John Barker – the man behind Bunny Chow

J.B – I was an editor for a year, cameraman for four years, a runner in London on a morning show, and a graphic designer for a year. So I was self-taught. I believe more in that approach, because it exposes you to the different disciplines in making a filmmaking. Film schools are great, the problem is I don’t feel people are well equipped to choose what they want to do after matric. They don’t have a point of reference. I recon every kid should go overseas for a year before they decide what to do with their lives.

How long have you been directing? And what projects have you worked on before this?

J.B – It’s been 5 years now. I started off directing inserts for Channel O in South Africa on Hip Hop which was really cool. Then I directed several music videos. In the meantime, I was writing and directing short films. I then worked on a few TV shows, the Pure Monate Show being one of them. During that time, I gained a lot of experience because we would shoot about 5 to 10 comedy sketches a day. I worked with the most talented comedians in this country and that was a great blessing. The pressure I was under helped me deal with the pressure one gets on a film set. Working as a director with different personalities and managing them to create brilliant work boosted my confidence too and gave me the courage to make Bunny Chow.

Is this your first film?

J.B – Yes, this is my first feature film. It’s a story about four comedians and their journey to perform stand up at the Oppikoppi festival. The backdrop of that is about their relationships with their girlfriends and mistresses. It explores issues around interracial relationships and other funny dynamics that exists between couples.

Do you think South African audiences are ready to move away from films that are crying about our history?

J.B – Yes, I feel the audiences are ready. I think the challenge is directors and producers getting it right. I feel they are afraid to write simple stories. I feel they complicate stories too much and that’s a problem. The best stories are the simple ones and I feel that’s what audiences identify with.

What gave you the most – grey hairs during the making of this film?

J.B – We had no money. This came with fear of not knowing what was going to happen next. I was not guaranteed that people would arrive on set because they were not being paid to be there. Constantly hustling for free edit facilities, film equipment, having people on board and not knowing if they will hang in there with you because they were not getting paid for it. But I was blessed with a beautiful team of individuals who pulled through for me.

Why BUNNY CHOW? Motivate the name

J.B – Bunny Chow is a metaphor for JHB as a ‘rainbow’ city. Think of all the different ingredients that go into a bunny chow, those represent the different people that make up this city. JHB is the bread – the backdrop upon which all this is taking place.

What do you feel is the greatest challenge for South African filmmakers besides the obvious lack of Budget?

J.B – The people in positions of power. I don’t feel that they have faith in film as an exportable entity for South Africa. They also lack vision and are more interested in films that follow certain formulas. Dealing with sponsors who want the formula too and are afraid to invest in your work because they are not sure that they will make their money back. They don’t believe in films that fall into the grey area – so you are very limited creatively because of having to deal with these issues. It’s a great challenge for filmmakers.

Do you feel that there is enough creative capital in this country to create a lucrative industry and to get to a point where South Africans can’t wait for the next local film?

J.B – Mos def, look at the great South African filmmakers abroad who are doing really amazing work over there. The film industry in this country is inaccessible to people. The brain drain is caused by all those issues I mentioned before and it’s sad that this is happening. There is one film school here! That’s also a big problem. There is a lot of work to be done to get the support going for local talent. Talent is not the problem

What South African films do you rate?

J.B – Tsotsi, for obvious reasons, it really opened doors for us. We are going to the Toronto film festival as the people who come from the country that produced Tsotsi. They put SA on the map.

Name 2 South African Directors you rate and why?

J.B – Khalo Mathabane, he has a great attitude and I respect his approach to this industry. Low budget films with great storylines. Leon Schuster for creating a niche market for himself and a very successful career out of film.

How do you feel about Leon Schuster being the most successful filmmaker in the country and what does that say to you about our audience?

J.B – I have mad respect for him. He found a niche for himself. I think it shows how diverse our country is; there is space for everybody.

What do you feel your film will communicate about South Africa as a country when audiences from all over the world see it?

J.B – The environment, the mixed crowd, the urban youth market and the comedy scene in SA. They will see that JHB is as a cool place to be. We are beyond the stereotype of Africa. I want people to want to come here and check out the culture here. I want to showcase the talent we have here in terms of music, comics, actors and actresses, I want to show the world that we are an emerging country and a lot of great things are coming out of here.

Which is your favourite scene in the movie? I know it’s your baby but any specific scene or line that you like?

J.B – We shot this film very guerilla style, and a lot of it was not scripted at all. I relied on the wit of my cast. There is a specific scene though with Kim Engelbretch and Kagiso Lediga in their apartment. We shot it in black and white and that scene was like “ok, ladies and gentlemen, we have a film here” it’s really beautiful.

What do you feel are the ingredients that make up a great director?

J.B – Passion, creative talent and hard work. You need to understand your tools and their limitations. Understand your talent and have the ability to motivate them. When you are on set, you need to know what you want from the scene and the best way to communicate that to the talent and get them to be comfortable enough to relax and give you their best.

So what would you like to get out of this film long-term?

J.B – To open doors for us to make great films with these kind of budgets. To rope in investors who believe in our talent. I would like make a film a year! That’s the plan.

What’s in your must see films list?

J.B – Woody Allens Manhattan, Jim Jarmusch – Down By Law, Quinton Tarentino’s – Resevoir Dogs, Spike Lee’s – Do The Right Thing and The Coen Brothers – The big lebowski

Greatest directors of all time

J.B – All of the above directors

Three Actors you rate?

J.B – John Tuturo, Harvey Keiter & Ed Norton

Overrated actors?

J.B – Most of the Box office talent. I have more respect for independent actors who choose roles that really challenge them and force them to grow as performers

Top class South African Actors?

J.B – The comics I worked with in this film. I think they are the most talented performers to come out of SA. A lot of people don’t see them in that light because they are comedians but in terms of their acting ability and talent, they are top class

Top class South African Actress?

J.B – Kim Engelbrech – she’s amazing

WORST FILM EVER

I take the fifth!

Do you watch local TV?

J.B – Yes, I watch The Lab and Hard Copy

What do you think of the standard of writing in this country?

J.B – I think we have very talented writers but they are not very focused. They are afraid to take things to the next level with their writing. I also feel they are not film literate enough, I don’t feel that coming through in the storylines that are explored locally.

Any advise for the young aspiring filmmaker?

J.B – Just do it! Make short films. That’s the only way of finding out what it is you really want to be. By making films you will gain more and more experience and you will be better equipped to make decisions about where you are best fitted in this industry.

If you could turn back time, Is there anything you would have done differently that would have made this process easier?

J.B – No, I am happy with the way it happened. I feel one should take time to perfect their craft. Filmmaking is a lifetime thing. The more you work the more you learn, I am a baby in this industry and my learning has just begun.

The most important thing in your life?

J.B – My kids, they are 6 and 4!