Waldemar Schultz on How the SA Film Industry Has Evolved

As an actor who has spent decades observing and portraying the human condition, I can confidently say that technology may be advancing at a rapid pace, but it will never replace the unique, spontaneous, and emotional depth that a real human being brings to a role.

Waldemar Schultz is a multitalented actor from South Africa, whose acting career, marked by captivating performances, stretches over several decades across cinema, stage, and television. Most recognized for his portrayal of Kolonel Piet van der Bijl in “Die Byl“, Schultz has left a substantial imprint on the local entertainment scene in South Africa. During our conversation, we reminisce about Schultz’s career and explore how culture and technology have influenced the film industry in South Africa.

How has the South African acting industry changed over the last 30 years? What are the most significant shifts you’ve witnessed over the course of your career?

From a technological perspective, there have been massive transformations over time. My initial TV series, “Steinblum,” which premiered in 1994, wasn’t filmed on traditional film. Instead, we were already using digital technology for recording, but it was nothing like the high-definition and advanced techniques we use now. The production used Betacam cassettes to speed up the process, making it more efficient. Additionally, “Steinblum” boasted a star-studded cast with many well-known industry figures appearing in it.

Straight from university, I was still pursuing my master’s degree and utterly amazed by this entire workflow. Everyone commented, “But we’re relocating, we’re working at such a rapid pace.” Previously, we were producing four pages per day. Now, we were managing seven, nearly double the norm.

Nowadays, we typically film between 12 to 14 scenes a day, occasionally more than 20, depending on the production and the number of cameras. The pace is simply astonishing due to numerous technological advancements. These improvements have made setup times shorter from scene to scene, as everything from the focus puller’s equipment to the boom mic is wireless and battery-powered. There’s less tangled cables on set these days – it’s all digital now.

With these remarkably light-sensitive cameras, you could potentially take photos even with just a single candle lit, eliminating the need for large, complex lighting setups. However, despite this improvement, our work pace remains incredibly challenging because we’re constantly moving – there’s no room for delays nowadays.

In essence, due to financial constraints, our movies and TV productions don’t allow for numerous retakes as some might in the film industry. Upon arrival on set, actors quickly learn their positions, run through the scene a couple of times, and then move on after one or two takes. This isn’t like the multiple takes you might see with directors who go beyond seven, nine, or even twenty. However, this environment has honed the skills of South African actors and crew remarkably well, as everyone is incredibly focused with little room for procrastination. On a creative level, it can be a bit unfortunate because there’s limited opportunity to explore alternative options by the fifth, sixth, or seventh take.

Can you share a story about a particularly challenging or rewarding role you’ve played? What made it so memorable?

For that show called “Die Byl“, I’ve got to give it credit since we filmed six seasons of it across a decade, starting from 2013. It’s hard to forget such a significant part of my career. I take great pride in every season of “Die Byl” and the character that evolved so much throughout the series. The experience has truly transformed me. In essence, it’s been a decade-long journey that’s left an indelible mark on me.

I believe the sixth season will commence earlier next year, and the main family remains unchanged. However, it’s fascinating to observe how both characters and work methods have evolved over time. I find this transformation truly remarkable. But if I had to choose a term, I would probably call it our most impressive work yet – a magnum opus.

Is there a particular role or character you’ve always wanted to play but haven’t had the opportunity yet?

Absolutely, there are quite a few roles I’d be thrilled to take on. One that particularly captivates me is playing Salieri in Peter Shaffer’s ‘Amadeus’. It’s a role I’ve longed to embody. If only I had stronger singing abilities, I would jump at the chance to portray Tevye in ‘Fiddler on the Roof’, a character played beautifully by Mostel in the past.

I might mess up the performance, but let me clarify, Topol was exceptional. I was raised with the movie and soundtrack of Fiddler on the Roof, which we used to listen to on vinyl records. And I must confess, I adore it deeply. It’s possible that it seems a bit outdated because nowadays people find it hard to sit through such an extended play due to shorter attention spans.

Where do you think young actors and filmmakers should be focusing their attention?

I regret to mention this, but it may not be well-received: It’s crucial for them to prioritize the television and film industry, striving for diversity in every aspect. They could consider roles such as art direction, acting, directing, continuity, script supervision, makeup, technical, camera, sound – essentially any role available.

It’s essential to spread your investments across various sectors to avoid relying too heavily on one source of income. Unfortunately, there isn’t enough wealth in a single industry to support everyone involved full-time. This is problematic because it often results in professionals leaving their fields and taking up other jobs like real estate sales, financial advice, or even street cleaning. They continue their work in the struggling industry only as a pastime because it can no longer provide a stable income for all of us.

Throughout a career lasting approximately three decades, I’ve often found myself in opportune situations. On numerous occasions, I’ve managed to be where things were happening when they were happening. However, I’ve also spent extended periods at home without generating much work on my own accord.

Today’s college graduates are well-informed and self-reliant; they need to be capable of writing, producing, directing, and acting in their own projects. They must generate their own content because the traditional approach I witnessed in the industry, characterized by waiting at home for the phone to ring while your agent announces a promising audition, is no longer an effective strategy.

Having said that, I don’t write off theatre. I hope that I will always be doing theatre. But shortly after having done a television series where I’ve got a few months grace, salary-wise, and you can afford to do theatre, it just simply doesn’t pay all that much. The pay scale in our industry is ridiculous, but that’s the subject of a completely different interview.

You had a Big Lebowski type role in Die Bloedhonde – can you tell us what it was like playing this character?

As far as characters I’ve played go, I believe he’s the one most similar to Waldi. There could be minor details that have slipped my memory, such as a brief phone call or two. I was aiming for the distinctive vibe of The Big Lebowski. Since September 2009, I’ve been an ordained minister or priest within Judaism, which is a faith inspired humorously by The Big Lebowski.

You can go online and get free ordination and you will instantly become a priest. I discovered the website in 2009 and I’ve been a priest ever since. So it was similar to me. I played him perhaps a little more, shall we say earthy? But he has a lot of Waldi elements.

Who are some of the most inspiring or influential directors or actors you’ve worked with? What did you learn from them?

In my perspective, the most captivating performers and visionaries are those who welcome collaboration, foster creativity, and nurture a project’s organic evolution, allowing it to breathe and evolve like a dynamic, living entity.

As long as I keep on discovering new things, I won’t quit. Most of what I know and do, I’ve picked up from exceptional actors, directors, and other industry professionals. I prefer not to name specific names because there are far too many talented individuals to mention all of them.

However, let me clarify, the professionals I interact with during my projects – directors and actors – are those I engage creatively. It’s like saying, “hey, director, can we experiment with this scene? Hey, actor, can we explore a different perspective? What if we incorporate more depth here? Are you agreeable to this change? I’m not at ease with that approach. Can we try something else instead?” Working under tight deadlines and alongside these individuals enables my process to evolve spontaneously, resulting in an outcome that is distinctive and unexpected rather than predictable.

In your professional journey, mastering subtle tactics becomes crucial over time. Avoiding the immediate solution is often beneficial since you’re constantly pressed for time. After a full day at work, you prepare for the next by memorizing lines for multiple scenes, whether it’s two, three, five, or even 31. This way, when the camera’s on, you’re well-prepared and ready to deliver your best performance. Unfortunately, there’s little room for experimentation… and if I were to phrase this differently every time, that would be 17 unique ways!

Have you faced any significant challenges or setbacks in your career? How did you overcome them?

Every year, I encounter financial struggles due to having more expenses than income during certain months. This situation arises when there’s simply not enough money to cover all the costs at the end of the month. Recently, we’ve constructed our first home after 28 years of marriage – a significant milestone in our lives as we’ve always been renters. Unfortunately, most of our resources are currently being invested into this new home, leaving us with limited financial security. Consequently, when I complete a project, the time I can sustain myself without additional work may range from two to four months. My main challenge is the unpredictability within my profession, as lack of job stability causes ongoing difficulties.

What inspires you as an actor? Are there any specific themes or stories that resonate?

Initially, at university, I envisioned myself as a dedicated actor, focusing on profound dramas that evoked strong emotions and posed challenging questions because that’s what true art embodies. Towards the end of my academic journey, a professor suggested we stage a performance that was purely about spectacle.

In a simpler and more conversational manner, our production was “The Caucasian Chalk Circle” by Brecht. But then I realized there’s more to it than just focusing on our acting. The entire theater work is a collaboration. It’s not solely the actor’s job; the lights, script, set, and costumes each play a significant role. They all contribute to the overall production.

Experiencing this creative endeavor has opened my eyes to the multitude of angles we can explore in our work. Therefore, let me suggest a more inclusive approach – instead of turning our noses up at different genres or mediums, why not dabble in comedy, farce, or even clowning? Perhaps try something unconventional, high-energy, and universally appealing, whether it’s destined for the small screen or the grand stage. Don’t hesitate to delve into deep, dramatic narratives as well. To answer your question directly, no, there are not specific themes or stories that consistently resonate; instead, it’s about finding a balance and exploring various aspects to create something truly impactful.

My essential requirement is that there should be a narrative. There needs to be a feature, some aspect that can resonate with people on an emotional or intellectual level. If our work inspires just one person to such an extent that their life is subtly altered, then all the effort has been worthwhile.

What motivates me as an actor is reminding myself before each performance that I simply need to convey the tale. In moments of pre-performance jitters, I often whisper in the wings, “Just narrate the story.” That’s all there is to it. The rest will take care of itself.

What’s it like being married to an actor? Are there any unique challenges or benefits to both being in the same industry?

Fortunately, Ira operates a drama school in Somerset West. She instructs students from grade one to twelve. Rather than passively waiting for opportunities to come her way, she’s adapted and takes on a variety of tasks. In essence, while she is also an actor, the unique methodology she employs in her work has enabled me to focus on my own endeavors, which consist of spending most of my time at home, patiently waiting for opportunities until they no longer arrive. Then, it’s all-out effort, working 18-hour days, sometimes six days a week, for as long as 18 weeks straight. This isn’t always the case, but that’s what six seasons of Die Byl have entailed.

It’s unclear if there are any or not, but it might financially advantageous for us to work in the same field. This way, we remain connected and occasionally have opportunities to collaborate on small projects.

As a movie aficionado, I must confess that our shared endeavors are somewhat limited. However, the fifth season of “Die Byl” brought us closer than ever before. Although my character didn’t directly interact much with hers, her presence was a constant delight on set. It was truly remarkable to share the same space and breathe the same air as she did, even if our scenes together were few. While collaborations like these don’t occur frequently, they are always a cherished experience when they do.

What is your approach – do you have a particular method or philosophy that guides your acting work?

I generally don’t subscribe to a fixed method when it comes to creating characters or writing. At times, I might begin from the outer aspects and let things evolve naturally, while other times, I delve into the inner workings first. My brain often takes the lead in this creative journey, shaping characters and stories without explicit planning. Occasionally, I find myself adding elements externally to see how it fits the narrative, which can significantly alter my approach for almost everything I work on. To put it simply, most of my process is primarily mental and intuitive.

I don’t go and kill people to investigate what it’s like to be a murderer before I play a murderer or a cop who catches murderers. I don’t learn open heart surgery to play a doctor. So I’m not that kind of… we don’t have time. We don’t have money for that. And like I said, in the pace that we work, there’s generally not a lot of time for nitpicking and pulling things apart and really going into the teeny-tiny details. I’m lucky I have pretty good instincts and I generally understand what the writer wants.

My strategy is to convey the narrative in an authentic manner, offering a fresh perspective whenever possible. This method has been shared with my acting students before. I explain, it’s easy to train a parrot to speak or a monkey to mimic actions. However, what truly sets your performance apart is the individuality and personal touch you bring to the character. Therefore, I always strive to make it distinctive, engaging, and original, while ensuring these elements align with the script’s requirements, rather than introducing random uniqueness for its own sake.

How has acting helped you grow as a person? What have you learned about yourself through your roles?

Acting isn’t something I do, it’s a part of who I am – it’s my identity. I often say that I am an actor and an artist. But when I became a father, I realized that being a parent is also a big part of my identity. However, acting comes in at a close second. Everything I know has been shaped by the roles I’ve played, because good scripts force both the audience and me to grapple with human experiences and questions.

Indeed, your chosen profession has played a significant role in shaping who you are. It’s given you the ability to keenly observe human behavior, tap into your own emotional intelligence, and react swiftly, all while staying spontaneous. In essence, acting has taught you to think on your toes.

The industry is in a state of flux with technological advances. What do you see as the future of acting?

In my opinion, recent films exploring the theme of humans being replaced by AI have fallen short. The CGI characters often fail to convincingly mimic genuine human interactions. For me, there’s always a subtle hint that reveals these are not real people – a minor glitch or inconsistency that betrays their artificial nature. This is especially evident in the computer-generated recreations of deceased actors that appear in some modern films.

In another way, yet it’s becoming increasingly tangible. And when you consider the work of Andy Serkis, such as Gollum and Planet of the Apes, it’s fascinating because these aren’t human characters, so we might not pick up on the subtle details that would usually signal deceit. In fact, those creations are astonishingly realistic.

Hey there! Do you recall the first time we witnessed Jurassic Park and that colossal dinosaur foot thudded into the earth, sending ripples through its scaly skin as water droplets cascaded from it? Man, it’s been a while since I last watched it, but back then, it left us astounded by how lifelike it seemed. And it feels like we’re quickly approaching an era where we won’t be able to discern reality from CGI anymore.

It seems that the pace of development will be incredibly swift, leading to speculation about whether live actors may become unnecessary in the future. Another intriguing aspect concerning this industry’s technological progress is determining how content can be consumed and monetized, given that most things are being streamed nowadays.

If you’re not generating income through ad sales, it means you have less capital for production. Fortunately, this could potentially make it more affordable to produce your content, especially if the narrative is straightforward.

The good news is that every student fresh out of film school can probably get hold of the equipment to make a movie. The bad news is that every student fresh out of film school can probably get hold of the equipment to make a movie. It seems, I say this with great reservation and I mean I’m being a little bit facetious about it, but it seems like it’s becoming too easy.

In essence, much like the smartphone camera revolution that made everyone a potential photographer, professionals in the field found themselves observing from the sidelines as the industry shifted. Similarly, it’s now possible to produce entire films using just a cell phone. I’m trying not to sound pessimistic, but as an actor answering this question, I hope that there will always be a place for human storytelling and for people to appreciate humans telling stories.

2024-11-15 14:44