In a career spanning over three decades, Brandon Auret has become a recognisable face both locally and internationally, known for his gritty roles in Neill Blomkamp’s District 9, Elysium, and Chappie, as well as local dramas like Isidingo. However, in a candid new interview with Spling, the veteran actor reveals that the sustainability of the South African film industry relies not just on talent, but on a fundamental shift in business mentality.
Auret, who has spent 32 years navigating the industry, is now pivoting toward producing, driven by a desire to bridge the gap between creative storytelling and financial viability.
The Business of “Show Business”
For many actors, the focus remains solely on the performance. For Auret, a realization came after reading Richard Branson’s Just Do It, which prompted him to view his career through a different lens. He emphasises that while the industry relies on connections, it is ultimately fueled by investment.
“You need to make sure that the businessman understands the show part because the show doesn’t understand the business and the business thinks they understand the show,” Auret explains. “So you’ve got to bring them together.”
This philosophy has led to a new initiative involving private investment and bonding companies to fund independent films, ensuring that filmmakers retain their rights – a rarity in a landscape where creators often sign away ownership for upfront funding.
The Reality of South African Budgets
Auret is vocal about the financial constraints facing local productions. While South African crews are globally renowned for their technical prowess – often servicing major Hollywood productions – local narratives frequently suffer from inadequate funding.
“We are trying to make films on next to nothing. R1.8 million budget… Come on, dude, that’s nothing,” Auret states, referring to standard grant allocations. “But it’s like a case of the quality could be so much better if you have a bit more time to invest in it.”
Despite these hurdles, he maintains that the local workforce is world-class. “South Africans are the best filmmakers in the world… We can say, okay, cool. We need that shot. What are we going to do to make it happen? And you know what, we’ll make it happen.”
The Physical Toll of Commitment
Auret’s dedication to his craft is legendary, particularly his commitment to physical transformations and stunt work. However, he admits that years of performing his own stunts are catching up with him.
“I’m not this young spring chicken anymore, I’m damaged,” he admits. “I’ve got torn ligaments in my legs, I’ve got a slipped disc in my neck, I’ve got a broken collarbone.”
Reflecting on his role as Hippo in Chappie, where he underwent a drastic physical transformation, Auret dismisses rumors of steroid use, attributing the change to sheer discipline. “I went through 12 weeks of hell to get to that point… I take what I do very, very seriously.”
This work ethic stems from advice given to him by his former drama teacher, René Tredoux: “It’s a 75% talent, it’s 95% what you bring to it.”
A Tribe United by Storytelling
As he looks toward the future, Auret’s focus is on creating opportunities for the next generation and fostering a production environment that treats cast and crew as partners rather than employees. He advocates for a “vertical” approach where participants own shares in the production, creating passive income rather than living paycheck to paycheck.
Ultimately, for Auret, the film set remains a sacred space – a place where diverse backgrounds merge for a singular purpose.
“It’s my tribe, we speak the same language,” Auret says. “We might not agree on everything in life… but we agree on one thing and that’s filmmaking.”
With new projects in the pipeline, including collaborations with author Deon Meyer and a move to KwaZulu-Natal to stimulate the local film economy, Auret is proving that his contribution to South African cinema is far from over – it is merely evolving.