Talking to us from Cannes, South African director Mandla Dube has a broad and international foundation. From an American alma mater to teaching camera technique at Wits University, camera technician to cinematographer. Dube is a father, film maker and flag-waver, who recently honoured the heroism of Solomon Mahlangu in the feature film, Kalushi.
HOW WOULD YOU DESCRIBE YOURSELF AS A DIRECTOR?
Dedicated, meticulous and ready to learn. While hard working, I love the creative and collaborative process with actors and crew.
DESCRIBE THE MOMENT YOU DECIDED YOU WANTED TO BE A DIRECTOR?
I had no choice, no one wanted to direct my script and project. So a friend of mine, Teddy Mattera, a director himself said: “When it’s your turn you better step up and direct.” So I did. Now I enjoy it and wish I had overcome the fear sooner. However it’s never too late. I did direct my cinematography thesis film Imagine That while at the American Film Institute (AFI), where a directing fellow encouraged me to direct as opposed to getting someone else to convey my vision.
WHAT IS YOUR BACKGROUND AND HOW HAS IT SHAPED YOU AS A DIRECTOR?
I am a cinematographer first and foremost. I’ve loved cinema for many moons, since I was seven years old or so. When I did my undergraduate studies at Clark Atlanta University (CAU) I was hungry to tell stories, so I minored in African history. That opened a whole universe of African stories in the diaspora which I was willing to learn and embrace. At that time Spike Lee was my inspiration. When I left home after the new democracy for graduate school I went to AFI in Hollywood, I already knew the African voice was part of my responsibility as a filmmaker. In Los Angeles my visual storytelling style was sharpened as a cinematographer working for some of the great studio cinematographers.
HOW HAS YOUR CAMERA EXPERIENCE SUPPORTED YOU AS A DIRECTOR?
I started working in camera as a prep technician at an equipment facility in Atlanta, Georgia in 1992, while studying at CAU. So lenses, cameras and light equipment were part of my vocabulary and tools at a very early stage. I know what a 75mm lens will do emotionally at a given distance on a particular format as well as an aspect ratio used. And continue to discover more and more by immersing myself in the new technology as it comes out. It also helps to surround yourself with great assistants that know the gear. But I must give credit to my instructors and classmates as well at AFI who shared their knowledge. I was fortunate to work and be mentored by Bill Dill, Henry Adebonojo, Wally Pfister, Bob Richardson, Allen Daviau, Janusz Kaminski, Greg Gardiner, Bob Elswit, Amy Vincent and recently on Money Monster directed by Jodie Foster where I did second camera for Matthew Labatique.
WHAT IS YOUR FAVOURITE POSITION TO BE IN ON A FILM SET?
Cinematographer and director, and to be ahead of schedule. Nothing pisses me off like the AD coming to me saying we are running out of time. Once time is gone you can’t scoop it up from the floor and voila it’s back.
WHERE DO YOU FIND INSPIRATION?
I walk a lot and I talk to my sons about everything. I read and watch documentaries, the stories of people passed that have not yet been told inspire me. Obviously the universe conspires with me when those ideas come. I learned from Stanley Kubrick to write every idea that comes to mind, no matter how insignificant you think it might be.
DO YOU HAVE ANY MENTORS?
I would spiritually die if I didn’t. My late parents, my wife, my brothers and sisters. My co-producer Walter Ayres and Paul Raleigh at Hollard. My directing coach Adrienne Weiss who teaches at Columbia University. And actors on set are such great mentors when they know who their characters are.
WHAT HAS BEEN YOUR PROUDEST MOMENT AS A DIRECTOR?
Overcoming the fear of directing and sitting in the cinema witnessing audience members go through an emotional ride with my work. That is just fantastic.
WHICH PROJECTS ARE YOU CURRENTLY INVOLVED IN?
Right now I am doing a documentary series on Mapungubwe while developing a dark comedy and a heist film. It is 5.30am at the Cannes Film Festival, while I answer these questions I have been sending notes to my co-writer Leon Otto on some scripts we are developing. I am mentoring a few filmmakers on their projects. I’m also heavily involved in KZN to make a presence felt. Then of course my kids, and I am a farmer too.
WHAT ARE YOUR PERSONAL CAREER MILESTONES?
Making Sobukwe – A Great Soul with Mickey Dube as my cinematographer. Fulfilling the promise to Martha Mahlangu to tell her son’s story, Kalushi. Meeting the late director Djibril Diop Mabety at Cannes in 1997 – he taught me Zen. Being directed by the great Haile Gerrima and Jodie Foster. Working on huge studio films observing directors command their craft and looking back on where I come from, Mabopane outside of Pretoria, I feel really blessed.
WHAT IS YOUR FAVOURITE ONE-LINER FROM A FILM?
“I’m walkin’ here.”
IF YOU COULD SHOOT A FILM ANYWHERE IN THE WORLD, WHERE WOULD IT BE?
Peru. Machu Picchu. Egypt.
IF YOU COULD PRODUCE AN AFRICAN VERSION OF A HOLLYWOOD CLASSIC, WHAT WOULD IT BE?
Cleopatra.
WHICH FIVE FILM CHARACTERS WOULD YOU INVITE TO A DINNER PARTY?
Tituba from The Crucible, Nino Brown from New Jack City, Brenda from Kalushi, Mandingo from Mandingo, Django from Django Unchained, Miss Cilly from the Color Purple and Catherine Trumell from Basic Instinct.
