You’ll find your own tree!
Words by Alex Gwaze (Curator)
Questions from Alex Gwaze & Terry-Jo Thorne (Researcher)
Imagine winning the European Film Festival Zimbabwe best short film award, and still feeling like an imposter. That’s the paradoxical reality of Director/Writer Clinton Zvoushe’s journey. Despite co-directing ASAPH’s “The Vibe Is Correct” music video, being nominated for a BAA and ZAFTA, and having a Bsc (Hons) degree in Journalism and Media from NUST, Clinton grapples with nagging self-doubt and uncertainty. Perhaps it’s the industry’s challenges or his unconventional entry into film that have left him unsettled. Whatever the reason, he’s already made his mark, and we’ve taken notice.
From early childhood, we’re taught to have direction and a plan. But the artist’s journey is rarely straightforward. Many creatives take years to find success or influence, like Stan Lee (Marvel Comics), who created his first successful comic book at 39; Tina Turner, who released her first hit album, “Private Dancer,” at 44; and Brad Pitt, who won his first Oscar at 56. It’s refreshing to remember that we can still enjoy the journey, even when the path ahead seems blurry and winding, and the rewards seem trivial.
I’ve met many creatives struggling to find their way (you’re not alone). I find the first part of Clinton’s journey as a filmmaker interesting because, despite his weariness, he has discovered his strengths, weaknesses and collaborators in an industry that is very competitive and fickle. That’s why I was eager to explore how he navigated the treacherous waters of self-doubt and outline the lessons he’s learned along the way.
AG: Take us back to the beginning. What inspired you to become a filmmaker?
CZ: Growing up, filmmaking was never a career path I considered. I enjoyed watching movies, but it never occurred to me that I could make them. I focused on music and writing instead. My interest in film came while studying media at NUST, where I began analyzing movies and eventually starred in our department’s film project. This sparked something, but I didn’t pursue it until two years after graduating, when I met Xolani Mkwananzi, and we merged our skills to create content for artists around us.
TJ: You and Xolani remind me of great duos like the Coen Brothers or Russo Brothers. What does Xolani bring to the table that complements your efforts?
CZ: Film is ultimately a collaborative art form, and Xolani brings technical dexterity and a logical thinking approach, which complements my creative thinking. We cover each other’s strengths and weaknesses, allowing us to focus on our respective roles without worrying about the other aspects of production.
TJ: I understand that you guys made “My Name Is My Name” to explore Southern Africa’s storytelling traditions. What’s the difference between African and Western storytelling?
CZ: That’s a hard and easy question (laughs). I’m afraid I’ll butcher the answer, but African stories, I feel, are more allegorical, like an extended teachable moment. Western stories, on the other hand, explore an idea or theory, often presenting an argument. It’s like the West examines a concept like love, revenge, feminism, or capitalism, whereas Africans moralize and make meaning. If that makes sense. An argument is entertaining to watch, but a lesson has consequences. Hope I made sense, and I know I’m generalizing, but this is just the tip of the iceberg. It’s more complicated than propaganda or soft power.
TJ: Together, Urban Legend Pictures has produced an impressive variety of content. Which genre inspires you the most?
CZ: I draw inspiration from various genres, including documentaries, thrillers, and comedies. My inspiration changes with each project, but I’m influenced by defined directing styles, such as Wes Anderson, Quentin Tarantino, and David Fincher’s styles.
AG: I’ve noticed that you like to use documentary aesthetics in your style. What draws you to that handheld, archival footage look?
CZ: Initially, the retro look was a problem solver due to limited equipment. Now, it’s both a problem solver and a stylistic choice. I like to experiment and stay exciting, and handheld camerawork reflects that. It has movement and an added sense of realism.
AG: As a director, how do you effectively communicate your ideas in such a sensitive environment as a film set?
CZ: You just need to be confident enough to articulate your vision to the talent and the crew because people buy into you. If you see it clearly, so will they. I had to learn to simplify my thoughts at times but without losing the idea. So, just be confident, sharpen your emotional intelligence (empathy and politeness), especially in an industry with a lot of under/untrained talent. You need patience and understanding, and with that, you can handle any set, I think.
TJ: What was the hardest artistic choice you made in the making of any production?
CZ: I face difficult artistic choices daily, but one example is when musicians don’t want a certain angle or aesthetic that I believe is essential to the project. I have to stand my ground or compromise for progress’ sake.
TJ: Talk to us about Chioniso’s “Queue For A Dream.” The CGI, graphics, and animation were awesome! How do you feel about the future of AI in the creative industry?
CZ: I know the West is worried about AI, but AI is here to stay. It’s a positive addition to the preproduction process and it makes the editing easier. However, I’m aware of concerns about job loss and relevance in the production chain. But we can create new jobs. You can never remove human beings from the artistic process. That work won’t fully connect with people.
AG: And the future of the Zimbabwean film industry at the moment?
CZ: The filmmakers are eager, and the talent is there. The introduction of digital tools pushes us towards a silver age. However, we need funding to create a sustainable industry; otherwise, we’ll never go past a certain ceiling. Even the US and European film industries get government aid.
AG: Interesting. A lot to think about. As an African influenced by Western films, what do you hope to accomplish when it’s all said and done?
CZ: That’s a deep last question, guys (laughs). I hope to have executed my vision to the fullest and played a significant role in Bulawayo, Zimbabwe, and beyond. At Urban Legend Pictures, we’ve only scratched the surface of our potential, operating at just a tenth of our effort and ability. Like I said before, film wasn’t something I grew up dreaming of doing, so even as I got into it and enjoyed it, I had to fight imposter syndrome. I’ve only recently accepted that my purpose lies within this path, so I’m all in now, and it’s full steam ahead, no more half-assing it. The fact that you guys find my journey thus far worth documenting surely means we’re onto something. We must push harder and make history, and not disappoint.
.Follow Clinton @urbanlegendpic