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Thandi Brewer | |
|---|---|
| Died | 12 June 2019 |
| Nationality | South African |
| Occupation(s) | showrunner, screenwriter, film producer, director, script editor |
Thandi Brewer was a South African showrunner, screenwriter, film producer, director, and script editor.
Brewer has produced about 300 hours of film in her life. [1] Her capital has produced over 97 million rands worth of product.[ citation needed ]
Her productions include children's series - Dynamite Diepkloof Dudes and37 Honey Street, making countrywide headlines with the first-ever lesbian kiss on South African television, the 7x SAFTA Award-winning and International Emmy-nominated Usindiso, Sticks and Stones, the first series in the history of South African television to have an audiovisual description for the blind, Bahati Close first series produced by Mnet East Africa where she headwrote and trained Kenyan and Ugandan writers, and End Game. She has been show running Keeping Score, a 156-part telenovela she created, which is the first telenovela that SABC 2 has done.
As a script editor, she has worked with writers to produce Society on SABC 1, Tiger on SABC 2, Love Mnanzi Style (etv), and SAFTA-winning Borderliners S2. As an approved NFVF script editor and story analyst, she has helped writers hone their words on Jimmy in Pink for UK/NFVF 25 Words or less, Mama Africa and Hear Me Move for NFVF. Her work as a script doctor includes Hillside on SABC 2, One Way on SABC 1, 102 Paradise Lane SABC 2, and Glory Boys MNet. She has script doctored four international features, including a film by Luc Jacquet, Oscar-winning director of March of the Penguins , and Cheap Lives by Antony Sher.
As head of development for an international film company, she oversaw the development of 8 international features and 24 documentaries.
She was a founding member and the first chairman of the South African Writers Guild. She was passionate about Africa, African literature, and African writers, having trained over 500 South African and African writers as a screenwriting mentor through the NFVF screenwriting programme Spark, Mnet's East African skills transfer programme in Kenya, the Namibian film commission's short film slate, screenwriting mentor on the NFVF/Blingola female filmmakers slate, and as a former AFDA screenwriting chair.
Her feature film screenplays include Story of an African Farm , starring Richard E. Grant, De Gerrie for Hugh Masekela and the NFVF, and The Chemo Club, which was her directorial debut.
Brewer was an award-winning writer, director, actress, and teacher who lived in Lower Houghton (Hillbrow) before moving to the rural extremes of Hennops River.
She is the third generation in the South African film/TV and theatre industry and did her first gig crying for a nappy commercial at six months old. Her grandfather was Jimmy Hunter (stand-up comic and producer of Jimmy Hunter's Brighton Follies [2] [3] ), her father was Bill Brewer (comic, actor, musician, composer, writer, critic on The Sunday Times [4] [5] [6] ), and her mother was Fiona Fraser (actress, director, writer, mentor and activist [7] [8] [9] [10] ).
Thandi described her family in "Of Pigs and Psychopaths", her unpublished biography of her family:
"All people have the right to go to hell in their own way. My family always chose the scenic route.
Yesterday, my ten-year-old daughter, Cody, came home in tears from her upmarket, hideously expensive school. A school that is a glass bubble of protectiveness in New South Africa, for which privilege I pay through my nose and every other orifice.
"I'm the outsider, Mom," she says. "No one will play with me. They say I'm poor. And weird. And my family's weird". I sigh. "We are weird, Noo. And poor. Deal with it". She went to bed, woebegone. And I could do nothing to make this small rite of passage easier for her. This a comment from the headmistress of my equally Upmarket, wildly expensive, Convent school, which tried to imbue small savages with the 4 Rs - reading, riting, rithamtic and respectability, where I too was weird and an outsider. "Everyone remarks what a normal little girl Thandi is." Beat. "Considering her background".
I am third generation theatre, a child of theatre foyers and rehearsal rooms. My grandmother was a singer and comedienne. My step-grandfather, a stand up comic and producer. My father, a comic, pianist, writer, composer, personality, producer, actor and finally critic - a good resting place for all his other skills. My mother, an actress and writer herself. I am doublebred for this life, from a family who melded myth, mayhem and magic into something that sometimes resembled a soap opera, more often a sitcom, with all the self-dramatization and chaos that entails. I come from three generations of non-marrying women, which is another story.
So now I do what three generations have trained me to for my daughter. I use words to make sense of it all, to try and tease out the reality from the publicity releases, to fit the jigsaws together with my own glue - words. Words are dangerous. They turn on you, they go for the throat and draw blood, they twist under your hand into something strange and unknown to you, filled with meanings that you never anticipated. Trust me on this. I make my living from them, and I've never yet learned to tame them. Put a word around an idea, and it changes it. Put a word around a person, and they have gone, but the word remains.
My job as scriptwriter is to find a pattern. To find an ending, and a beginning.
And this is one beginning.
The story starts, as all good stories should, with a picture. Just one. My 72-year-old mother is talking to her lecturer in Feminist Literature. "Your life," says the professor, "Is a Feminist Manifesto." And once again, I'm struck by the incongruity of Intellectual Analysis versus Experience. To this well-meaning feminist, my mother's life is Manifesto. To me, it's Narrative. A tale of two resilient and robust spirits who forged lives and made choices that were not acceptable then and are seldom acceptable now. My mother. My grandmother. And because I make my living, such as it, forging words for other people to make images of, I start with an image and a phrase. Traditional, trite, and true.
Once upon a time …
There lived."
(Of Pigs and psychopaths)
She was born in South Africa and traveled through China, Russia, Europe, America, and Africa. She had a broad knowledge of all aspects of the Arts fields, having worked in nearly all of them since she was six months old as an actress, singer, dancer, musician, writer, producer and director. [11]
She was a well-known South African child actor, having her own radio series at 5 (Tandi Time) and acting in films like Majuba and Escape Route Cape Town.
Her stage work as a writer and director includes My Mother, Myself, Two Singers - Khuluma, The History of Sex, Letters of Love, Lust and Living, Alice in Africa, Azanyan Fairytales, The Will to Die, and Alternatives Anonymous.
She won the Soundscapes competition in 1995 for Best South African play for her first play, "Samuel's Fugue". This was broadcast in 1995 and nominated for an Artes award for Best script in 1996. She then went on to write "Dynamite Diepkloof Dudes - SABC 3 for Bobby Heaney Productions; "Nodedancing," a finalist in the Xencat/Channel 4 script writing competition; and "Balls Up, a film script awarded a development grant by the Department of Arts and Culture. She was one of the young directors chosen for "Entsha/Nuwe Talente" on SABC 2 and produced the thirteen-part action/adventure series "Venture Out There" for SABC 3. She wrote "37 Honey Street," a 26-part drama series for SABC 2, which she also directed.
She wrote the international film scripts for Story of An African Farm, De Gerrie and The Chemo Club. Her second play, Please Hold I'm Coming, ran to great critical and audience acclaim at the Civic Theatre. A long-standing friendship with Ian von Memerty blossomed into a highly productive working relationship. Together they produced Rockatutu for the South African Ballet Theatre in 2004, which segued into Music and Mayhem in 2005, Jump 4 Joy in 2006, The Heart is Round in 2007 and Gunslingers.
She was one of the 12 South African writers selected for the Sediba writer's workshop of 2005, run by Alby James. This led to being a senior script editor for the SABC/Sediba workshop.
She was a screenwriting mentor of the NFVF Spark writers programme with Julie Hall, Mmabatho Kau, and Loyiso Maquoba. She wrote “Usindiso/Redemption!!” which she produced in conjunction with Bridget Pickering (Co-producer of “Hotel Rwanda”). [12] It was a regional semi finalist for best drama series for the International Emmys in 2008, won 4 SAFTAs and played to 4.3 million viewers a night on SABC 1. She created and was the showrunner on “Sticks and “Stones” [13] and “End Game” which aired on SABC 1 and received enormous critical and audience acclaim. [14] [15] She had also just completed her directorial debut with her script “The Chemo Club” which was nominated in the 2015 WGSA Muse Awards Feature film category. [16]
She was one of the founders and the first Chair of the Writers' Guild of South Africa, as well as screenwriting Chair for AFDA. She was also involved in the SASFED (The South African Screen Federation) Executive Committee as Co-Secretaries with Khalid Shamis in 2009, [17] and later she had the Executive Positions of Communications in 2010. [18]
Her cancer battle and double mastectomy only made her more determined to write, produce and direct more South African content. [19]
She died on 12 June 2019. [20]
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