Meet Stephen Chigorimbo

VETERAN film-maker Stephen Chigorimbo (SC) boasts of more than 40 years in this industry.

He has taken part in more than 100 productions and that alone makes him one of greatest practitioners this (film) particular genre.

H-Metro’s Latwell Nyangu (LN) caught up with the veteran actor who opened up on his journey spanning over four decades as an actor, director, producer and distributor. Read on…

LN: How are you John Huni?

SC: I am very fine Latwell but allow me to congratulate our celebrity, icon and hero Cde Robert Mugabe for turning 90 years. Happy birthday your Excellency.

LN: Just in brief, who is Steven Chigorimbo?

SC: Well, he is a 63-year-old father who has been in the film industry for more than 40 years. I wrote my first script in 1967 when I was in Form Three at Highfield High. I have been in the film business ever since.

I started as a theatre practitioner along with the late Walter Muparutsa when we ran Harare Reps from Stodart Hall, when Harare city was Salisbury. I later moved into acting and cinema in 1974 in a film called Whispering Death-ALBINO produced by Germany Director Eugene Goslar.

LN: How many films have you featured or directed?

SC: I have since made and participated in more than hundred different film projects with some of them being series with 5 00 and more episodes for example Studio 263 and Estate Blues.

LN: What about on the international scene?

SC: Cry Freedom in 1994. It’s a film against apartheid in South Africa, the life of Steve Bantu Biko, Mandela (first international assistant director 1987), The Lost City of Gold (second assistant director 1986), Mal d'Africa,  Incident at Victoria Falls (1987), Jake Speed (1985),  King Solomon's Mines (third assistant director, 2013 Freestate (Short). The list is endless.

LN: And what was your most influence on the Mandela feature film?

SC: That was the movie that made Denzel Washington to be known since we wanted it to be internationally recognised and I identified Denzel as a bankable character. It worked well and Denzel was on the limelight and the film also got exposure.

I also featured in a television series called St Else Where, and I did another one which made Sharon Stone to be known called the Sick World, King Solomon’s Mines by Allan Quatermain. Sharon was leading lady alongside Richard Chamberland. I also made other movies like The House of Hunger by Dambudzo Marechera. I also took part in Brothers with Perfect Timing, a documentary on Abdulla Ibrahim known as Dollar Brand.

LN: Where is the film industry in Zimbabwe today?

SC: Industries in Zimbabwe have never been in any best position than today let alone including the film industry. Today we now have control of our own things, we have independence and we can now take the roles we want unlike long back where we were given savaging roles. Our local TV stations have serious problems, they could not afford to pay me for directing a movie, let alone to afford me to act in a movie they wanted to make. The only way to survive for most film makers is to make movies for international market and those who are outside are only interested in things that are against Zimbabwe’s interest but once it’s positive they won’t get interested.

Thirty years after we acted Cry Freedom, things have changed.

Now in Zimbabwe we can now make movies that are acted by Africans because the world is not entirely longer in the hands of Hollywood, there are now new players.

But for Zimbabwe we are not ready, we have directors, actors, who are very good but in the country we have a missing factor.

LN: What is the missing in the Zimbabwean film industry?

SC: We do not have a film authority, just like ZESA, ZINWA, NSSA, an institution which is set up to promote and to develop the film industry.

LN: But on the onset, how capable are Zimbabwean actors/actresses?

SC: Zimbabwean actors are very good, excellent, for example Lituli Dhlamini (born in Zimbabwe) stars in SA’s Generations, Arnold Chirisa, chii chaungashore kunana Thandie Newton (born in Zimbabwe), isu hatichazvitaura ka but tingatadze kukwanawo here. Zimbabweans can do it, off course there are some who say vanogona but vasingagone, vakawandisa, but those who are good are there. We want a film authority where we can get money to do a film, it will have a branch to lend money to film makers just like AGRIBANK, in Zimbabwe there is nowhere and films are very expensive to make.

LN: Let’s assume the authority has been established what goodies can it bring?

SC: Film has a very powerful aspect they create lots of employment for writers, actors, people who supply services, and many other areas. The six disciplines of arts. It will create employment more than NSSA and that’s the missing link in Zimbabwe and even the film training has the problems because without the authority you can’t money to study.

LN: What would you suggest?

SC: It’s very clear, two years ago Zimbabwean film held three indabas where we discussed thoroughly on what is needed in this industry and we came up with a blue print which was handed over to the Ministry of Information (now the Ministry of Information, Media and Broadcasting Services). LN: So have you reminded them of your calls?

SC: Yes we are pushing for them to respond to our cause. We are saying put our film industry in place and they will see employment blooming. Besides that the film industry creates heroes, for people to call me Mr Huni it’s because of it. We want our industry to bloom, we need a film commission, in some countries they call it cinematic in French, in Britain they have British Swing, Swing Australia, South Africa National Film and Video Foundation, every country have their own film commission. Kana maKoreans, China, whoever, wants to do a film applies for funding.

LN: What about our own National Arts Council of Zimbabwe (NAC), is it relevant in this regard?

SC:  NAC is relevant but it’s supposed to work hand in glove with the Ministry of Information, Media and Broadcasting Services, Ministry of Sports, Arts and Culture and other relevant ministries to put up together a film commission, iyo pachayo it can’t because it represents all the arts.

 One film can squander the entire budget for music. So the NAC can play the midwifery to the set up of commission.

I am doing a feature, science film ENGMA, we are in the middle of shooting and the budget needed is very gigantic, if it was done in SA it was going to gobble at least R 5M, in America US$5 M and in Zimbabwe we are doing it with a fraction of that and it disadvantages Zimbabweans and as we sit here it is employing more than 50. We want our government, Minister Chinamasa, VaJonathan Moyo, VaDokora vese vachishanda pamwechete, we want a film commission ‘yesterday’ and we will do the best just like we did with Studio 263.

LN: So everything now hangs on film commission right?

SC: Yes zvokuti tatononokerwa, we as film makers we are very organised, vakutotinonokera. If the government can surprise us with a US$1 m per year, they will be surprised that we will turn that amount to US$10 m. They have to commit themselves for example South Africa last year placed R 200 000 000 which is US$20 m for the film industry.

LN: Tell us where you stand as an artist?

SC: I am one of the most blessed people because I was born in an artistic family, my mother was a musician, and every family member appreciated the arts, I was born an artist, I was brought up an artist. My first play was when I was six, I featured in a play ndiri kuchurch as Goliath before I ventured into insurance management. I then switched to film because the natural artist in me was calling and I understand the dynamics it’s not me as an actor because I have to make money and the people I am acting for have to make money. So I am everything.

LN: What are some of your contributions towards the film industry?

SC: Besides being an actor in Studio 263 and for it to be successful, I played a very pivotal role along with other people. I worked closely with Aaron Chiundura Moyo and other players to develop the story kuti ive attractive to people. Mhembwe Rudzi, Estate Blues, I am the one who made Godwin Mawuru to sit and write his story in Neria. Since 1987 I have been a member of Federation of Pan African Filmmakers (FEPACI) a continental board that represent filmmakers through four countries and I have been the regional representative although I have since graduated from the position.

I am a founder member for Southern Africa Film Festival which gave birth to Zimbabwe International Film Festival which also brought International Images Film Festival (Tsitsi Dangarebgwa) and many more others.

Currently I am serving as a National Coordinator of Zimbabwe International Public Television Conference input.

LN: Would you want to give us a comparison of the era you emerged as an actor and today’s era?

SC: I was first in my international film in 1974 and that was time for Rhodesia. It was difficult because you couldn’t take main  characters, you couldn’t be a hero but then in the 80s although we had independence we still had no power to influence on the roles in acting, and we had no control over money so they could invite their own people to come and be heroes in our own country people like Sharon Stone, Richard Chamberland, vedu anaChikwama, mdara Danger they could only act mapart emasavages but in the 90s when things started to change ZTV had no budget for film, and until now, it has no budget and I hope the ZIMPAPERS TV will put a budget for film.

And today Zimbabwean film has never been on a better position.

LN: Initially how did you make a break in this industry?

SC: I am blessed, I was born in family of the arts and arts were part and parcel of my life.

LN: How did you hog on the spotlight?

SC: In 1974, I was doing a play called Nonggogo, an afro-fusion play which we acted under Delta theatre. In April 1974, I was acting in this play along with Mushore, the late Walter Mparutsa. After the session I was approached by a woman called Susan and she introduced me to the director. I was with my colleagues, late Herbert Mhlaba, Mike Tshuma Big Mike. So we acted as terrorists in the story, ALBINO that was how I ended up on the limelight. I used my influence since I was a training manager with an insurance company and I mobilised my friends to act.

The director had problem for English so I chipped in to assist others and he then assigned me to be the assistant director of the film on the onset.

LN: From the journey which are your memorable roles?

SC: Well I have played a role of terrorist, freedom fighter, popular John Huni, Terrence Tembera in Estate Blues, Headmaster, and most of the roles were positive. I have also been an actor, director, assistant director, producer, a distributor and a film official.

LN: What are some of the awards you won?

SC: My first award was with a Film Festival in Iran in 1994 after doing a documentary The Past speaks which won the best documentary. I have since had many other awards including NAMA (three time NAMA), Silver jubilee for best artist which I have won several times.

LN: Apart from being an artist, tell us the other side of Steven Chigorimbo?

SC: I am now a pastor with Apostolic Holy Church, off course I have been a Christian leader for a long time like I said my break was from Sunday school.

 LN: Any current projects

SC: I am doing ENGMA feature film with Charles Maunga and I am also preparing to do a series with Marian Kunonga, hospital series called Kopje Street. I am in the middle of post production of feature film called Shave, Big Time which is post production. At the moment I am preparing to take a delegation to International Public television conference.

 LN: And your last words to the nation!

SC: If there is any area that I will encourage everybody to venture in, are the arts, because the arts are in everybody, if you look for it it’s in you. You can never be out of employment if you follow your talent. Zimbabweans must now think of doing their own things, if you can write, write if you can dance do it.

 LN: Thank you Mr Chigorimbo for your time.

SC: You are welcome Latwell.

Feedback: nyangu.latwell27@gmail.com

Twitter: @nyanguz, 0774186242

- H-METRO