Dilman Dila

Recently, I had the pleasure of interviewing Gordy Hoffman, winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA. He also wrote and directed three short films for Fox Searchlight in 2002 and made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno International Film Festival. He has a number of screenwriting articles, which can be got at www.bluecatscreenplay.com.

He had a few words of advice for African filmmakers, especially those who are making the transition from theatre to movies, and those who are making movies with budgets at far less than 10,000$ and with hope to market it without the help of major distributors.

Dilman: What drew you to become a filmmaker?



Gordy: I made a super 8 movie when I was 12, which I wrote, directed and  
starred. I have no idea where that came from! I would lose track of  
the flame along the way, but it remains to light my path.

Dilman: What trick did you use to achieve your dream? How long was it  
before you realised you'd made it?

Gordy: I don’t know what making it means. I’m not rich. But you achieve  
your dreams today. I have always been my worst enemy by far. Now I’m  
more on my own side. Maybe that’s what making it means.

Dilman: You started off as a stage playwright, then branched into  
movies. Many Ugandan (and African) stage artists are trying to get into the movies,  
with the results that their movies appear to be stage plays on  
screen, which can also be said about Nigerian films. What problems  
did you encounter during the transition? How did you overcome them?

Gordy: They are different animals. If writers are having problems making the  
transition to screen from the stage, I would suggest writing a short  
script with no dialogue. This will break the reliance on dialogue to  
carry a story. This is what I was conscious of when I started writing  
screenplays. My dependence on dialogue.

Dilman: What advise would you give to filmmakers in Africa, whose  
resources are usually limited to about US$10,000, or far less, or  
even no money at all?

Gordy: Use video. Film is no longer necessary. Work hard to cast wisely.  
Double all your efforts in finding your actors. Rehearse forever  
before you shoot. Interview your crew. Don’t settle for rude people.  
Determine what your truth is, and remember it. You will be doing  
everything, long after all the fun stuff ends.

Dilman: What advice would you give an independent filmmaker on the best way  
to market his movie, without the major distributors' backing and  
without a lot of money for advertising?

Gordy: Research film festivals diligently. Send the movie to a famous person  
to watch. Attend the festivals. Work on completing a fabulous press  
kit. Contact the media yourself. Start a blog. Join MySpace. Above  
all, consider your next movie at all times. Make another!

Dilman: What chance do African movies have of making money in America  
and Europe?

Gordy: I think they have a great chance if African filmmakers believe they  
will. It depends on the artist. Do not spend energy on questions like  
this. Tell your personal stories and you will find an audience. This  
is where it comes from.

Dilman: Do you think an African movie wouldn't sell big in America and  
Europe if it doesn't have an American/European star as a hero? (Given  
the trend in Hollywood, maybe we should say "white star" without  
being racist ) Why do you think so?

Gordy: It’s the nature of the US film business. Stars drive marketing and  
distribution. My film, A COAT OF SNOW, did not get distribution, as  
it did not have stars. But the voices of Africa are coming and we are  
getting more stories from there. African writers need fear nothing.  
Your time has come. Tell the world what you have. White Americans are  
getting boring.

Dilman: Where in Hollywood would a very African script sell? What’s the  
best trick of selling to Hollywood from outside, given that getting  
some requirements like Acco #5 Brads Fasteners can be tough in  
Africa, even with online shops.

Gordy: The Brad fasteners are not going to block a great story from being  
produced. Focus on rewriting. Focus on writing the best, most magical  
story ever. Then attend the nearest major film festival. Meet people.  
Email people. Pitch your tale. Fight. If you cannot leave home,  
email. Start a blog! You can reach people everywhere today, but the  
first thing you need to do to sell an African script in Hollywood is  
to write a beautiful screenplay. Story is king! It’s true, it really  
is……..