perform live nearly
every night. I go for castings during the day and sing at night. I worked in retail for a while
but that was a waste of time.
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Production Notes
Whats the plans for the future?
To continue acting and singing but not just in South Africa, I know its cliché but I’m made for
performing in the whole world. My body is built like a machine for work and I will follow my dream.
Grethe Fox - Tannie Miggie
Age. No I do not ever discuss age in an interview. Refuse to be categorized and filed in a box in this
most ageist of countries.
Favorite film:
Too many to mention but my favourite films are usually European, particularly Scandinavian films and
some Asian films and occasionally an independent American film. Also several South American
directors.
Favourite actor/actress:
I like many actors but my favourites at the moment are Marion Cotillard and Javier Bardem
Favourite South Africa actor/actress:
It would be undiplomatic to single out South African actors.
Which international actors would you like to work with?
Of course I would love to work with any reputable international actors, particularly European and
British.
Why did you choose to play Miggie?
I was cast in Die Windpomp and of course wanted to do it because the script and role are excellent.
Did you in any way identify with the character?
I don't really identify with any aspect of Tant Miggie but I enjoyed the abandon and quirkiness of the
character. I am far more reserved.
What was it like working with first time director Etienne Fourie?
I really enjoyed working with Etienne Fourie and his crew. Etienne has a fine sense of
detail and aesthetics that I particularly appreciate. The beauty of the image is all too rare
49
Production Notes
in South African films and I think Etienne brings a really fresh eye to the local cinema scene. The care
and precision of the art direction and costumes was outstanding.
What were the challenges for you on this film?
The challenge is always to produce something of quality in a very limited space of time. Time is a
luxury that is absent from our film industry as we have to perform miracles with very low budgets.
You have worked with Ian Roberts and Marga van Rooy. What was it like to work with these
seasoned actors again on Die Windpomp?
It is a joy to work with seasoned actors like Ian Roberts and Margaret van Rooy who I have worked
with before, particularly Ian. We have worked together often and to be able to continue that journey
was a privilege.
What was it like working with newcomers, Armand and Leandie?
Working with talented newcomers, Armand and Leandie was fun, energizing and it is always
illuminating to work with fresh talent.
What were some of the funniest moments on set for you?
The funniest moments for me were the midnight swims in the dam at Lourensford that were shot in
the early hours of the morning. We looked hilarious with flesh coloured wet suits under our wardrobe.
Why should people go see Die Windpomp?
I think people should go and see Die Windpomp because it is the debut work by a young director
with a big future and it is the first script of it's kind in South African film. The story and plot are
engaging and very unusual.
CAST BIOGRAPHIES
Leandie Du Randt
Leandie du Randt is an energetic, passionate, and determined individual with an endless amount of
appreciation for life, and is currently exploding onto the acting scene. She graduated from the
University of Johannesburg with an Honors degree in Industrial Psychology (Cum
Laude), but she works as an actress, presenter, model, voice artist and MC, and loves
entertaining people.
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Production Notes
Leandie’s credits include 4 seasons of the renowned KyKnet Afrikaans series on Getroud Met Rugby
where she played the role of Mieke. Movie credits include Egoli-The Movie, Susanna van Biljon, SemiSoet, Klein Karoo. Her most recent work includes the new Afrikaans series Vlug na Egipte and
the sitcom Moeggeploeg, which premiered in 2013. Watch this space as Leandie is determined to
reach the stars. She strongly believes that one must always be yourself, but your best self.
Ian Roberts
Ian Roberts is an actor, playwright, singer and all around good guy. He best known to television
viewers for his roles in the drama series Arende and Snitch, and as the character Boet in a series of
long-running advertisements for Castrol motor oil. His numerous film and TV credits include Number
10, Tsotsi, Red Dust, King Solomon’s Mine, and from 2011 – 2013 he starred as Karel van Reenen on
the hit MNET series The Wild.
Roberts was born in Fort Beaufort in the Eastern Cape and raised on a citrus farm near the town. He
attended St. Andrew's Preparatory School and St. Andrew's College in Grahamstown. After a variety
of different jobs and a course in photography at the Port Elizabeth Technical College, Roberts
enrolled at Rhodes University in 1976 and received a Bachelor of Arts degree in Speech, Drama and
Social Anthropology.
Marga Van Rooy
Marga van Rooy is one of South Africa’s most beloved actresses. She is perhaps best loved for
portraying Ouma Ellie in Mollie en Wors on KykNet. Marga was born and grew up on a farm in
Burgersdorp, North Eastern Cape, and is the proud mother of five children and four grand children.
Marga holds two BA degrees and an honours degree in Drama (cum laude) from the University of
Pretoria. She started her acting career with PACT in 1960 and has won and been nominated for
several acting and playwright awards including the FNB Vita Award. From 1996 – 2000 she played
the role of Ella in the popular TV sitcom Vetkoekpaleis. Since then she has toured and wowed the
country with various one woman shows including Wat is ‘N Huis sonder worsie se moeder. She was
recently seen in Molly & Wors The Movie, and the award winning comedy Fanie Fourie’s Lobola.
Grethe Fox
Grethe Fox is best known for her role as Karen van Niekerk in the SABC1 drama series Soul City,
from 1999-2003. She is a stage and screen actress with an energetic passion for her art. Grethe was
schooled at UCT's drama department, and studied mime and theater at the Jacques Lecoq School
of Mime and Theater in Paris. She has received 11 award nominations for theatre performances and
has been awarded six best actress awards for her work in film and television. Grethe was one of
eight celebrities who danced in Strictly Come Dancing II. She didn’t win, but she had a
lot of fun. Film and TV roles include Jail Caesar, Nothing But The Truth, Big Fellas and
the award winning drama The World Unseen.
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Production Notes
Armand Greyling
Armand Greyling is a fresh new face on the acting scene not to be underestimated. Armand grew up
in Pretoria but relocated to Cape Town where he completed his BA Honors degree at the University
of Stellenbosch with distinction. It was in 2008 where he landed a small role in the hit teen comedy
Bagkat that Armand knew that acting was his future. Apart from being a truly talented actor, Armand
is a born entertainer and loves to showcase his talents as MC, musician and singer. Die Windpomp is
Armand’s debut film.
CREW BIOGRAPHIES
Etienne Fourie – Writer/Director
Etienne received his honours degree in screenwriting and directing from AFDA in Cape Town and has
directed numerous short films and music videos, including Wrestlerish and Zondernaam, winner of the
2010 MK Rockspaaider competition.
Etienne’s commercials include Sleeping Children Around the World (nominated for a 2011 Loerie
award) and Wishing Well for Ster-Kinekor’s ‘Vision Mission’ (winner of a Loerie award 2012). Etienne
received both the Best Director and Best Screenplay awards at the 2011 AFDA Awards for his short
film Die Windpomp, as well as a SAFTA award for the film in 2013. Die Windpomp screened at the
2012 Durban International Film Festival as well as the 2012 Graham’s Town National Arts Festival.
Etienne has written two feature-length screenplays for veteran film director Regardt van den Bergh,
namely Die Bakker and Klein Karoo, the latter also the first Afrikaans film to be released in theatres
internationally (Australia, New Zealand). Etienne has also co-written the feature film Strikdas
(scheduled for release 2014) as well as taken the role of script-doctor on several other projects. In
2013 Etienne wrote and directed the feature-length version of his film, Die Windpomp. He is currently
involved with various projects in early development, including several feature-length films, as well as a
novel.
Chris Roland – Producer
Chris Roland is an award winning producer/writer/director of over 120 film, TV and commercial
productions, and is co-owner of ZenHQ Films in Cape Town with satellite offices in Los Angeles. Film
and TV projects include the love story Forgotten Kingdom which has won six international film festivals
and releases in April 2014, Bordering on Bad Behavior starring Tom Sizemore and releasing July 2014
in the US and SA, Darfur, Hotel Rwanda, Stander, Charlie Jade, Man to Man and Clifton Shores.
Projects Mr. Roland has been involved in have won or been nominated for Oscar, Golden Globe,
BAFTA, SAFTA and several international film festivals. Mr. Roland also owns My Movies, a film and TV
sales and distribution company.
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Production Notes
Lee-Ann Cotton – Producer
Lee-Ann Cotton is an award-winning documentary filmmaker, studied at the Nederlandse Film
Academy in Amsterdam and completed her degree in 1998. Her AIDS film Saturdays Are For The
Dead won Best Documentary at the African and Latin American Film Festival in Milan 2007.
Lee-Ann has worked extensively in television as a producer and writer since 1998 in news, and
current affairs for Etv, also working for Endemol as an insert producer and researcher, and produced
the 13 part SAFTA award-winning reality TV series Our House together with Chris Roland for ZenHQ
Films. She has entered the featue film industry with Tunnel Rats, Darfur and now Die Windpomp, her
biggest project to date.
Johan Prinsloo – Cinematographer
Johan completed his BA (hons.) degree in Motion Picture Medium, majoring in Cinematography at
AFDA Cape Town in 2011. Johan has shot numerous short films and music videos for bands
including Wrestlerish, The Great Apes, The Plastics, and the 2010 MK Rockspaaider winners
Zondernaam. Commercials he has shot include Sleeping Children Around The World (nominated for
a 2011 Loerie award) and Wishing Well for Ster-Kinekor's Vision Mission (winner of a silver Loerie
award in 2012). Johan received the award for Best Cinematography at the 2011 AFDA Awards for
Die Windpomp, which was nominated for a 2012 Student Oscar and won the SAFTA award for Best
Student Film in 2013, as well as having been screened at the 2012 Durban International Film Festival
and the 2012 Graham's Town National Arts Festival. Johan has also worked as camera operator on
TV shows such as The Ultimate Braaimaster and Charly’s Cake Angels. In 2013 Johan shot his first
feature film as Director of Photography, the feature-length version of Die Windpomp to be released
through NuMetro. In 2013 Johan also co-founded the production company Figure One Films which
is currently in development on a new feature film written by Die Windpomp writer and director Etienne
Fourie.
END CREDITS
CAST
Armand Greyling
Hendri
Leandie Du Randt
Margot
Marga van Rooy Tannie Marietjie
Ian Roberts Dr. Rossouw
Grethe Fox
Tannie Miggie
Marko Van Der Colff Oupa Hendrik
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Production Notes
Sean-Marco Voster Pieter
Maridi Jooste Miggie
Reinette Du Toit
Aunt
Barbara Marie Immelman
Nurse
Ivan Abrahams
Dominee Greef
Roland Reed Japie
Alice Godfrey Elbie
Euodia Samson
Karmienella
Ernest Will
Mr Els
Mrs Visagie
Rita Bettesworth
Willemien Du Preez Mother
Jaryd Rodriquez
Young Hendri
Colleen Jansen Yoga 1
Gavin Jansen
Yoga 2
Linda Ann Towers
Yoga 3
Daryl Edwards
Yoga 4
Paula Baxt
Fitness Walker 1
Jackie Stalling
Fitness Walker 2
Marge Carlisle
Fitness Walker 3
Iris Greene
Woman in Electric Chair
Chris Roland Doctor
Conor McCullagh
Boy Ballet Dancer
Brent Rumble
School Kid 1
Margitte Connan
School Kid 2
Nadia Cronje School Kid 3
Talitha De Jager School Kid 4
Derik Van Tonder
School Kid 5
Helgaard Marais Voice policeman
Johann von Holtzhausen Voice Bingo caller
54
Production Notes
CREW
Chris Roland Producer/Line Producer
Andrew McCarthy Production Designer
Johnny De Ridder Composer
Helena Marais Junior Composer
Roscoe Kleinloog
1st AD
Brent Rumble 2nd AD
Wayne Kriel Production Manager
Jenny-Lee Schoeman Production Coordinator
Nicola Geldenhuys Script Supervisor
Peter Clarke Accountant
Etienne Marais Script Editor
Laura Leoncini Producers Assistant
Mishkah Cooper Set PA
Anna-Lynne E. Marais On - Set Photographer
Bonnie Bouman Casting Director/South Africa
Camilla Van Blerk Extras Coordinator
Karl Schmidt Unit/Location Manager
Jonathan Van Rooyen Unit Assistant Star Nkambule 2nd Unit Assistant Samaai Isagak Trailers Driver
Thuso Nyalunga Driver
DOP/A Camera Operator
Johan Prinsloo
55
Production Notes
Andrew Elliott B Camera Operator
Khalied Manuel A Camera Focus Puller
Adriaan Graham B Camera Focus Puller
Antonie Stemmet 2nd Camera Assistant
Lize Engelbrecht VTO/2nd Camera 2nd Assistant
Elhein De Wet DIT
Steve Knipe Key Grip
Lunga Funda Grip Best Boy
Vinnie Vanacore Grip Assistant
Alfré Theron Daily Grip Assistant
Lance Venter Daily Grip Assistant
Brent Nortje Gaffer
Vusumzi Nhinhi Lighting Best Boy
Baden Fowlds Spark
Ashraf Benjamin Daily Spark
Kurt Harris Daily Spark
Cameron Nqabeni Generator Operator
Derek Mansvelt Sound Mixer
Brendan-John Allen Boom Swinger
Media Film Services Camera, Lighting, Grip Equipment
Jo-Ann Stuart Fox Property Master
Emma Eunson Set Decorator
Erika Hartig Props Buyer
Kyle Grobbelaar Dressing Buyer
Chanel Smit Stan-by Props
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Production Notes
Gerald Abraham Set Dress Driver
Linda Krune Swing Gang
Lewis F’Ng’ambi Swing Gang
Richard Lusakueno Props Truck Driver
Lee-Ann Cotton
Sponsorship
MIL.SPEC Weapons Supplier
Lance Peters Armourer
Azéll Bartizel Costume Designer
Ashleigh Hart Wardrobe Assistant
Jeanine Borland Daily Wardrobe Assistant
Annie’s Angels Costume Hire
Sanelle Vosloo Make-up/Hair Designer
Jenni-Lee Wood Make-up Assistant
Siphemathi Mbunje Make-up Driver
Mango Catering Catering
McBak Security Security
Vehicle Hire Kempston
Karlage Unit Equipment
CGM Insurance
Production Insurance
Johnny De Ridder
Music Score
POST PRODUCTION
Chris Roland Post Production Producer
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Production Notes
Mario Kowarz Editor
Barbara Still 1st Editor Assistant
Nic Ruhoff 2nd Editor Assistant
Wicus Labuschagne VFX
Raymond Volker On Set VFX Assistants
The Refinery VFX & Digital Intermediate
Tracey Williams Digital Intermediate Supervisor
Jeffrey Rusch
Lauren Van Rensburg Digital Post Producer
Ancilla Berry Visual Effects Producer
Jenny Nursoo Post Production Assistant
Eugen Olson Opening Credits Design
Eugen Olson VFX Supervision
Tiaan Franken 3D
Compositing
Glenn Ewan
Wicus Labuschagne
Abhay Sawant
Arun
Eugen Olsen Petra Ross
Johan Van Huysteen
Wicus Labuschagne
Roto Artist
Dries du Preez
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Production Notes
Alex May Baselight Colourist
John Brink End Roller
Gerhard Kriel System Engineer
John Brink Mastering Duplication & QC
Area 5.1 Sound Post Production
Michael Botha Dialogue & ADR Track-lay
Jason Cochrane Sound FX and Track-lay
Michael Botha ADR Recording Engineer
Michael Bloomberg Foley Artist
Alex Piccard Foley Recording Engineer
Michael Botha Final Mix Engineer
John Brink Digital Encoding
DW Film Production is the author of this motion picture for the purpose of copyright and other laws.
This motion picture is protected pursuant to the provisions of the laws of South Africa and all other
countries. Any unauthorized duplication, distribution and/or exhibition of this motion picture may result
in civil liability and criminal prosecution.
Characters and incidents portrayed and the names herein are fictitious, and any similarity to the name,
character or history of any person is entirely coincidental and unintentional.
No animals were harmed in the making of this film.
ASSOCIATE PRODUCERS
Helgaard Marais
Jeanette Marais
59
Production Notes
Linus Marais and Kigelia Game Farm
SPECIAL THANKS TO
Andries Marais - Leerkrans Boerdery, Trading as LK Boerdery
Hanli Marais
The Silvermine Retirement Village Residents
Mr John V.Rogers
Mrs Cynthia Lavender
Mrs Margaret Evans
Mr Richard Jacko
Mrs J.Vallentine
Ballet Dancers by kind permission of Debbie Turner and the Cape Academy of Performing Arts
(CAPA)
Tara Gavric
Amelia Stephanou-Fawcett
Angelina Ingpen
Amber Fobian
Katy Von Stein
Emmie Feist
Natasha Braun
Zoe Knee
Ashleigh Ducray
Kiara Kleiner
Julia O’Keeffe
Erin Maritz
THANKS TO OUR SPONSORS
60
Production Notes
Fabric supplied by Design Team Fabrics
Windpomp and props supplied by The Propfather
Carpets supplied by Van Dyck Carpets
Water supplied by La Vie De Luc Mineral Water
Alila
Alternative Design Jewellery
Sway Textiles
Produced with the assistance of the Department of Trade and Industry South Africa, who does not
accept any liability for the content and does not necessarily support such content.
DIE WINDPOMP © 2014
61

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