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Ray Pride

By Ray Pride Pride@moviecitynews.com

"Stunning Kenya:" c'mon, let's make a movie!

A murky, sleeting, sidewalk-slipping late winter afternoon in Chicago and over the transom, a kind invitation from The Kenya Film Commission to shoot a movie in Africa! “Kenya is a great destination for television wildlife productions. Many award winning wildlife series have been shot on location in Kenya… Hitting top US ratings,’Survivor Africa’ showcased the Kenya backdrop and is said to have been one of the most successful in the series. KenyaFilm.gifThe Producers felt that Kenya offers perfect combination of beautiful locale, natural light, an array of wildlife and a beautiful people all set in adventurous territory. Kenya boasts a unique variation in altitude and terrain, with an exceptionally wide variety of locations. These include white sandy beaches, mountains, dense forests, arid deserts, savannah grasslands, lakes and rivers. An aerial view of the Great Rift Valley is simply breathtaking! In a nutshell, this is Africa at its splendid best… The Kenya people are always welcoming foreign film-makers. We are a friendly people; therefore filming among different cultures will run smoothly… For a feature film or drama, submit one copy of the script and the synopsis to the film licensing officer. The license is issued within 48 hours of the application. In case of a documentary; just fill out an application form that the licensing officer will give you. The license is issued on the spot. It’s that simple! … For documentaries, dramas, short features, advertisements and still photography, it will cost only Kshs. 5,000 or US $70. For full length feature films and reality TV shows, it will cost Kshs 15000 or US $210. Filming will only cost Kshs 1,000 or US $14.” Low fees, little red tape, now about that budget…


The Kenya Film Commission
The Kenyan landscape has graced the silver screen for over fifty years, from 1950’s King Solomon’s Mines to the 2005 box-office hit The Constant Gardener. The lush Ngong Highlands, seen in the Oscar-winning Out of Africa (1985) to the arid Shaba reserves outwitted and outlasted in Survivor 3: Africa showcase Kenya’s versatile landscapes that offer a great scope of filming locations.
Kenya offers spectacular scenery; directors Sydney Pollack (Out of Africa), Richard Curtis (Love Actually) and Fernando Meirelles (The Constant Gardener) are just some of the award-winning filmmakers who have been more than satisfied with their Kenyan experience.
Also shot in Kenya, Stephanie Zweig’s Nirgendwo in Afrika (Nowhere in Africa) was the winner of ‘Best Foreign Language Film’ in the 2003 Academy Awards. The stunning cinematography seen in movies shot in Kenya speaks volumes on the breathtaking scenery that is unparalleled anywhere in the world.
Kenya is a great destination for television wildlife productions. Many award winning wildlife series have been shot on location in Kenya, including the popular BBC series ‘Big Cat Diary’. Hitting top US ratings,’Survivor Africa’ showcased the Kenya backdrop and is said to have been one of the most successful in the series. The Producers felt that Kenya offers perfect combination of beautiful locale, natural light, an array of wildlife and a beautiful people all set in adventurous territory.
Kenya boasts a unique variation in altitude and terrain, with an exceptionally wide variety of locations. These include white sandy beaches, mountains, dense forests, arid deserts, savannah grasslands, lakes and rivers. An aerial view of the Great Rift Valley is simply breathtaking! In a nutshell, this is Africa at its splendid best.
The Kenya Film Commission aims to make your experience a pleasant one. We offer detailed information on the stunning Kenyan location—from savannah grasslands to heritage landscapes. We are here to provide answers to your recce needs. We offer liaison services on behalf of the Government of Kenya and work as a go-between for all filmmakers. We will help smooth over all bureaucratic speed bumps.
Amongst our resources is an extensive database that will be highly useful to those looking to source from the vast array of Kenyan talent, service providers and production houses.
Kenya is rich with a vibrant ensemble of locally and internationally trained producers, directors, writers, crew and actors who have created a stir with award-winning productions at International Film Festivals.
4,500 years of migration in Kenya have evolved a unique blend of cultural diversity, ranging from the Coastal Swahili and Arabic people, to a multi-racial community of Asian and European descendants together with Highland Bantus, Lake Basin Nilotics and Desert Cushites.
The Kenya people are always welcoming foreign film-makers. We are a friendly people; therefore filming among different cultures will run smoothly.
Non-speaking roles or extras are available with over half a million foreign inhabitants residing in Kenya. A total population of only 36 million is spread over 582,646 square kilometres, thus crowd control is in check.
Private and government security agents are available to those who wish for additional security in an already secure environment.
Private airplanes and helicopters are available for charter to ease transport logistics
Licensing in Kenya is done by the DEPARTMENT OF FILM SERVICES
What do I do to get a license?
For a feature film or drama, submit one copy of the script and the synopsis to the film licensing officer. The license is issued within forty-eight hours of the application. In case of a documentary; just fill out an application form that the licensing officer will give you. The license is issued on the spot. It’s that simple!
How much will the license cost me?
For documentaries, dramas, short features, advertisements and still photography, it will cost only Kshs. 5,000 or US $ 70.
For full length feature films and reality TV shows, it will cost Kshs 15000 or US $210. Filming will only cost Kshs 1,000 or US $ 14.
Immigration
Kenya welcomes as many expatriate crew members and artists as a production house feels necessary for its successful production. They will all be issued with visitors pass are their work permits are being processed. The work permit or ‘special pass’ is available at only Kshs 2,000 or US $ 28 per person.
Importing Equipment
Though the state-of-the-art equipment is available in Kenya, the Government welcomes importation of equipment at a nominal and non-refundable import duty of only 1% or Kshs 30,000 (US $ 410) WHICHEVER IS LESS on the total quantity of the imported items per container. A list of accredited agents who will facilitate all your filming needs is available from the Kenya Film Commission at www.filmingkenya.com .
For more information, contact:
E-mail: fdp@skyweb.co.ke
Department of Film Services
Ministry of Information and Communications,
Mwembere Road, South B,
P. O. Box 74934 00200,
Nairobi, Kenya.
Tel: 254 20 650120/ 1/ 2, 650501,
Fax: 254 20 553003
www.filmservices.go.ke

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4 Responses to “"Stunning Kenya:" c'mon, let's make a movie!”

  1. Nzilani says:

    Hi, this is a great article on filming on Kenya!
    I would just like to correct the contacts for the Film Commission, those provided above are for the Filming Department.
    For the Kenya Film Commission contact:
    info@filmingkenya.com
    OUR WEBSITE IS : http://WWW.FILMINGKENYA.COM
    Physical address:
    Muthangari Drive, Lavington
    P.O.Box 76417-00508,
    Nairobi , Kenya
    Thank you again for this article. I encourage anyone who would like know more to visit the website- http://www.filmingkenya.com

  2. Nzilani says:

    Hi, this is a great article on filming in Kenya!
    I would just like to correct the contacts for the Film Commission, those provided above are for the Filming Department.
    For the Kenya Film Commission contact:
    info@filmingkenya.com
    OUR WEBSITE IS : http://WWW.FILMINGKENYA.COM
    Physical address:
    Muthangari Drive, Lavington
    P.O.Box 76417-00508,
    Nairobi , Kenya
    Thank you again for this article. I encourage anyone who would like know more to visit the website- http://www.filmingkenya.com

  3. Solo says:

    It’s indeed a creative mix of providing this information, which is really important for planning.
    Thank you all

  4. A Perfect MOVIE LOCATION in Kenya!

    Ol Arabel is a secluded, meticulously manicured garden, sprawled under 70+ year old trees, in the quiet Nairobi suburb of Ridgeways. With capacity of 2,000+ restaurant-style sitting, and parking for nearly 200 vehicles, our gardens provide the perfect setting for your next movie shoot/production or event.

    Our serene garden is laid against the backdrop of an old English [built in the 1940s], colonial-style 4-bedroom house, complete with all amenities for short-stay accommodation, and meetings/seminars for small groups.

    Search Facebook Groups for a group called “OL ARABEL” and join it. You’ll find more than 300 pictures and current information about us there.

    This private facility where you can shoot movies, documentaries and TV series, is also perfect for social evets [weddings, parties, retreats], commercial purposes [corporate launches & events, video & photo shoots, TV shows, interviews, documentaries, & advertisements], and short-let accommodation. The house is cozy, quiet, warm, and comfortable.

    We are proud to have hosted TV shows like “Let’s Cook”, “Sebuleni”, and “Noose of Gold”. We’ve also had advertisements shot here for Coca Cola Africa, Co-operative Bank of Kenya, Mumias Sugar, and Deacons, plus hosted many beautiful events.

    Across the road we have Ol Arabel Kottage, a cosy 2-bedroom, fully furnished residence, available for short-let accommodation.

    Call or SMS Text Karago on +254 (0)722 371809

    Call or SMS Text Wandia on +254 (0)722 254440 or +254 (0)20 8002836

    E-mail us olarabel.ridgeways@gmail.com

    Directions to Ol Arabel

    There are two major roads you can use to come to Ol Arabel – Kiambu Road and Thika Road. Following are directions from the turn-offs on both roads:-

    From Kiambu Road:-

    Turn off Kiambu Road onto Ridgeways Road, just after the flats on your right; which appear soon after the petrol station on your left. Drive straight along Ridgeways Road and turn right at a junction where there is a container painted in Kenya Police colours. Do not continue with the road down the hill [which leads to Windsor Hotel and Garden Estate Road]. Follow the road about 500M, then turn left onto Kigwa Lane. It descends, with coffee growing on your left, to a `T’ junction. Turn right here onto Kigwa Road [turning left would have led you to The Windsor Hotel]. Drive down [descending slightly] Kigwa Road to the very end of the road, leaving two dirt roads on your left [Ridgeways Brook and Kigwa Close – do not take them]. Ol Arabel is the last property on your left hand side, and is opposite a Safaricom mast/tower. There is a sign at the gate, and a KPLC transformer right outside the gate.

    From Thika Road:-

    Turn onto Garden Estate Road at the EABL/Roasters [former Nakumatt-Thika Road] junction. Drive 1Km. to King Castle Inn Hotel, where the road bends to the right, and a dirt road bends to the left. Take the dirt road bending to the left, to its end, about 1.1Km., where it joins the Ridgeways Lane/Kigwa Road junction. Turn right onto Kigwa Road. Ol Arabel is the first property on your right hand side, and is opposite a Safaricom mast/tower. There is a sign at the gate, and a KPLC transformer right outside the gate.

    On Google Maps, please follow this link for a map:-

    You need to have these numbers:-

    Call or SMS Text Karago on +254 (0)722 371809

    Call or SMS Text Wandia on +254 (0)722 254440 or +254 (0)20 8002836

    Welcome to Ol Arabel.

    With warm regards
    Karago D. Mbiru


    31 Kigwa Road
    Ridgeways, NAIROBI
    Tel. 0722 254440 or 0722 371809 now!
    Search for us on Facebook for Nairobi’s most enchanting venue!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon